The critically-acclaimed cat-based adventure gameStray is getting an actual animated movie. Even cooler? The title's original publisher Annapurna is making the flick, after it scored a surprise hit on Netflix with its first animated feature Nimona. The creative team is still under wraps, but Annapurna Animation head Robert Baird told Entertainment Weekly that the film is in active development and that it’ll be the “greatest hopepunk movie that's ever been made.”

Baird defines “hopepunk” as a narrative concept that deems optimism as a form of resistance against tyranny. That just about describes the emotional tenor of the game, so Annapurna’s on the right track. Additionally, it’s been confirmed that the game’s companion drone B-12 will be a large part of the film, with Baird stating it’s a “buddy comedy about a cat and a robot” going on to cite the pair’s “hilarious dynamic.”

The original game was released last year and put players in control of a curious cat in a cyberpunk landscape. There’s plenty of platforming, stealth-based traversal and, uh, meows. The title was praised for giving players a cat-level perspective on the world and has been a huge hit on just about every platform.

As for Annapurna, the Stray movie is only a single step in its plans for Hollywood domination. The animation arm of the company announced a few more films and teased plenty more. Chris Wedge, the creator of Ice Age, is directing a movie called FOO, short for fish out of water, and Nimona’s co-director Nick Bruno has signed on to helm an unnamed project that’s only been described as “high concept” and “Spielbergian.”

The company also teased that other games under its umbrella could receive the movie treatment, stating that Stray was chosen as the first adaptation due to it being “wildly popular.” Other titles in the publisher’s roster include the time-loop thriller Twelve Minutes, starring Daisy Ridley and James McAvoy, the Starfield-before-Starfield sci-fi romp Outer Wilds, the narrative mystery Kentucky Route Zero and many more. Each of these would make for a decent movie.

The classic survival horror series Alone in the Darkrecently announced a reboot set to release in October, but it just got delayed to January. This push isn’t for the usual reasons. The game doesn’t need more polish or anything like that. It’s simply a matter of finding an audience in the bustling gaming month of October, given the flood of titles coming in the next several weeks.

The new release date is January 16, with publisher THQ Nordic noting that the game’s “eerie embrace of solitude” would be “impossible to achieve in a gaming month as busy as October.” The company isn’t blowing smoke, as October sees the release of Super Mario Bros. Wonder, Forza Motorsport, Spider-Man 2, Assassin’s Creed Mirage, Detective Pikachu Returns, Sonic Superstars, Alan Wake II and, well, the list goes on and on. It’s certainly a wallet-busting month.

This is in addition to September’s crowded release schedule, so the January launch of Alone in the Dark will give gamers more time to finish Starfield, Baldur’s Gate 3, Mortal Kombat 1 and a fresh round of Cyberpunk 2077 DLC. It’s interesting to note that none of these September or October releases are survival horror games, though Alan Wake gets close, so the title could have found a niche anyways.

So what is Alone in the Dark? The original title is considered the first 3D survival horror game, beating Resident Evil to the punch by four years. Since the 1990s, there have been sequels, spinoffs and even other attempts at rebooting the franchise. This latest installment is the first mainline entry since 2015 and the first game in the series developed since THQ Nordic bought the license from Atari back in 2018.

The reboot’s story is written by Mikael Hedberg, the mind behind the survival games Soma and Amnesia: The Dark Descent. Creature designs are being handled by long-time Guillermo del Toro collaborator Guy Davis. THQ Nordic has stated that the new Alone in the Dark is a completely original game, but will feature playable characters from the 1990s titles. It’ll release on PlayStation 5, Xbox Series X/S and PC on January 16, 2024.

My favorite video game of 2023 involves a portly, balding pizza chef named Peppino Spaghetti scaling a medieval tower to defeat a sentient floating pie threatening to blow up his pizzeria. It was developed by a small independent studio named Tour de Pizza, led by a designer named McPig. Its soundtrack was largely composed by a first-time composer and a high school student. Its art style is at once expressive and grotesque. It’s called Pizza Tower, and it is, in all seriousness, one of the best 2D platformers I’ve played in a long time.

I’m late here, as Pizza Tower arrived on PC in January. Currently, it has the second-highest user rating of any 2023 release on Steam. The simplest way to describe it is to call it a modern Wario Land — really, the game’s structure is straight out of Wario Land 4. Almost all of its 20 stages are split into two halves. In the first, you can feel things out at a leisurely pace, collecting little pizza topping buddies, unlocking treasures and finding secret rooms. There’s a grading system based on how quickly and thoroughly you finish a level — but Peppino can’t die, and you don’t need a certain score to pass, so you’re free to move recklessly.

Then it’s “Pizza Time.” At the end of each stage is a pillar that, once knocked over, causes the whole level to begin collapsing on itself. The music intensifies and a timer appears. That’s your cue to hurry up and get the hell out of there. You can’t just go back the way you came, though; parts of the original path get blocked off, while certain secrets only become accessible during the mad dash back. Fail to reach the entrance in time, and the truly cursed Pizzaface hunts you down. It’s a simple dynamic, curiosity inverted by anxiety, but one that always worked for me. Each Pizza Tower stage concludes with the ending of Super Metroid, only you play as a funny pizza man trucking through fork-wielding cheeseballs and pepperoni goblins.

Tour de Pizza

It’s not just the structure that got me, though, it’s the speed, and how it’s deployed. In fact, I’d argue Pizza Tower is equal parts resuscitated Wario Land and better Sonic the Hedgehog. Quick explanation: I do not like Sonic. I didn’t when I was a five-year-old failing at Sonic the Hedgehog 3 on my great aunt’s Sega Genesis, and I don’t today after giving the original five games another shake last year. I get if you do. But for me, all Sonic provides is a bad kind of tension, an itch I can’t reach. Sonic can go fast, but his worlds do way too much to impede his momentum. The open fields of Green Hill Zone eventually give way to slow-moving platforms, hard-stopping ledges and suffocating water. When I’m halted, it takes several beats to speed back up again. The only way to consistently zoom through its stages is to memorize them.

Pizza Tower, on the other hand, knows exactly what it is. Peppino moves like the bus from Speed, bursting through walls and obliterating most enemies in his way. When you dash, his legs spin like a wheel and his body glows in technicolor. When you change direction, it sounds like a car screeching. When you pivot into a super jump, Peppino rockets infinitely into the air. The little guy beats the hell out of himself, smashing stomach-first onto bricks and slamming into dead ends. It’s a constant kinetic thrill, the kind I want from any platformer. Like Mario’s brisk hop or Donkey Kong’s weighty slams, Peppino’s runaway-train dashing feels distinctly his own.

The key is that you actually have space to explore this form of movement. The fact that Peppino can’t die plays a big role — less fear encourages less hesitation. Beyond that, it only takes a second to pick up speed, and the zoomed-out camera gives you just enough time to see what’s coming. Crucially, the controls are simple. Wall-running, wall-jumping and diving under ledges only requires one button press. Pizza Tower has you complete strings of precise moves, but it’s built on instinct more than memorization. It understands it’s partially a racing game, not just a platformer. Indeed, to get the highest rank in a stage, you must complete a “Lap 2.”

Tour de Pizza

Pizza Tower’s rousing kinetics are enough for me to like it. But what makes me love it is its Nintendo-like commitment to exploring new abilities and sensations. One moment you’re stampeding on a hot dog horse, the next you’re a loosely floating ghost, then you’re stopping to play a warped game of golf (a Wario nod). Importantly, Pizza Tower takes care to discard these ideas once they’ve run their course. Sometimes, it’ll introduce a mechanic only to subvert it in the back half of the same level.

Everything in Pizza Tower adds to its distinct sense of character. The art style looks like a dream you’d have after downing a meat-lovers pizza and falling asleep to a Rocko’s Modern Life marathon. Peppino is a realized character, scared and pissed, purely through the evocative animation and movement. The incredible soundtrack is funkyandfierce, itself a throwback to Dreamcast-era Sega yet completely its own. And it’s all funny! Not just in its natural physical comedy, but in its jokes — you haven’t truly hated The Noid until you play this game.

I haven’t even talked about the boss fights (honest duels that strike that “tough but fair” balance) or the ending (one of the most intense and cathartic sequences I’ve played) or the amazing WAR. But I’ll conclude by saying Pizza Tower is a model for how to make an homage game. Its inspirations are as clear as day, but it doesn’t rehash the past. Instead, Tour de Pizza has thought through how to ignite the spirit of a classic while making it rawer, livelier and a little more unhinged. Every year, I see people fawn over focus-tested blockbusters and pure pastiche projects. Pizza Tower’s thrilling wildness rejects them — it couldn’t be anything but itself.

Since its release in 1993, id Software's DOOM franchise has become one of modern gaming's most easily recognizable IPs. The series has sold more than 10 million copies to date and spawned myriad RPG spinoffs, film adaptations and even a couple tabletop board games. But the first game's debut turned out to be a close thing, id Software cofounder John Romero describes in an excerpt from his new book DOOM GUY: Life in First Person. With a mere month before DOOM was scheduled for release in December 1993, the iD team found itself still polishing and tweaking lead programmer John Carmack's novel peer-to-peer multiplayer architecture, ironing out level designs — at a time when the studio's programmers were also its QA team — and introducing everybody's favorite killer synonym to the gamer lexicon. 

Abrams Press

Excerpted from DOOM GUY: Life in First Person by John Romero. Copyright © 2023 by John Romero. Published and reprinted by permission of Abrams Press, an imprint of ABRAMS. All rights reserved.

In early October, we were getting close to wrapping up the game, so progress quickened. On October 4, 1993, we issued the DOOM beta press release version, a build of the game we distributed externally to journalists and video game reviewers to allow them to try the game before its release. Concerned about security and leaks, we coded the beta to stop running on DOS systems after October 31, 1993. We still had useless pickups in the game, like the demonic daggers, demon chests, and other unholy items. I decided to get rid of those things because they made no sense to the core of the game and they rewarded the player with a score, which was a holdover from Wolfenstein 3-D. I removed the concept of having lives for the same reason. It was enough to have to start the level over after dying.

There was still one missing piece from the game, and it was a substantial one. We hadn’t done anything about the multiplayer aspect. In modern game development, multiplayer would be a feature factored in from day one, and architected accordingly, in an integrated fashion. Not with DOOM. It was November, and we were releasing in a month.

I brought it up to Carmack. “So when are we going to make multiplayer mode?”

The short answer was that Carmack was ready to take it on. Looking from the outside in, I suspect some might wonder if I wasn’t just more than a bit concerned since we were hoping to ship in 1993. After all, John had never programmed a multiplayer game before. The truth is that I never had a doubt, not for a second. Back in March, Carmack had already done some innovative network programming in DoomEd. He wanted to play around with the distributed objects system in NeXT-STEP, so he added the ability to allow multiple people who were running DoomEd to edit the same level. I could see him drawing lines and placing objects on my screen from his computer. Then, I’d add to his room by making a hallway, and so on.

For multiplayer, Carmack’s plan was to explore peer-to-peer networking. It was the “quick and dirty” solution instead of a client-server model. Instead of one central computer controlling and monitoring all the action between two to four players, each computer would run the game and sync up with the others. Basically, the computers send each other updates at high speed over the local network. The speed of Carmack’s network programming progress was remarkable. He had some excellent books on networking, and fortunately, those books were clearly written and explained the process of using IPX* well. In a few hours, he was communicating between two computers, getting the IPX protocol running so he could send information packets to each computer. I’d worked with him for three years and was used to seeing incredible things on his screen, but this was awe inspiring, even for him. In a matter of hours, he got two PCs talking to each other through a command-line-based tool, which proved he could send information across the network. It was the foundation needed to make the game network-capable. It was great for two players, and good for four, so we capped it at that. We were still on track to deliver on our promise of the most revolutionary game in history before the end of the year.

Carmack called me into his office to tell me he had it working. Both PCs in his office had the game open, and they were syncing up with two characters facing one another. On one PC, Carmack veered his character to the right. On the other monitor, that same character, appearing in third person, moved to the left. It was working!

“Oh my God!” I yelled, throwing in some other choice words to convey my amazement. “That is fucking incredible.”

When I’d first truly visualized the multiplayer experience, I was building E1M7. I was playing the game and imagined seeing two other players firing rockets at each other. At the time, I thought, “This is going to be astonishing. There is nothing like this. This is going to be the most amazing game planet Earth has ever seen.” Now, the moment had finally arrived.

I rushed to my computer and opened the game, connecting to Carmack’s computer.

When his character appeared on screen, I blasted him out of existence, screaming with delight as I knocked “John” out of the game with a loud, booming, bloody rocket blast. It was beyond anything I had ever experienced before and even better than I imagined it could be.

It was the future, and it was on my screen.

“This is fucking awesome!” I yelled. “This is the greatest thing ever!”

I wasn’t kidding. This was the realization of everything we put into the design months earlier. I knew DOOM would be the most revolutionary game in history, but now, it was also the most fun, all-consuming game in history. Now that all the key elements of our original design were in place, it was obvious. DOOM blew away every other game I’d ever played. From that moment on, if I wasn’t playing DOOM or working on DOOM, I was thinking about DOOM.

Kevin, Adrian, and Jay began running the game in multiplayer mode, too, competing to blow away monsters and each other. They were yelling just as much as I did, cheering every execution, groaning when they were killed and had to respawn. I watched them play. I saw the tension in their bodies as they navigated the dark, detailed world we’d created. They were hunters and targets, engaged in a kill-or-be-killed battle, not just with monsters, but with other, real people. Players were competing in real time with other people in a battle to survive. I thought of boxing or an extreme wrestling match, where you go in a cage to fight. This was much more violent, more deadly. It was all simulated, of course, but in the moment, it felt immediate. It was a new gaming experience, and I searched for a way to describe it.

“This is deathmatch,” I said. The team latched onto the name. It instantly articulated the sinister, survival vibe at the heart of DOOM.

In mid-November, we buckled down, getting in the “closing zone,” where you begin finalizing all areas of the game one by one. Now that Carmack had multiplayer networking figured out, we needed to fine-tune the gameplay and functionality, delivering two multiplayer modes—one in which players work together to kill monsters and demons, and the other where players try to kill each other (usually without monsters around). The first mode was called co-op, short for cooperative. The second, of course, was deathmatch.

Another important word needed to be coined. Deathmatch was all about getting the highest kill count in a game to be judged the winner. What would we call each kill? Well, we could call it a kill, but that felt like a less creative solution to me. Why don’t we have our own word? I went to the art room to discuss this with Kevin and Adrian.

“Hey guys, for each kill in a deathmatch we need a word for it that is not ‘kill,’” I said.

Kevin said, “Well, maybe we could use the word ‘frag.’"

“That sounds like a cool word, but what does it mean?” I asked.

“In the Vietnam War,” Kevin explained, “if a sergeant told his fire team to do something horrifically dangerous, instead of agreeing to it, they would throw a fragmentation grenade at the sergeant and call it friendly fire. The explanation was ‘Someone fragged the sarge!’”

“So, in a deathmatch we’re all fragging each other!” I said.

“Exactly."

And that is how “frag” entered the DOOM lexicon. 

The introduction of deathmatch and co-op play profoundly affected the possibility space of gameplay in the levels. Crafting an enjoyable level for single-player mode with lots of tricks and traps was complex enough, but with the addition of multiplayer we had to be aware of other players in the level at the same time, and we had to make sure the single-player-designed level was fun to play in these new modes. Our levels were doing triple duty, and we had little time to test every possible situation, so we needed some simple rules to ensure quality. Since multiplayer gameplay was coming in quickly near the end of development, I had to define all the gameplay rules for co-op and deathmatch. We then had to modify every game map so that all modes worked in all difficulty levels. These are the rules I came up with quickly to help guide level quality:

• Multiplayer Rule 1: A player should not be able to get stuck in an area without the possibility of respawning.

• Multiplayer Rule 2: Multiple players (deathmatch or co-op mode) require more items; place extra health, ammo, and powerups.

• Multiplayer Rule 3: Try to evenly balance weapon locations in deathmatch.

• Multiplayer Rule 4: In deathmatch mode, try to place all the weapons in the level regardless of which level you’re in.

Additionally, we had to make all the final elements for the game: the intermissions and various menus had to be designed, drawn, and coded; the installation files needed to be created, along with the text instruction files, too. We also had to write code to allow gamers to play these multiplayer modes over their modems, since that was the hardware many people had in 1993. Compared to our previous games, the development pace on DOOM had been relatively relaxed, but in November our to-do list was crowded. Fortunately, everything fell into place. The last job for everyone was to stress-test DOOM.

Preparing for release, we knew we needed someone to handle our customer support, so earlier in the year, we’d hired Shawn Green, who quit his job at Apogee to join us. Throughout development, at every new twist and turn, we kept Shawn up to date. He had to know the game inside out to assist gamers should any issues arise. Shawn also helped us by testing the game as it went through production.

I noted earlier that id Software never had a Quality Assurance team to test our releases. For three years, John, Tom, and I doubled as the id QA team. We played our games on our PCs, pounding multiple keys, literally banging on keyboards to see if our assaults could affect the game. On the verge of release, and with more people than ever before in the office, we spent thirty hours playing DOOM in every way we could think of—switching modes, hitting commands—running the game on every level in every game mode we had, using every option we added to the game to see if there were any glitches.

Things were looking good. We decided to run one last “burn-in” test, a classic test for games where the developers turn the game on and let it run overnight. We ran DOOM on every machine in the office. The plan was to let it run for hours to see if anything bad happened. After about two hours of being idle, the game froze on a couple screens. The computers seemed to be okay—if you hit “escape” the menu came up—but the game stopped running.

We hadn’t seen a bug like this during development, but Carmack was on the case. He was thinking and not saying a word, evidently poring over the invisible engine map in his head. Ten minutes passed before he figured it out. He concluded that we were using the timing chip in the PC to track the refresh of the screen and process sound, but we weren’t clearing the timing chip counter when the game started, which was causing the glitch. Ironically, this logic had been part of the engine from day one, so it was surprising we hadn’t noticed it before.

He sat down at his computer, fixed the bug, and made a new build of the game. We put the update on all the machines and held our breath for the next two hours.

Problem solved.

That was the last hurdle. We were ready to launch. That day, December 10, would be DOOM Day.

***

* IPX is an acronym for Internetwork Packet Exchange. In sum, it is a way in which computers can talk to one another.

The artist formerly known as Twitter has been in some hot water this week after Bloomberg found that the social media site would start collecting biometric details, along with job and education data, from users. Now, a newly-released privacy policy indicates that X will use this data, along with other collected personal information, to train AI models, as originally spotted by Alex Ivanovs at Stackdiary.

The privacy policy clearly indicates that the company plans to use information it collects, along with any publicly available data, to help train machine learning algorithms.

“We may use the information we collect and publicly available information to help train our machine learning or artificial intelligence models for the purposes outlined in this policy,” the privacy posting reads.

Musk has confirmed the change, but notes that only publicly available information will be collected, and not “DMs or anything private.” X no longer has a press arm, so there’s no real way to get ahold of anyone for more concrete information as to what data and information will be scooped up and what exactly it'll be used for. 

X doesn’t have any public AI ambitions, but owner Elon Musk does. He recently launched a company called, wait for it, xAI that aims “to understand the true nature of the universe”, so maybe your biometric data and related information will be used to further that lofty and totally achievable goal. Stackdiary points to text on the xAI homepage that says it “will work closely with X” to “make progress towards our mission.”

There’s another option for where this data is headed. Musk recently announced ambitions to compete with Linkedin, stating that the employment site was “cringe” and that X’s version would be “cool.” So that would explain the collection of job and education histories from its user base.

Finally, there’s a third option. X isn’t exactly raking in the advertising dollars, so selling user data would be an easy way to make some coin. However, there’s no evidence to point to that, aside from it being a standard practice in the social media world. In the past, Twitter primarily used collected user data to benefit itself, and not third parties.

Every now and then, a device comes along and challenges you to consider the viability of an entirely new product category. That’s precisely what Lenovo is doing with the Yoga Book 9i. By replacing the traditional physical keyboard with a second display, the company is rethinking what a laptop can do. In tight confines, you can rely on a virtual keyboard or an included magnetic alternative. But when space isn’t a concern, you can prop the whole system up on its custom folding cover to create an engaging dual-screen workspace. It’s like a miniature all-in-one PC that’s incredibly easy to carry around. And while its software still needs work and it costs twice as much as a standard clamshell, the Yoga Book 9i is proof that it’s worth exploring this new branch of the laptop’s evolutionary tree.

Design and displays

There’s a profound elegance to the Yoga Book 9i’s design. Though the laptop’s bottom half is a bit thicker than the top, it feels like Lenovo has boiled the device down to its most basic components: two halves (in this case, screens) joined by a hinge in the middle. The dual 13.3-inch displays (2,880 x 1,800) look great too, boasting OLED panels with rich colors and a tested brightness just shy of 400 nits.

Around the outside, the Yoga Book features a polished metal frame with three Thunderbolt 4 ports, which is nice to see on a system this size. Unfortunately for fans of wired audio, you don’t get a 3.5mm audio jack. Thankfully, Lenovo’s 5-megapixel IR webcam is sharper than what you get on most competing devices, and holding everything together is the company’s signature speaker bar hinge, which is impressively loud and punchy. All told, despite being slightly heavier than a typical 13-inch ultraportable due to that second layer of glass, it’s still very easy to carry around.

The remaining pieces of the Yoga Book 9i’s kit are its accessories, which include a stylus, a detached magnetic physical keyboard, a folding kickstand cover and even a sleek travel mouse. The keyboard communicates via Bluetooth and has its own USB-C port for charging. Despite its size, it doesn’t feel cramped and offers more key travel than you might expect. During transport, the cover wraps around the keyboard to keep it protected, while Lenovo’s Digital Pen 3 can be stashed in the attached loop. 

The mouse is the odd one out because while it's a handy inclusion, it’s also rather basic (its only noteworthy characteristic is having a toggle on the bottom for quickly switching between two paired devices). Plus, it doesn't attach to the rest of the system in any way. However, what you can create when you put these pieces together is when things get really interesting.

A dual-mode machine

In clamshell mode, the Yoga Book 9i looks and functions like a regular laptop. But of course, it’s missing a discrete keyboard and touchpad, so what do you do when you need them? That’s easy, you just tap eight fingers on the bottom panel and instantly you get virtual stand-ins. And for times when you only need to mouse around, you can use a three-finger tap instead, which summons a floating touchpad that leaves room for Lenovo’s widgets (weather, news, etc.) or anything else you’d like to put down there.

Photo by Sam Rutherford/Engadget

Surprisingly, typing on a touchscreen isn’t as bad as you might think. Don’t get me wrong, it’s still not nearly as fast or accurate as using a physical keyboard. But it’s serviceable, as long as you’re willing to make some adjustments. You can’t slam your fingers down because there are no switches or actual keys with depth to cushion every strike and you need to be more aware of when your hands start to drift lest your sentence devolves into a jumble. But after a little practice, I’m able to hit 60 to 65 words per minute, which is down from around 85 wpm normally. As for mousing, the tackiness of the glass means swiping around isn’t quite as fluid either. But that’s OK, because if you don’t want to rely entirely on a virtual keyboard or touchpad, you don’t have to.

Dropping Lenovo’s keyboard on the bottom screen instantly converts the Yoga Book into a more traditional setup. The magnets inside even help align it properly. From there you can type away on physical keys if you prefer. Just don’t forget to remove the accessory before you close the lid.

Photo by Sam Rutherford/Engadget

What’s most impressive about the Yoga Book 9i’s is its ability to transform into a portable all-in-one PC when it’s propped up on its kickstand cover. In this mode, there are two options for its displays: a stacked setup with one screen on top of the other and a side-by-side arrangement. Both configurations have their uses. Dual portrait-mode panels are great for quickly referencing materials like spec sheets while writing. Alternatively, the vertically stacked orientation is excellent for keeping an important project open up top while the bottom screen is reserved for email or messaging apps.

Regardless of your preference, simply having the ability to use two displays on a device gives the Yoga Book 9i a unique advantage over pretty much every normal laptop. Sure, you can recreate a similar situation using a bunch of add-ons, but it’s never going to be quite as sleek.

Software

The biggest downside to the Yoga Book 9i is that while its hardware is solid, its software is hit or miss. Lenovo attempts to mitigate this with its User Center, which does a great job of showcasing the laptop’s dual-screen features and is an easy place to adjust settings like display modes, brightness and more.

Photo by Sam Rutherford/Engadget

Unfortunately, even with the extra assistance, it’s clear Windows 11 isn’t designed for laptops like this. Sometimes when launching full-screen apps like a game, the Yoga Book gets confused and puts the window on the wrong panel. Other times, like when you’re installing a program or logging in, a prompt pops up that completely disables the lower display, which is kind of annoying when you’re relying on a virtual keyboard and touchpad. I can understand that it's hard to optimize software when you don’t have a device to test things on. But even so, there’s no hiding that this creates a stilted experience compared to a standard laptop, and if you’re considering buying a Yoga Book 9i, this is a truth you’re going to have to live with (at least for now).

Performance

Packing an Intel Core i7-155U chip, 16GB of RAM and 512GB of storage, the Yoga Book 9i can handle most productivity needs. Even when multitasking across both displays, performance felt relatively snappy. However, if you’re planning on regularly doing more demanding things like video editing, you’ll probably want a beefier machine. On our video encoding test, the laptop took a minute and a half to convert a one-minute movie trailer from 4K to 1080p. That’s not great when compared to systems with faster chips that can perform the same task in 30 to 40 seconds.

Battery life

Photo by Sam Rutherford/Engadget

Even with a relatively large 80Wh battery, for a system with two screens, the Yoga Book 9i fared better than expected on our standard video rundown test. It posted a time of eight hours and 12 minutes, which is a couple hours shorter than traditional similarly-sized rivals like the Asus ZenBook S 13 (10:39). But it’s longer than what you get from more powerful thin-and-light gaming notebooks, which often struggle to get north of five hours on a charge.

Wrap up

As the first laptop to feature two displays, the Yoga Book 9i is a rather divisive machine. Starting at $2,000, not only is it really expensive, its performance is also slower than more traditional competitors in this price range. However, for people like me who constantly yearn for more screen real estate when I’m away from home, Lenovo has created something that is more than the sum of its parts. When space is limited, the Yoga Book 9i’s clamshell mode feels right at home on an airplane tray table. But when it's not, it can expand into a portable dual-screen workstation–complete with all the fixings of your desktop at home. And when you need to pack up, everything collapses into a neat, semi-self-contained bundle that fits in the smallest of laptop bags.

Photo by Sam Rutherford/Engadget

The Yoga Book 9i is a nifty little transformer that’s more engaging than anything Michael Bay has directed in the last two decades. With how little laptops have changed recently, it feels like the Yoga Book has even more room to grow in the years to come. Sure, it’s still a bit awkward, but as the starting point for a new type of notebook, Lenovo’s debut dual-screen convertible has me convinced.

A new G.I. Joe beat 'em up is on its way. Hasbro, developer Maple Powered Games and publisher Freedom Games announced G.I. Joe: Wrath of Cobra today. The upcoming retro game will let you play as series stalwarts Duke, Scarlett, Snake Eyes, Roadblock and other classic characters. It joins TMNT: Shredder’s Revenge and Double Dragon reboot as the latest evidence that 2D side-scrolling punch-fests are enjoying an unexpected 2020s renaissance.

The game’s developers promise a variety of locales to bash and kick your way through as you try to defeat Cobra. “Navigate land, air, sea, and even space through iconic locations like Cobra Island, the Pit, Cobra’s top-secret underwater base, and more as you thwart the devious Cobra Commander’s latest scheme to take over the world,” the game’s announcement reads. It promises an arsenal of weapons, explosives and more.

Hasbro / Maple Powered Games / Freedom Games

G.I. Joe: Wrath of Cobra has story and arcade modes, each supporting up to four co-op players (online or locally). It includes “lovingly hand-drawn pixel art” and “classic style cartoon cutscenes.” The soundtrack, crafted by Tee Lopes (composer of its spiritual sibling, TMNT: Shredder’s Revenge), appears to include a modern take on the animated series’ classic theme song. (No word yet on whether it will take timeouts for “Knowing is half the battle” PSAs.)

“G.I. Joe is one the most iconic brands from the 80s and it was the golden era of arcade games. To celebrate the growing popularity of retro themed games we’re thrilled to partner with Maple Powered Games and Freedom Games to bring G.I. Joe fans our first ever Hasbro Retro Arcade experience in this exciting interpretation of a classic 2D beat ‘em up,” said Eugene Evans, Hasbro’s SVP of Digital Strategy and Licensing.

G.I. Joe: Wrath of Cobra will launch on Switch, Windows, macOS and Linux in Q1 2024. You can wish-list the game today on Steam and Epic.

The first trailer for the Five Nights at Freddy’s movie was pretty nifty, but suspiciously light on the game franchise’s renowned murderous animatronics. That issue has been rectified with the latest trailer, as it features prominent appearances from Foxy, Bonnie, Chica and of course, Freddy himself. The homicidal puppets are doing what they do best, murdering people.

You also get a bit more of the plot, which seems to mirror the game. It zeroes in on a character played by Josh Hutcherson, from the criminally underrated Future Man, as he starts a new overnight gig as a security guard at a family entertainment center. However, Freddy and his animatronic gang of thugs pose a terrifying threat to anyone in the building after dark.

As expected, the animatronics look great, nearly matching the game’s original aesthetic. This is no surprise given they were designed by Jim Henson’s Creature Shop. This is a far leap from Kermit and Miss Piggy, however, as the movie contains plenty of “strong violent content, bloody images and language.”

Despite that warning, it’s rated PG-13, so the gore will likely be kept to a minimum. Five Nights at Freddy’s premieres in theaters and on the streaming service Peacock just in time for Halloween, on October 27th.

YouTube Music's latest redesign of the Now Playing page is making its way to iOS and Android devices everywhere. There's a new feature that brings an extra social element to the app. You'll now be able to read and post comments on the Now Playing page. That option was limited to playlists until now.

According to screenshots that 9to5 Google shared, some of the comments on the page may date back several years. As such, it seems like Google is populating the section with comments from related YouTube videos, for better or worse (probably worse).

The updated design is rolling out gradually, so you may not see it right away, but there are some other changes in store. The cover art is bigger and song titles and artist names now hug the left side of the screen. One other key thing to note is that there's now a carousel with buttons for comments, giving a track a thumbs up or down, saving songs to a playlist, sharing, downloading and the radio. Most of the previously available actions required an extra tap to access until now. The buttons look very similar to the ones you'll see below the YouTube video player. In addition, more of the controls should be easier to access as they're at the bottom of the screen.

Teenage Mutant Ninja Turtles: Shredder’s Revengewas a surprise hit when it launched last summer, breathing new life into the old-school 2D beat-em-up formula. Now there’s some new paid DLC to entice players back into the sewers. The Dimension Shellshock update was released today and brings new characters and a new game mode.

The DLC was announced earlier this summer, but the reveal didn’t include a release date, so today’s launch is a nice surprise. Dimension Shellshock allows you to play the entire game as two new players. There’s the comic book samurai Miyamoto Usagi from Usagi Yojimbo, an occasional friend to the turtles, and former Foot Clan soldier Karai. Both characters boast unique move sets and power ups.

As for the turtles and their cohorts, the DLC introduces palette swaps to keep things fresh. You don’t even have to buy Dimension Shellshock for this feature as there’s a free update with just the new colors.

There’s also a brand-new survival mode. This isn’t just a rehash that locks your characters in an arena with waves of enemies. Rather, it includes a number of original levels, called dimensions. There’s a bit of a roguelite element here, as the more you play, the more crystals you collect. These crystals can be used to purchase power ups, extra hit points and more.

Dimension Shellshock costs $8 and requires a copy of the original game. It’s currently available for PC, Nintendo Switch, PlayStation and Xbox consoles.