It's now much easier for game studios to release their work on the Epic Games Store. Epic has introduced long-awaited self-publishing tools that let anyone release games through its storefront. They'll have to pay $100 per title and meet certain requirements (more on those in a moment), but they won't have to contend with the hand-curated selection of before.

Self-published games can't have discriminatory content, porn or illegal material. Titles with online play have to support crossplay across all PC stores, and they must include Epic Games Store achievements if there are achievements in other PC stores. Releases also have to meet a baseline quality level that matches the description customers see, and they'll need (free) age ratings in countries where they're required. 

As with the Epic Games Store's usual practices, the main draw is the higher cut of revenue. Epic takes a relatively modest 12 percent cut where its main rival, Steam, can take up to 30 percent depending on sales figures. The company also doesn't demand a portion of in-app purchases if they're made using a non-Epic payment system. While it's potentially more lucrative for most developers, it's particularly beneficial for small studios that may want to reach a large audience without giving up a large chunk of their revenue.

The self-publish mechanism has taken a long tim to reach this point. Epic first started beta-testing the feature in August 2021 ahead of an expected 2022 debut. The delay is because "developing software is hard," CEO Tim Sweeney tellsThe Verge.

Whether or not developers flock to the Epic Games Store as a result isn't certain. While Epic notes that its shop has over 230 million total users, Steam had 69 million daily active users in 2021. It remains the largest multi-developer game portal on computers. Epic's requirements are also more stringent than Valve's, which only really forbid illegal content and "trolling" attempts. All the same, this dramatically lowers the barriers to reaching Epic's store — you may see a surge in its catalog before long.

Spoiler warning: The following article discusses the Star Trek: Picard episodes “Seventeen Seconds” and “No Win Scenario.”

I was away last week and so didn’t write up last week’s utterly inessential episode of Picard, although if you’re curious, Darren Mooney at The Escapist’s feelings mirror my own. The whole affair only makes sense if you assume the whole crew had taken a big dose of idiot pills an hour before the episode began, and wish you’d had some as well. This week, there’s a lot more to say, especially since it’s the first episode this season that feels even remotely fun. And while the setup for all of these conflicts was pretty flimsy, their resolutions are all very enjoyable to watch.

After the Shrike uses its Portal gun to encourage the Titan to shoot itself in the back, the ship drifts into a gravity well and certain doom. It’s here we get one of the worst tell-not-show moments in the series so far as the bridge crew state, and then restate (and then re-restate) the situation the ship finds itself in. Loss of power, is it? Sinking into a gravity well, is it? We don’t have enough power to get out of the gravity well, is it? Is that because we’ve not got much power, is it? And because of the gravity well? Sorry, not following, can you explain it to me like I’m five, please? It doesn’t help that while the decision to take the shields offline is set up as some big, dangerous decision, it’s never mentioned again.

It’s here that Picard, opting to get his affairs in order, chooses to sit down for a touching moment with Jack. And they choose to do so on the holodeck, in the Ten Forward bar that’s been turning up time and again this run. Picard says that holodecks are hooked up to their own power supply because it’s better to die in comfort than use that power to survive. I think we can all tell that it’s a cover for either a production or a budget issue that meant they had to re-use the set. (Picard’s first season did the same, endlessly going back to the chateau office on La Sirena’s holodeck.) And, again, the two-hander between Patrick Stewart and Ed Speelers is great.

Also, remember when a broken leg wouldn’t require much more than a quick waft of a med bay doodad and you’d be good as new? Not in Picard, where Shaw storms into Picard’s heart to heart, apparently full of painkillers, and reveals why he’s so angry at both Seven and Picard. It turns out that, like a big chunk of Starfleet, he’s a survivor from Wolf 359! And if this wasn’t another thing that was explored pretty well by Next Generation and Deep Space Nine, it might carry a bit more dramatic weight. It also feels like the start of a pre-ordained redemption arc for Todd Stashwick’s Captain Shaw as the powers that be use Picard as a way to backdoor pilot a Titan-A spin-off series. (You can imagine the pitch: We’ve got the cast, and the sets are already built, it’s practically free content if you greenlight another ten!) And, to be fair, Todd Stashwick’s such a charismatic actor that you could feel him straining to play someone more unlikeable at the start of the series.

From here until the conclusion, however, the tone starts to lighten, and Beverley’s realization that the nebula is a space lifeform gives everyone a sense of purpose. You see, the nebula is undergoing the exact same contractions that a pregnant person would when they’re in labor. The moment that Riker stops pointlessly objecting to the plan of riding the contractions out of the gravity well, it suddenly feels like we’re watching Star Trek again. The gang works together, Seven and Shaw successfully lure out the changeling infiltrator, and they even have a nice spot of payback for the Shrike as Riker orders the Titan to lock onto a massive asteroid, dragging it behind long enough for it to smash the enemy vessel out of contention long enough for them to escape.

And that’s not even the best bit, because there’s also the wonderful B-Story of Picard dealing with his adoring fans while in (the real) Ten Forward five years previously. Patrick Stewart Picard is accosted by a bunch of fans cadets who ask him to regale them with stories of his time on Star Trek the Enterprise. All the while, unseen, Jack lingers in the background, listening to Picard as he builds out his myth and his legacy while minimizing any reference to his own family. When Picard closes the gathering by saying that Starfleet is his family, it’s both an unwittingly hollow indictment of Picard’s own life (his co-workers are his only friends, oof) and an unwitting rejection of the son he could have grown to know years previously. This, my friends, is a great moment, full of depth and pathos and I just wish that it hadn’t taken this long to get here.

Speaking of which, Paramount recently punted Star Trek: Discovery’s fifth season to 2024, adding it would now be that show’s final run. With news that the studio is looking to tighten its belt in order to milk some actual profit from its streaming service, fans are feeling antsy. After all, Trek shows aren’t cheap to make, and it’s not clear how much crossover appeal these shows have. Despite David Stapf’s 2018 promise that we’d have “a Star Trek something on all the time,” there’s a worry that it’s closing time at the all-you-can-eat buffet. With Discovery and Picard on the outs, and no sign (yet) that Lower Decks and Prodigy will get renewals, we could go from five shows to three, or one, in no time at all. But, based on the merits of some of what’s been released under the Trek brand of late, would that really be such a bad thing?

After all, these four episodes of Picard form little more than an extended prologue for the rest of the run. It’s taken the better part of four hours to establish the broad outline of the plot as well as the main antagonists, and the stakes at hand. Even then, we’ve still not encountered more than half of the Next Generation returnees who formed such a key part of the marketing. A prologue that I would have enjoyed a hell of a lot more if it had been compressed down to closer to ninety minutes. Imagine if, rather than filling out a corporate-mandated ten-week block each year, the format was designed to suit the story being told at each time. On the merits of the last four weeks alone, fewer episodes of higher quality Trek would be infinitely preferable.

If you want to change the appearance of subtitles and closed captions on Netflix — perhaps to switch font sizes or to add a shadow that would make them more readable — you'd have to access your account on a browser. The process is a lot more complicated than it needs to be if you primarily stream on TV. In fact, I've never changed what mine looks like all these years, even if I had previously wanted to. Now, according to TechCrunch, the streaming giant has finally started rolling out the capability to customize subtitle and closed caption text within the TV app itself.

Based on the publication's report, the feature looks and works similar to Amazon Prime Video TV app's subtitle adjuster. It allows you to choose between small, medium and large text, as well as between four styles with and without drop shadows. One option is yellow text on a black background for greater contrast if you need it. On the service's updated help page, it said you can access those controls by going to Settings at the bottom of the screen while a show is playing and then choosing subtitle Size and Style. Take note that it's not possible to change text appearance for Arabic, Hebrew, Japanese, Korean, Romanian, Thai and Traditional Chinese at the moment. 

More and more people are using subtitles in recent years to hear dialogue when sounds are unbalanced and voices seem to be lower in volume than the background, or to watch shows in a foreign language. It's not just viewers with hard of hearing that use them anymore. And while the controls for the TV app offer fewer customization options than Netflix's website, they make changing up subtitles' appearance a lot more accessible. 

The vertical TikTok-style video feed has invaded a lot of the apps we use on a daily basis and now it's officially coming to one more. After announcing a beta test last year, Spotify will begin rolling a new design for the Home section of its mobile app with a "more visual, dynamic" look. The company says the visual feeds are "built for deeper discovery and more meaningful connections between artists and fans."

Music, Podcasts and Audiobooks sections will also give you the ability to "scroll purposefully" through the new feeds where Spotify will offer audio and video clips for you to preview. If you find something you want to hear in its entirety, there are options to save, share, preview multiple songs (playlists or albums), read episode transcriptions and watch video podcasts. These visual feeds will also be in the Search interface, where you can scroll through clips arranged by genre. Additionally, Spotify says it will put the visual content inside of its curated playlists like Discover Weekly, Release Radar, New Music Friday and Rap Caviar. The company sees this as a way to offer previews for songs in those collections before you hit play. Unlike some of the early tests, Spotify hasn't added a fourth button to the app's navigation bar for these newly scrollable feeds.

For the Music tab, users in the US and Canada will see Spotify's AI DJ just below the collection of eight personalized shortcuts. When you begin to scroll, the app will serve up audio and visual snippets of a song (you can watch muted if you prefer). From here, you can preview up to five different songs from an album or playlist by tapping on the cards — much like you would for Instagram Stories. Spotify will also give you some brief context as to why you're seeing these recommendations. 

Spotify

For the Podcasts section, you'll still see those eight shortcuts up top while the rest of the feed will preview selected shows for you. Each recommendation will have an audio sample and real-time transcription or a video clip if the show was recorded in that format. If you want to continue listening, you'll have the option of picking up at the part you previewed or starting from the beginning. Spotify says the Audiobook feed will function much like the Podcast previews. 

Spotify is also renaming its Enhance tool that debuted in 2021. Now called Smart Shuffle, the feature not only adds suggestions to playlists "that perfectly match the vibe," it also mixes up the order. You can activate it by double tapping on the shuffle icon. When you've done so you'll notice a shuffle icon with a star in the top left and any track that is added by suggestion will be highlighted in the list. You can quickly remove all of the app's recommendations by tapping on the Smart Shuffle button once more, reverting the playlist back to your carefully constructed collection. 

Lastly, the company is adding auto play for podcasts to its app. Just like it does for music, Spotify will give you the ability to automatically begin "another relevant episode" based on what you were listening to. Also like it does for music, the company is giving you the ability to turn auto play off, so when your podcast ends you can enjoy the silence. 

Following the lead of Microsoft and Google, DuckDuckGo is about to dip its toes in generative AI. But the company isn’t starting with a chatbot. Instead, DuckDuckGo is partnering with OpenAI and Anthropic to enhance its existing Instant Answer feature. You won’t see “DuckAssist” with each and every search you conduct, but when it does appear, the tool will pull from Wikipedia (as well as Encyclopedia Britannica in some instances) to provide a natural language response to your questions.

DuckDuckGo is limiting DuckAssist’s sourcing to reduce the likelihood of the feature’s machine-learning model “hallucinating” or, in other words, providing you with the wrong information. If you see a magic wand icon, it means Duck Assist can summarize information for you.

Additionally, the feature won’t be part of the entire DuckDuckGo experience right away. With today’s announcement, you will only see DuckAssist answers appear when using the DuckDuckGo app or browser extension. The company says it wants to collect feedback before expanding availability in the coming weeks and allowing DuckAssist's model to pull on additional sources. For those concerned about privacy, DuckDuckGo notes no login is necessary to use DuckAssist and the company won’t share any of your personal information with OpenAI and Anthropic. DuckAssist searches also won’t be used to train their models.

DuckDuckGo users can expect more AI-enhanced features to arrive in the future. “This is the first in a series of generative AI-assisted features we hope to roll out in the coming months,” DuckDuckGo CEO Gabriel Weinberg said. “We wanted DuckAssist to be the first because we think it can immediately help users find answers to what they are looking for faster.”

Links are completely busted on Twitter at the minute across the company's website and mobile apps, as well as TweetDeck. Clicking on one brings up an error message that reads "Your current API plan does not include access to this endpoint, please see https://developer.twitter.com/en/docs/twitter-api for more information." As it happens, that link is also broken at the time of writing.

Developing...

Apple is surely hoping that you're not tired of post-apocalyptic TV shows, because it has another one up its sleeve. Silo, which is based on Hugh Howey's series of books, will debut on Apple TV+ on May 5th and the company has released the first teaser for it.

Silotells the story of the last 10,000 people on Earth. They live in a bunker that's a mile underground, but how or why the silo came to be and exactly why they're there remains a mystery. Trying to find out spells doom. Juliette (Rebecca Ferguson) is an engineer who tries to get to the bottom of a loved one's murder and ends up discovering some surprising secrets.

The teaser doesn't give too much away, but it does offer a look at the multi-level silo and how its denizens survive there, such as by growing food. Along with Ferguson, the show has a strong cast featuring the likes of Common, Harriet Walter, Chinaza Uche (“Dickinson”), David Oyelowo, Rashida Jones and Tim Robbins.

Apple TV+ has released several post-apocalyptic shows and movies, including See and Finch. Foundation is largely about the collapse of a galactic empire, while the upcoming Extrapolations takes a look at how climate change could ravage the planet by the middle of the 21st century. If you're not too burned out by TV shows set after the collapse of society, Silo might be another one worth checking out.

One of 2022’s most surprising films will soon be available to stream. On Friday, NBCUniversal took to Twitter to announce that Puss in Boots: The Last Wish will hit Peacock on March 10th. As Gizmodo notes, the Shrek franchise spinoff has had an incredible run since arriving in theaters at the end of last year. To date, the film has grossed nearly $450 million, making it one of the most financially successful movies of 2022. It has also been a hit among critics, leading to a Best Animated Picture nomination at this year’s Oscars.

The Last Wish will join other Shrek films on Peacock, including the 2001 original and 2010's Shrek Forever After, the final entry in the mainline series. You can also use Peacock to watch a handful of other DreamWorks classics, including The Prince of Egypt. Unfortunately, NBCUniversal is making it harder to check out Peacock’s library of content for free. The service recently stopped offering its previously available free tier to new subscribers. Comcast subscribers will also lose free access to the platform later this year.

Meta sees Reels as an important aspect of its apps, and the platform is rolling out some new features for the format on Facebook. For one thing, Facebook is extending the maximum length of Reels to 90 seconds, up from 60. Meta increased the Instagram Reels time limit to 90 seconds last July, but both fall someway short of the maximum length of a TikTok video, which currently stands at 10 minutes.

TikTok and Instagram Reels both have ways to sync clips with a song, and Facebook Reels is getting a similar feature called Grooves. Meta says this uses "visual beat technology" and that it automatically syncs and aligns motion with the beat of a song.

Elsewhere, Facebook will offer an easy way to generate Reels from your memories. You'll also be able to take advantage of trending templates. This allows you to replace clips from an existing template with your own ones.

Meta claims Reels is its fastest-growing format. The number of Reels plays have more than doubled over the last year across Facebook and Instagram. The company says reshares of Reels have more than doubled on both platforms in the last 6 months too. Since August, users have been able to cross-post Reels between the apps.

Nintendo has taken Wii U titles Mario Kart 8 and Splatoon offline indefinitely while it attempts to resolve security issues. "This network service is currently unavailable due to urgent maintenance required to fix a vulnerability related to online play," reads a message posted to Nintendo's website at 11:30PM ET on Thursday. "We do not yet have information on when network services can be restored. We apologize for any inconvenience caused."

As VGC notes, the vulnerability could be related to an exploit that allows an attacker to take control of a victim's system simply by way of being matched with them in an online multiplayer game. Dataminer OatmealDome suggested the issue is “almost certainly” due to ENLBufferPwn.

Mario Kart 7 on the 3DS was previously vulnerable to that exploit. Several Switch games apparently were too, including Mario Kart 8 Deluxe, Animal Crossing: New Horizons, Nintendo Switch Sports and Splatoon 2 and 3. Nintendo has seemingly patched all of those titles to protect them against the exploit.

A video posted by YouTuber PabloMK7 in December shows ENLBufferPwn in action on Mario Kart 7. It's used to inject custom firmware onto the targeted console. PabloMK7 wrote on GitHub that "it would be theoretically possible" to steal an account or credit card information and to record a victim using the 3DS' mic and cameras.

With nearly 8.5 million copies sold, Mario Kart 8 was the biggest-selling game on the Wii U. The original Splatoon sold almost 5 million. Those who are still playing the games on the discontinued system might be disappointed that the online features are currently unavailable, but it seems Nintendo was left with little choice but to take them offline for now.

The issue emerged only a few weeks before Nintendo shuts down the Wii U and 3DS eShops. After March 27th, owners of the systems won't be able to make purchases on the digital storefronts, but they'll still be able to download titles they previously bought. Meanwhile, Nintendo just revealed the latest courses that are coming to Mario Kart 8 Deluxe on Switch next week as part of the Booster Course Pass.