Back in August, TikTok teamed up with Ticketmaster to allow artists to sell tickets to live events directly through the social media app. The service, however, was exclusive to the US, until now. TikTok just announced the partnership with Ticketmaster now extends to more than 20 countries throughout North America and Europe, in addition to Australia and the UK.

The tool only applies to artists officially certified by the platform, though TikTok says that amounts to more than 75,000 entertainers and event providers. The functionality is simple. The artist embeds a link to a relevant Ticketmaster event on a video. Users click a link on the bottom left of the screen and purchase a ticket, but we encourage would-be buyers to keep an eye on those hidden fees.

Music is the primary motivator here, but you can snag tickets for comedy shows and sporting events, among other types of entertainment. TikTok boasts that the program has already supported successful ticketing campaigns for artists like Shania Twain, Burna Boy, The Kooks and many more, going on to say that there has been more than 2.5 billion views of videos that utilize the in-app ticketing feature since launch.

The tool’s available now for those living in newly-eligible countries, like Sweden, Switzerland, Poland and around 17 more. TikTok hasn’t announced future availability for additional locations, but a spokesperson has stated that the company is “very excited to see how the partnership with Ticketmaster will develop over time.”

Snapchat made a similar move last year, partnering with Ticketmaster to match users with nearby live concerts. However, TikTok’s method is more streamlined and should allow for quicker access to tickets.

Kiss’ final live performance at Madison Square Garden in New York last night also turned out to be the first for the band’s successors — four digital avatars that will play on in the real members’ retirement from physical shows. Kiss concluded the last show of its “The End of the Road” tour by introducing the new virtual band, which then performed “God Gave Rock And Roll To You.”

The avatars weren’t just straight replicas of the current band members — Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer — but interpretations of them “as fantasy-based superheroes,” said Pophouse Entertainment, which partnered with George Lucas’ Industrial Light & Magic for their creation. And, it says that’s just “one of the many and varied ways in which Kiss will live on as digital performers through their avatars in the future.” Industrial Light & Magic also created the digital avatars of ABBA (or ABBAtars) for the ongoing ABBA Voyage show in London.

No specific plans for the virtual band have been announced just yet, but it wouldn’t be surprising to see similar Kiss experiences pop up in the near future. Gene Simmons, who founded Kiss alongside Paul Stanley, said the move will keep the band “forever young and forever iconic,” while Stanley called it a way to “see Kiss immortalized” and take the group “to a completely different level beyond being just a music band.”

Amazon has released the first official teaser trailer for Fallout, its upcoming live-action series based on the best-selling video games. The clip gives us a look at Amazon’s take on the post-apocalyptic wasteland, and Yellowjackets actor Ella Purnell emerging from Vault 33 to meet it for the first time. The series will be set in Los Angeles 200 years after a nuclear war brought Earth to ruins.

The trailer arrives a few days after Amazon released stills from the show, now showing a deeper look at the characters and the horrors they’ll encounter in the wastes. And it so far seems a promising indication of how the series will approach its well-loved source material. 

Starring alongside Purnell, Fallout also features Walton Goggins (The Hateful Eight) as a breakout ghoul, Aaron Moten (Emancipation) as a member of the Brotherhood of Steel and Kyle MacLachlan (Twin Peaks) as a vault overseer. There’s also a dog named CX404, which we see in the video and in marketing materials toting around a severed hand. Fallout comes out on Prime Video on April 12 next year.

The Game Awards got it wrong this year. One of the titles nominated for Best Independent Game, Dave the Diver, was produced by Nexon, one of the largest video game studios in South Korea. No matter how hard you squint, it is not indie. Dave the Diver is an excellent pixel-art game about deep-sea fishing and restaurant management, but it was commissioned and bankrolled by Nexon subsidiary Mintrocket, with billions of dollars and decades of experience at its back.

When The Game Awards nominees were announced on November 13, fans were quick to point out the error, and the recurring debate over what “indie” means was reignited. Taehwan Kim, Nexon’s overseer of Mintrocket, weighed in on November 14, saying Dave the Diver “may look like an indie, but it's not necessarily the case.” The official tweet listing the nominees for Best Independent Game now carries a reader-generated context tag reading, “Dave the Diver is not an indie game. Mintrocket, the game's developer, is a subsidiary of Korea's biggest game company Nexon. They are not independent in any sense of the word.”

Nexon

A discussion around the definition of “indie” bubbled up throughout November, but it raised more questions than it answered. One common conclusion was that the media outlets who voted Dave the Diver into the independent category were fooled by its pixel art, a style that’s associated with indie games. During a live Q&A on Twitch on November 26, The Game Awards organizer Geoff Keighley argued that “independent” was a broad term with an unknowable definition, before essentially saying Dave the Diver’s inclusion in the indie category was the jury’s fault.

Specifically, Keighley said the following: “It’s independent in spirit and [it’s] a small game with a, I don’t know what the budget is, but it's probably a relatively small-budget game. But it is from a larger entity, whereas there are other games on that list that are from much smaller studios. Even like Dredge I think is published by Team17, so is that independent or not because you have a publisher? It’s a really complicated thing to figure out and come up with strict rules around it, so kinda we let people use their best judgment. And you can agree or disagree with the choices, but the fact that Dave the Diver was on that list meant that, out of all the independent games the jury looked at, or what they thought were independent games, that was one of the top five they looked at this year.”

The jury comprises 120 media outlets (Engadget has traditionally been one of these, but we did not participate in voting this year and look what happened), so Keighley is chalking the mistake up to mass hysteria and moving on. Meanwhile, there’s still little consensus on what constitutes an indie game, at The Game Awards or elsewhere.

Nexon

I’ve reported on video games for 13 years and indies are a central theme of my coverage. I ran The Joystiq Indie Pitch back in the day, and I’ve made a concerted effort to write about smaller games from creators working outside of the mainstream machine, because these are the experiences that speak to me personally. The indie scene is the source of the industry’s magic. This isn’t just a debate about language — “indie” is a distinction that identifies which games and teams need outside support to survive and expand on their innovations. Understanding the label can help players make decisions about where to spend their money, the lifeblood of any game-development studio.

All that to say, the debate over the definition of “indie” is not new, but it is constantly changing, and it’s something I’ve spent a lot of time contemplating. So, I’m here to offer guidance on the question of what makes an indie game or studio indie. It is a weirdly complicated topic and my approach is one of many, but the loose framework I use could help resolve some common, recurring arguments. 

Basically — it’s all about the system, man.

I’m joking, but also I’m not. Generally, when I’m trying to decide whether something is actually indie, I rotate through three questions:

1. Is the team on the mainstream system’s payroll?

2. Is the game or team owned by a platform holder?

3. Do the artists have creative control?

The first question is about identifying where a studio’s money is coming from and what kind of support a game has outside of sales. If a team is wholly owned by another company of any size, it is not indie. We’re not talking about publishing deals; this opening question is about acquisitions or subsidiaries of bigger studios. Dave the Diver is a prime example here — it’s developed by Mintrocket, a subsidiary of Nexon that was created just to develop more contained, experimental games for the publisher. Dave the Diver is definitely not indie, and we’re only on question one.

The second query feeds into the first, and it’s helpful in making fine distinctions about games that exist in gray areas. What about something like Cyberpunk 2077? It’s a big-budget game built by CD Projekt RED (CDPR) — a studio that, at first glance, seems like it could be indie. However, there are two factors that take it out of the running for me. First, CD Projekt, the umbrella organization that supports CDPR’s game-making, is a publicly traded company with shareholders and a board to answer to. Second, CD Projekt is the owner of GOG, a distribution hub that allows the studio to sell its own games and DLC outside of Steam and the Epic Games Store. This ability to sell directly to players at massive scale takes CD Projekt out of the indie realm. Generally, companies with the most influence and money are console makers and platform holders like Valve, Xbox, PlayStation, Epic Games, Ubisoft, EA, and, yes, CD Projekt. They are the AAA system, and anything they own is not indie.

Nexon

Lastly, on to publishers. Sorry, Keighley, but securing a publisher has very little to do with whether a game is indie nowadays. We’re blessed in 2023 to have a thriving indie industry constantly pushing against the AAA complex with different goals, more diverse voices and a broader sense of innovation — and publishing is a big part of this system. Today, indie-focused publishers (of which there are many) tend to include clauses that protect a developer’s creative vision, preventing the larger company from interfering with artistic decisions and keeping the game indie to the core. Once upon a time, it might’ve made sense to only consider self-published games indie, but that era is long gone.

The indie scene has evolved massively since the early 2010s, when games like Braid, Super Meat Boy and Fez were carving out the market’s modern form. Back then, self-publishing was all the rage for independent developers because it was often their only option, and as a result there were more distinct lines between AAA, AA and indie games. Devolver Digital found its first breakout hit as an indie publisher with Hotline Miami in 2012, and that’s around the time the floodgates opened. In 2014, as the industry’s largest companies started funding and publishing programs for them, the number of indie games skyrocketed across platforms including Steam (remember Greenlight?), the App Store, Xbox, PlayStation and Ouya (RIP).

Today, indie games come standard on every console. There are multiple indie-focused publishers, including Devolver, Annapurna Interactive, Panic, Raw Fury, Team17 and Netflix, and most of them offer complete creative freedom as a main selling point. Meanwhile, platform holders like Sony and Xbox are hungry to sign distribution deals with developers of all sizes in an effort to score exclusives and pad their streaming libraries. It’s the most stable (and crowded) the indie scene has ever been. Having a publisher has no bearing on whether a game is indie.

Being owned by a publisher, however, changes everything (see question one). This is more of a concern than ever, as platform holders like Microsoft, Sony and Epic Games have recently been buying studios they like, no matter their size. Hell, even Devolver has dipped its toes in the acquisition pond recently — which, yeah, means those teams are no longer indie.

Nexon

The “indie” label is transitory. Certain studios can be indie but an individual game may not be, and plenty of small companies flow between states as they age and take advantage of growth opportunities. Bungie, for example, started out as an independent outfit, then it was absorbed by the AAA complex under Xbox, and then it broke free and was briefly indie again, before Sony pulled it back into the mainstream system’s cold embrace.

So, yeah, that's my way of determining if a game or studio is indie. By all means, take my triplet of questions and have fun trying to break the logic — it probably won't take long. There is no perfect structure here and there are plenty of outliers within my own framework. Alan Wake II, according to my questions, would be considered an indie game — but its developer, Remedy Entertainment, is a publicly traded company, which brings shareholders and a board of directors. This pushes the studio and the game into The System for me, but honestly, I’m still unsure about those labels as I type this. That’s OK — when all else fails, look inside your game-loving soul and ask, can this team exist without my support? (Alan Wake II, for what it’s worth, is a delicious and unique experience that’s worth playing, regardless of your feelings on Remedy's shareholders).

Does Mintrocket need my support to keep Dave the Diver and its creative team going? Probably not, and definitely not in the same way as Larian Studios, the independent developer and publisher of Baldur’s Gate 3. Baldur’s Gate 3 is an excellent, expansive 3D adventure from an indie studio and it’s up for Game of the Year at The Game Awards, but it was snubbed in the Best Independent Game category. Meanwhile, Dave the Diver, a cute title backed by billions of dollars, is up for the indie award, but not Game of the Year. It seems like The Game Awards jury made the classic mistake of seeing pixel art and immediately calling it indie. That’s an unforced error, but it reveals one point where we can all agree:

Indie is not an aesthetic.

Telegram has released a major update for its iOS and Android apps that includes an array of new and upgraded features. Since last year, Telegram Premium users have been able to get transcriptions of voice and video messages and now the platform is opening up that feature to everyone, albeit on a more limited basis. Free users will be able to convert two messages per week into text. Just hit the →A icon on a voice message and you'll get a text version of the memo. Telegram notes that it's rolling out this feature gradually, so you may not have access to it right away.

Elsewhere, Telegram is looking to improve channel discovery. Whenever you join a channel, you'll see a selection of similar public channels. Telegram is basing these recommendations on similarities in subscriber bases. You'll be able to view these recommendations at any time by going to a channel's profile.

Telegram

You can now include a video comment or reaction with a story. You'll have the ability to resize this video message and move it around the screen. You can add a video message, a feature that takes a page out of the TikTok playbook, by holding down the camera icon in the story editor to capture a selfie clip. You can adjust the volume by holding a finger on the video track at the bottom of the screen.

Reposting someone else's story is now a cinch too. Just tap the share button on a story, then you'll have the option to repost it. Only stories that have their visibility set to public can be reposted. You can add a video comment to reposted stories too.

Elsewhere, Premium users can set up their profiles with unique color combos, everyone can apply custom wallpapers to each individual chat (Premium users can set the same wallpaper for both participants) and channel admins can customize the emoji that appear as reactions. In addition, any Telegram app can now detect a coding language in messages and highlight the syntax with proper formatting.

TikTok has introduced the Artist Account, which offers up-and-coming musicians new ways to curate their profiles in ways that boost discoverability. The new suite of tools are not just meant for rising stars: established pop icons can also add an artist tag to their profiles, giving their music its own tab next to their videos, likes and reposted content.

To be eligible for an artist tag, TikTok says you will need at least four sounds or songs uploaded to the app. Artists can also pin one of their tunes so it appears first in the music tab. If a musician drops new content, the app will tag songs as ‘new’ for up to 14 days before and up to 30 days after it goes live. Any new tracks will automatically be added to a profile’s music tab.

TikTok says over 70,000 artists are already using the new tools. The app has proven to be a breeding ground for content to go viral for new artists and established music makers alike thanks to the lightning speed of dance and lifestyle video trends. TikTok’s impact on the music industry has been so massive that even streamers like Spotify have looked into experimenting with video-first music discovery feeds.

YouTube Music users who have seen their Spotify- and Apple Music-using friends share their listening stats from this year can now join the party. YouTube Music Recap is now live and you can access it from the 2023 Recap page in the app. You'll be able to see your top artists, songs, moods, genres, albums, playlists and more from 2023. There's also the option to view your Recap in the main YouTube app, along with some other new features for 2023.

This year, you'll be able to add custom album art. YouTube will create this using your top song and moods from the year, as well as your energy score. The platform will mash together colors, vibes and visuals to create a representation of your year in music.

YouTube Music

YouTube says another feature will match your mood with your top songs of the year. You might see, for instance, the percentages of songs you listened to that are classed as upbeat, fun, dancey or chill. Last but not least, you can use snaps from Google Photos to create a customized visual that sums up your year in music (and perhaps your year in travel too).

Elon Musk, facing the fact that an already financially-precarious X could be poised to lose another $75 million in ad revenue following his boosting of an antisemitic conspiracy theory, has a new message for advertisers pulling back from the platform: “Go fuck yourself.”

Musk repeated the sentiment multiple times during an appearance at The New York Times’ DealBook event. “Don’t advertise,” Musk said. “If somebody is going to try and blackmail me with advertising, blackmail me with money? Go fuck yourself. Is that clear? I hope it is.”

“Hey Bob,” Musk added, in an apparent reference to Disney CEO Bob Iger, who appeared at the same event earlier in the day and spoke about the company’s decision to pull ads following Musk’s tweet earlier this month. Iger said that Disney’s association with X was “not necessarily a positive one for us,” according to Variety.

While Musk again denied being antisemitic, he did express some regret for engaging with the tweet that’s resulted in another exodus of advertisers from X. “I should have not replied to that particular person… I essentially handed a loaded gun to those who hate me,” Musk said about the post, per Variety.

X didn’t immediately respond to a request for comment. X CEO Linda Yaccarino had a front-row seat to the remarks, according to The Hollywood Reporter, which reports the former ad exec sat “stone-faced” during Musk’s tirade.

Elon Musk, facing the fact that an already financially-precarious X could be poised to lose another $75 million in ad revenue following his boosting of an antisemitic conspiracy theory, has a new message for advertisers pulling back from the platform: “Go fuck yourself.”

Musk repeated the sentiment multiple times during an appearance at The New York Times’ DealBook event. “Don’t advertise,” Musk said. “If somebody is going to try and blackmail me with advertising, blackmail me with money? Go fuck yourself. Is that clear? I hope it is.”

“Hey Bob,” Musk added, in an apparent reference to Disney CEO Bob Iger, who appeared at the same event earlier in the day and spoke about the company’s decision to pull ads following Musk’s tweet earlier this month. Iger said that Disney’s association with X was “not necessarily a positive one for us,” according to Variety.

While Musk again denied being antisemitic, he did express some regret for engaging with the tweet that’s resulted in another mass exodus of advertisers from X. “I should have not replied to that particular person… I essentially handed a loaded gun to those who hate me,” Musk said about the post, per Variety.

X didn’t immediately respond to a request for comment. X CEO Linda Yaccarino had a front-row seat to the remarks, according to The Hollywood Reporter, which reports the former ad exec sat “stone-faced” during Musk’s tirade.

Absurd Ventures, the new creative studio from Rockstar Games co-founder and ex-creative director Dan Houser, has announced its first projects. As it happens, neither of them are video games, at least not yet.

The first of these two new universes is called American Caper, which will debut as a graphic novel. It will focus on two normal but damaged families who are mired "in a world of corrupt business, inept politics and bungling crime." Comic book artist Simon Bisley (ABC Warriors, Lobo) is illustrating the graphic novel.

The other project is a 12-episode audio drama that's already in production. A Better Paradise is described as a near-future existential suspense thriller. Absurd Ventures is working with well-regarded audio company Q-CODE Media on the project.

Absurd Ventures plans to reveal more details about both projects in the coming months. However, referring to both American Caper and A Better Paradise as "universes" suggests the company has plans to expand them into transmedia enterprises, which may just include video games.

Meanwhile, we're just days away from getting our first proper glimpse at what has been keeping Houser's former colleagues at Rockstar busy for the last several years. The publisher will unveil the first trailer for the next Grand Theft Auto game in early December. Rumors suggest the reveal will take place at The Game Awards on December 7.