As one of the few standalone gimbal cameras out there, DJI’s Osmo Pocket line has always been something of a niche product family. But it certainly had its fans, offering things like portability, fluid video and decent image quality. Now, three years after the Pocket 2, DJI has introduced the Osmo Pocket 3 with some big improvements. Those include a large 1-inch sensor that improves image quality significantly, especially in low light. Another key change is a bigger screen that flips sideways, plus advanced subject tracking. Other features include 4K 120p shooting, 10-bit D-LogM for improved dynamic range, quicker autofocus and more. 

With all those extra talents, the Pocket 3 could serve as a standalone vlogging camera – but it’s also considerably more expensive than its predecessor. To find out if it’s worth the extra money, I did some extensive testing to see what it could — and couldn’t — do.

DJI’s Osmo Pocket 3 is a portable camera that’s relatively simple to use, small enough to carry with you and easy to maneuver in tight spaces. It’s stabilized by a 3-axis gimbal to make shots smooth and fluid. It can pan, tilt and roll across a wide range of 303, 278 and 283 degrees, respectively.

At 5.5 inches long and 179 grams, it’s a bit heavier but nearly as compact as the Pocket 2 (117 grams and 4.9 inches long). It resembles its predecessor at first glance, but a closer look reveals some big changes.

The first thing that jumps out is the 16:9 2-inch screen that has nearly five times the area of the Pocket 2’s 1-inch display. Better still, it flips sideways and automatically rotates the camera to match, so you can shoot either in landscape or portrait modes with no need to dive into settings. However, note that going into vertical video mode doesn’t flip the camera like it does on DJI’s Mini 4 Pro drone. Rather, it just crops the video, reducing the resolution from 4K to 3K.

I wouldn’t call the menu system on the Pocket 3’s touchscreen intuitive, as it involves either swiping from the sides or touching icons to access functions. Without a lot of visual clues for guidance, you need to memorize all the functions.

The other noticeable feature is a larger camera head that houses a 1-inch 9.4MP sensor with a true 16mm diagonal size. That’s nearly three times that of the Pocket 2's 1/1.7-inch sensor. Knowing DJI, we might see the same sensor on upcoming products like the Mini drones and Osmo action cams.

The fixed 20mm equivalent lens has a relatively fast F/2.0 aperture. The wide focal length means it’s not ideal for portraits or product shots. It does have a two times digital zoom to double that, at a cost of some resolution.

There are now only two physical buttons, record and gimbal control. The microSD card is still on the left side, with USB-C port on the button as before. Should the position of the latter be inconvenient, the included handle moves it to the side.

Battery life is outstanding for such a small device, with 135 minutes available with the built-in 1,300mAh battery, rising to 240 minutes with the optional ($99) 950mAh battery handle. On top of that, the Pocket 3 can be recharged from 20 to 80 percent in just 16 minutes, so DJI is finally embracing fast charging on its devices – something that’d be nice to see with its drones, too.

Steve Dent for Engadget

What about the Mimo app? While its use was required previously for some functions on the Pocket 2, most things can now be done straight from the camera screen, apart from Glamor and a few other settings. It’s still handy for monitoring and controlling the camera remotely, of course.

The Pocket 3 is available by itself or in a Creator Combo that gives you a battery handle, mini tripod, 0.75x lens adapter and carry bag. You also get the DJI Mic 2 Transmitter that pairs automatically with the Pocket 3, giving you a high-quality wireless mic and providing an audio backup. DJI should be announcing the Mic 2 as a separate product in the near future. If you already own the original DJI Mic, the Osmo Pocket 3 is compatible with that model as well.

Performance

Above all, the Osmo Pocket 3 is a gimbal designed to provide smooth and stable video. Operation is very much point and shoot to keep the subject in frame, as the gimbal and autofocus do the rest. As before, it offers three modes: follow, tilt lock and FPV mode.

Follow aims the camera where you point it while locking off roll to keep the camera level. Tilt mode also locks the tilt function to keep the horizon level, while FPV keeps all three unlocked so that the camera tilts, pans and rolls as you move the camera.

It’s not just the larger sensor that helps the Pocket 3 create cinematic video. The optical stabilization allows for slower shutter speeds that create natural looking motion blur — something that’s impossible on action cameras, as electronic stabilization isn’t compatible with motion blur.

Steve Dent for Engadget

The gimbal generally does a good job of smoothing video, in scenarios ranging from cars, to running to rapid panning. Without electronic stabilization, Z-axis (up and down) motion is still present, so you’ll need to walk smoothly to avoid it.

The Pocket 3 and DJI Mic 2 is a practical combination, allowing you to vlog easily with smooth, high-quality video and excellent audio quality. It’s also discreet, as the Pocket 3 is small and the Mic 2 allows you to speak quietly, even in a crowd.

As with DJI’s original Mic, the Mic 2 offers consistent sound quality and levels while keeping outside noise to a minimum. It has decent range with the Pocket 3, though DJI has yet to specify that exactly (again, we’ll learn more when the standalone Mic 2 is released). Given the wide angle lens, you’ll probably never get too far from the Pocket 3 – but it worked fine for me with a camera mounted on a car and me inside, for example.

Like DJI’s drones, the Pocket 3 has ActiveTrack subject tracking. You enable that by double tapping a subject or selecting it from the Mimo app. From there, the head will tilt and pan to follow the subject and keep it in focus.

Steve Dent for Engadget

This function works automatically when selfie mode is activated either by touching the icon or triple-pressing the joystick. In this case, it goes into face-tracking mode and keeps your face centered screen no matter where you move the camera.

Another function called dynamic framing also tracks faces, but lets you change the framing at the touch of a button. DJI also introduced a new mode called spin shot that rotates the camera 90 or 180 degrees to create a stylized scene.

Video and image quality

The Pocket 3 can shoot 4K at up to 60 fps in normal mode, and now includes both a 10-bit D-LogM mode and HLG mode for HDR shooting. It has a 9.

DJI also added 4K 120p shooting via a special slow-mo mode. This is handy for high-speed scenarios, particularly when combined with camera moves. At launch, this mode didn’t support 10-bit and D-LogM/HLG modes, but via a recent firmware update, those modes now work at 4K 120p as well.

Another new function is low-light video mode, designed to improve performance in dim scenes. In this setting, it’s limited to 30 fps max and ISO is boosted up to 16,000, compared to 3,200 in regular video mode.

The Hyperlapse and time lapse settings work the same as on DJI drones, giving you a time lapse option that’s great for showing the quick passage of time. The other two modes are Panorama for wide shots and, of course, photos.

Image quality is outstanding for a device this tiny, with the large sensor beating any smartphone except for maybe Sony’s Xperia Pro-I. In normal mode, video is sharp and colors are vibrant. In photo mode, JPEGs look good straight out of the camera, but you can also shoot RAW for more flexibility in post.

As mentioned, the Osmo Pocket 3 isn’t ideal for things like portraits or product beauty shots due to the relatively wide-angle 20mm equivalent lens. Yes, you can do a digital zoom to double that, but resolution dips well below 4K when you do that, due to the relatively low 9.4-megapixel (MP) sensor resolution.

Such a field of view doesn’t tend to flatter subjects (you generally want about 35-100mm), and moving the camera close can even cause distortion. So if you produce content around those things, the Pocket 3 isn’t ideal as a standalone camera.

The D-LogM function boosts dynamic range significantly, particularly in high-contrast or on sunny days. It also helps with creative color correction and to match scenes with other cameras, particularly DJI’s own drones and action cams. It’s easier to adjust than most log modes, so I leave it on all the time.

The larger sensor also makes the Pocket 3 much better in low light than before. Normal video mode goes up to ISO 3200, while low light mode ramps that up to ISO 16,000, letting you film in very dim rooms. It also appears to crank up noise reduction at upper ISOs though, so expect some loss of detail.

Steve Dent for Engadget

While low-light capability is improved, the sensor resolution drops significantly from 64MP on the Pocket 2 to 9.4MP on the new model. That’s not bad per se, as we’ve seen low-resolution sensors on high-end cameras like the Sony A7S III. However, it means that any digital zooming for video results in a loss of resolution (4K is 8.4MP), and photos aren’t nearly as sharp on the Pocket 3.

Autofocus can be an issue with larger sensor cameras, but the Pocket 3’s phase detect AI system is generally reliable. That applies whether you’re shooting multiple subjects in FPV mode or using Active Track or Face Tracking.

Rolling shutter is really pretty minimal, with just a light amount of skew on fast moving subjects like trains. That’s aided considerably by the gimbal, of course, which eliminates any strong jolts that could cause jello-like video.

One big issue is focus breathing, though, as the frame changes substantially when you focus from a far to a near object. If possible, it would be good for DJI to add a breathing compensation feature as we’ve seen on Sony and other cameras.

Wrap-up

Steve Dent for Engadget

With improvements in image quality, tracking and other areas, DJI’s Osmo Pocket 3 is more versatile than ever. The image quality puts it in the category of high-end compact cameras and you get incredible optical stabilization equivalent to a handheld gimbal with none of the hassle.

It has no major flaws, except for the $520 price for the gimbal alone, or $699 in the aforementioned kit. For that, you could get Sony’s ZV-1F vlogging camera, or for $150 more, Sony’s ZV-10 mirrorless camera with a much larger sensor. Neither of those can do exactly what the Pocket 3 can do, but then again the Pocket 3 isn’t ideal for portraits, product shots and other types of content either.

The Pocket 2 was embraced mainly as a second camera for grabbing some stabilized shots. The Pocket 3 costs $170 more, though, so it’s not something you’d pick up on a whim. DJI is no doubt hoping folks will be willing to pay the extra money if they embrace it as a standalone vlogging camera. It can certainly serve that purpose, but only if your focus is on creating cinematic shots — and not on people or product-focused content creation.

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.

The acclaimed Analogue Pocket multi-system portable handheld console is a bona fide hit. It’s so popular, in fact, that it's been sold out for weeks. Have no fear, would-be purchasers. Analogue just announced a major restock. The consoles will be available to buy on December 4 at 11AM ET. The company promises that these orders will arrive in time for the holidays.

This restock only applies to the original black and white designs, and not those nifty limited edition colors, most of which remain sold out. If you miss the window on December 4, the company is doing another restock on December 8 at 11AM ET, but those won’t ship until February.

Analogue also announced a new operating system for the console, set to arrive in the next few days. Analogue Pocket OS v.1.2 fixes a bunch of bugs, adds support for new controllers, updates the music-making app Nanoloop and allows for new openFGPA developer tools. That’s just the first update. Analogue Pocket OS v2.0 arrives before the end of the month and gives third-party developers access to the original display modes, like the iconic Game Boy aesthetic, among other features. These updates follow last year’s OS v1.1.

It’s not just the Pocket getting some love. The Analogue Duo is finally shipping on December 11, three years after the original announcement and over six months after pre-orders went live. The Duo is an all-in-one system that promises to play every TurboGrafx-16/PC Engine title, even Bonk’s Adventure, a game that gave me no end of stress in childhood for obvious name-related reasons. The Duo plays both cartridges and compact discs. It’ll even run games that originally required the Arcade RAM add-on included as part of the Japan-only SuperGrafx console. Again, Analogue promises deliveries by the holidays.

The company’s also selling a limited-edition white dock for the Pocket, which also goes on sale December 4. However, this freshly-hued dock is more expensive than the original black model, at $130 instead of $100.

It’s not all good news for fans of retro gaming. Analogue announced a delay for the Pocket Adapter Set until February. This set adds new consoles to the lineup, so the system will be able to play TurboGrafx-16 cartridges, Neo Geo Pocket Color cartridges and Atari Lynx carts.

It’s been four years since Tesla first announced the Cybertruck, a hideously ugly electric pickup truck that didn’t seem to actually improve on EVs or pickups in any meaningful way. Instead, the 6,600-pound mass of “stainless super steel” seems to be more the culmination of one man's bizarre fantasy, and that man just so happened to own an entire company he could leverage to birth that fantasy, with all its sharp angles and unnecessary lighting bars, into reality.

Today, Tesla finally delivered the first, long-delayed production Cybertrucks to 10 buyers in a livestream on CEO Elon Musk’s decimated X platform, the first of an unknown number of wealthy consumers who have bought into his grim vision of the future. It's a car that promises — for only those who can afford them — a blank check for vehicular manslaughter and unnecessary survivability from semi-automatic firearms. Its tagline ("more utility than a truck, faster than a sports car") speaks almost poetically to two distinct but orthogonal archetypes of threatened masculinity: the tacti-cool milspec dork, and the showboating rich guy.

A “bulletproof” body has been a key feature since the Cybertruck's introduction in 2019; today Musk admitted it was there for no good reason. “Why did you make it bulletproof?” Musk said. “Why not?” he said with a broad grin, before metaphorically waving his genitals at the cheering crowd, while also promising metaphorically larger genitals to anyone who buys the Cybertruck. “How tough is your truck?” Musk smirked.

This admission came alongside video footage of a Cybertruck being sprayed with rounds from a .45 caliber tommy gun, a Glock 9mm and a MP5-SD submachine gun, which also uses 9mm rounds. We'd ask Tesla what cartridges they were firing and if they were being shot from within the effective range of any of these weapons, but the company dissolved its PR team in 2019.

It was a stupid but expected bit of showboating from Musk during his rambling presentation. Right before the gunfire demo, Musk touted the truck’s overall toughness, noting that its low center of gravity made it extremely difficult to flip in an accident. A video also showed the Cybertruck barely moving after a much smaller vehicle moving at 38 mph collided with it. To that, Musk commented that “if you’re ever in an argument with another car, you will win,” glibly encouraging Cybertruck owners to engage in such "arguments."

In a country where both traffic fatalities and gun violence have surged in recent years, it’s a little galling to see Musk promoting his vehicle as some sort of tool for rich people to survive the apocalypse, or even just the inconveniences of a world where their lessers occupy space at all. (All-wheel drive Cybertrucks start at about $80,000; a $60,000 RWD model is supposedly arriving in 2025.) “Sometimes you get these late civilization vibes, the apocalypse could come along at any moment, and here at Tesla we have the finest apocalypse technology,” Musk mused.

Beyond that is the simple fact that SUVs and trucks have gotten dramatically bigger and heavier in the past decade or so. EVs naturally weigh more because of their batteries, but auto manufacturers have been making the fronts of cars larger and taller in recent years, too. That’s a combo that makes these vehicles more dangerous for pedestrians and other drivers alike.

“Whatever their nose shape, pickups, SUVs and vans with a hood height greater than 40 inches are about 45 percent more likely to cause fatalities in pedestrian crashes than cars and other vehicles with a hood height of 30 inches or less and a sloping profile,” research from the Insurance Institute for Highway Safety states. It also noted that pedestrian crash deaths have risen 80 percent since a low in 2009. Anyone who walks or bikes around a city has probably felt that danger before, and it’s even more startling when the wall of a truck stops short when you’re crossing the street. Finally, it’s well known that the speed of a car dramatically impacts the survivability of a pedestrian, which isn’t great when an extremely heavy car also can do 0-60 in less than three seconds.

Now that the Cybertruck is nearly ready for public consumption, it looks like Musk has basically built a vehicle that, for a steep price, enables the worst impulses of US drivers and gives them the “freedom” to do whatever they want. It doesn’t matter if the Cybertruck’s lightbar headlights blind the drivers of smaller vehicles; they should get the hell out of the left lane. And if someone else on the road pisses off a Cybertruck driver, who cares? Other drivers should just accept that they’re about to lose a very expensive and potentially life-threatening “argument” with the Cybertruck’s front fender.

This all should have been obvious right from the start. From day one, the Cybertruck has alluded to a cyberpunk future, a genre with cool haircuts and hacking and slightly problematic orientalism, yes — but also one where wealth inequality is even worse than it currently is, and the rules don’t apply to those with money. The implicit promise of the Cybertruck has always been a vehicle that waives societal standards for people who can afford it, and today’s spectacle made that explicit. To that end, maybe this marketing is as much genius as it is nonsense.

“If Al Capone showed up with a Tommy gun and emptied the entire magazine into the car door, you’d still be alive,” Musk crowed at one point, either promising to revive the dead or oblivious to the terrifying number of human beings who use guns to commit acts of violence. I don’t know about you, but I don’t want to live in a world where being swiss cheesed by lethal armaments is something I need to consider when I’m buying a car. Maybe the rich survivalists playing out Blade Runner meets Mad Max in their Cybertrucks haven't considered that when everything burns down, the power grid will go down too.

Several companies have taken shots at Sonos over the years when it comes to multi-room audio and self-tuning speakers with built-in voice assistants. These devices are a lot more common in 2023 than they used to be, so there’s a whole host of options if you’re looking for alternatives to the Move or Era. JBL is the latest to give it a go with new additions to its Authentics line of speakers. While audio may be its primary use, these devices are the first to run two voice assistants simultaneously without having to switch from one to the other. And on the Authentics 300 ($450), you get a portable unit that doesn’t have to stay parked on a shelf.

Design

Most wireless JBL speakers fit into three categories. They’re either rugged and compact, modern-looking boomboxes or internally-lit party units. For this new Authentics series, the company opted for a more refined design: all black with a gold frame around the front speaker grille. It’s certainly an aesthetic that fits in nicely on a shelf, without the raucous palette of some of the company’s smaller options. All three of the Authentics speakers look almost exactly the same with the main difference being size, although the 300 does have a boombox-like rotating handle the other two don’t. That’s because it’s the only portable option in the range with a built-in battery.

JBL describes the Authentics look as “retro,” but I’m not sure I agree. Sure, there’s a classic vibe thanks to the ‘70s-inspired Quadrex grille the company has employed in the past, but the finer details and onboard controls are decidedly modern. Speaking of controls, up top you’ll find volume, treble and bass knobs that illuminate the level as you turn them. Pressing in the center of the volume dial gives you the playback controls. There are also Bluetooth, power and Moment buttons along with a thin light bar that indicates charging status when the speaker is plugged in. Around back is a microphone mute switch, along with Ethernet, 3.5mm aux, USB-C and power ports.

Software and features

Photo by Billy Steele/Engadget

The features and settings for the Authentics speakers are managed inside the JBL One app. Here, you’re greeted with a list of the company’s products you own as well as their connected status, battery level and whatever media is playing on the device. After selecting the Authentics 300, JBL dumps you into the specifics, with battery level once again visible up top. A media player is just below, complete with the ability to sync Amazon Music, Tidal, Napster, Qobuz, TuneIn, iHeartRadio and Calm Radio so you can play them directly inside this app.

JBL offers some limited EQ customization. There’s a manual slider with options for bass, mid and treble, but that’s it. You won’t find any carefully-tuned presets or the ability to make more detailed adjustments along the curve. To get to your tunes quickly, JBL offers a feature called Moment. Accessible via the heart button on the speaker, this allows you to save a favorite album or playlist from the app’s list of supported streaming services. You can also specify volume and auto-off timing during setup.

Lastly, a word on streaming music over Wi-Fi. The Authentics line supports a range of options here, including AirPlay, Chromecast, Alexa, Spotify Connect and Tidal Connect, all of which are more convenient than swiping over to the Bluetooth menu and pairing the speaker every time you use it. With Wi-Fi, playing music on the Authentics devices are just a couple of taps away inside of the app where you’re browsing and selecting music or podcasts from. The speakers also support multi-room audio via AirPlay, Alexa and the Google Home app

Double assistants, double the fun

Photo by Billy Steele/Engadget

JBL says the Authentics series is the first set of speakers to run two voice assistants simultaneously. Each of the three units can employ both Alexa and Google Assistant without you having to pick one or the other beforehand. This opens up availability across compatible smart home devices and it means your speaker choice isn’t as limited by your go-to assistant.

The speaker never had trouble hearing my commands and it didn’t mistake a query for one assistant with a question for the other. When you ask Google Assistant for help, a white light shows at the top center of the speaker grille. Summon Alexa and that LED burns blue until your convo is over. When you mute the microphones with the switch on the back of the 300, that light glows red and remains until you turn them back on. As is the case with any smart speaker, the voice command limitations are the general hindrances of the assistants themselves rather than any shortfalls of the speaker.

Sound quality

The Authentics 300 really shines with more mellow, chill music like jazz, bluegrass and acoustic-driven country. There’s a warm inviting sound with great clarity across those styles. When you jump to the full band chaos of metal and hardcore, or even the guitar-heavy but mellifluous tones of Chris Stapleton, the speaker’s tuning overemphasizes vocals and the lack of bassy thump creates a muddy overall sound.

Sure, you can dial up the bass with the physical controls or the EQ in the app, but that doesn’t add the kind of deep low-end that would open up the soundstage. It does improve the overall tuning of albums like Stapleton’s Higher, but there’s still an overemphasis on vocals. You can really hear the impact on The Killer’s Rebel Diamonds as Brandon Flowers almost entirely drowns out the backing synth on “Jenny Was A Friend Of Mine” from Hot Fuss.

At times though, the Authentics 300 is a joy to listen to. Put on some Miles Davis and the speaker is at its best. Ditto for the bluegrass of Nickel Creek, the mellow country tunes of Charles Wesley Godwin and classic Christmas mixes. However, the inconsistency across styles is frustrating. Interestingly, JBL says the Authentics speakers offer automatic self-tuning every time you power them on, but I didn’t notice much difference as I moved the 300 around.

Battery life

Photo by Billy Steele/Engadget

JBL says the Authentics 300 will last up to eight hours on a charge. Within two minutes of unplugging, the JBL One app already had the battery level down two percent while playing music via AirPlay 2, at about 30 percent volume. That may seem like a low level, but it’s good for “working music” on this speaker. After 30 minutes, the app was showing 88 percent, but things slowed down and I managed to still have 24 percent remaining when the eight-hours were up. During a test over Bluetooth, the percentages fell in a similar fashion, but I had no problem making it to eight hours at 50 percent volume (Bluetooth was quieter than AirPlay at 30 percent).

JBL does offer a Battery Saving Mode to help you maximize playtime when you’re away from home. This setting “optimizes” both volume and bass to extend battery life, according to the company. There’s also an optional automatic power off feature that kicks in at either 15 minutes, 30 minutes or an hour when you’re not connected to power and audio is no longer playing.

The competition

JBL offers two alternatives to the Authentics 300 within the same speaker range. The smaller Authentics 200 ($350) is more compact, but not portable, while the larger 500 ($700) is a high-fidelity unit with support for Dolby Atmos. Both still run two voice assistants at the same time and have both Bluetooth and Wi-Fi, along with everything else the Authentics line offers. In order to support that immersive audio, the Authentics 500 has more drivers than the other two, with three 25mm tweeters, three 2.75-inch mid-range and a 6.5-inch subwoofer. I look forward to seeing if the extra components and added 170 watts of output power improve sound quality, but it only has slightly lower frequency response than the 300 (40Hz vs. 45Hz).

If you’re looking for something portable that can also pull double duty at home, the Sonos Move 2 is a solid option. It’s too big to haul around with ease, but it does support both Bluetooth and Wi-Fi along with improved sound and better battery life compared to version 1.0. There’s also startling loudness and a durable design. What’s more, it’s the same price as the Authentics 300 at $449. For something more stationary and immersive, you could get the Sonos Era 300 without paying more. My colleague Nathan Ingraham noted the excellent sound quality on this unit during his review, but he did encounter inconsistent performance when it came to spatial audio. There’s also no Google Assistant support on this model.

Wrap-up

When I try to come up with a final verdict on the Authentics 300, I find myself running in circles. For every thing I like about the speaker, there’s immediately something that I don’t. The company certainly deserves some kudos for being the first to run two assistants at the same time and for figuring out how to do that with no confusion or headaches. However, the inconsistent sound quality is a major problem, especially on a $450 speaker. And while the device offers better-than-advertised battery life, it’s larger size makes portability an issue. So unless you absolutely need to seamlessly switch between Alexa and Google Assistant, there are better-sounding options.

Consumer Reports has published an extensive ranking of vehicle reliability, and the results pour cold water on the dependability of EVs and plug-in hybrids. The survey says electric vehicles suffer from 79 percent more maintenance issues than gas- or diesel-powered ones, while plug-in hybrids have 146 percent more problems. The troubles portray the industry’s growing pains with the relatively new technology as the planet sets record temperatures, and scientists warn of rapidly approaching deadlines to thwart global climate catastrophe.

The survey polled CR’s members about issues with their rides from the past year, gathering data on 330,000 vehicles. The publication’s data included models from 2000 to 2023, alongside a few (early launched) 2024 models. CR studied 20 “trouble areas,” including relatively minor issues like squeaky brakes or a broken interior trim and more problematic ones related to the transmission, engine or EV battery. The number of potential trouble areas varies by type: internal combustion engine (ICE) vehicles have 17, EVs have 12, traditional hybrids have 19 and plug-in hybrids have all 20.

The publication combined the data with its own track testing, owner satisfaction survey results and safety info. It then averaged it to assign each brand a numerical score (out of 100).

Lexus

Non-plugin hybrids scored well, with the survey indicating they suffer from 26 percent fewer issues than gas- and diesel-powered vehicles. CR highlighted the most reliable brands in that space, including the Lexus’ UX and NX Hybrid and Toyota’s Camry Hybrid, Highlander Hybrid and RAV4 Hybrid.

If only plug-in hybrids (PHEV) could enjoy those ratings. Instead, their longer list of trouble spots led to 146 percent more problems than traditional gas-powered vehicles. Lowlights include the Chrysler Pacifica, which scored an abysmal 14 out of 100, and Audi Q5. However, several PHEVs defied the category’s expectations, including “standouts” like the Toyota RAV4 Prime and Kia Sportage. Several others, including the BMW X5, Hyundai Tucson and Ford Escape, scored “average” in reliability.

Fully electric cars and SUVs, the vehicles many automakers aim to fill their dealership lots with by 2030, have mediocre average scores: 44 and 43, respectively. Electric pickups, the newest technology in the bunch, perhaps unsurprisingly scored worse with an average of 30.

Lexus came out on top among EV brands. All but one of its models scored above average or better in CR’s ratings. And the lone exception, the NX, still had an average score. Toyota also did well, including the 4Runner SUV, which CR describes as “among the most reliable models in the survey.” However, its electric Tundra pickup scored poorly. Other EVs with above-average scores include Acura’s RDX and TLX.

Photo by Roberto Baldwin / Engadget

Once practically synonymous with electric vehicles, Tesla had overall scores in the middle of the pack (alongside brands like Chevrolet, Buick, Ram, Cadillac and Dodge). CR says the Elon Musk-led company’s EV powertrains tend to fare better than those from traditional automakers. However, Ars Technica notes the company’s reliability scores struggled more with things like bodywork, paint / trim and climate systems.

Regionally speaking, Asian automakers enjoyed the highest average scores in the survey at a healthy 63. European companies were second with an average of 46, while US brands slumped with a somewhat disappointing score of 39.

Netflix continues to bet big on gaming. The streamer just announced that Rockstar’s Grand Theft Auto: The Trilogy – The Definitive Edition will hit its platform on December 14. The game will be free to play for Netflix subscribers, like the rest of its library. Each of the three titles included in the collection have been updated for mobile. These games include the iconic Grand Theft Auto III, Grand Theft Auto: Vice City, and Grand Theft Auto: San Andreas. They'll be playable via the Netflix app, but also available as standalone apps on Android and iOS.

The gameplay’s a bit dated by modern standards but Grand Theft Auto III basically invented the open-world genre, and the sequels further refined the model. Many players actually point to San Andreas as being a high watermark for the series, even outpacing more recent titles. In any event, this trilogy can hold you over until the eventual release of Grand Theft Auto VI. To that end, the forthcoming Rockstar sequel should be getting a trailer any day now.

Netflix has been snagging all kinds of games for its ever-growing library, from the massively popular roguelike Hades to the equally popular, uh, roguelike Dead Cells. The platform’s library also includes Braid, Death’s Door, Katana Zero and other hit indies.

The company’s also developing its own games, thanks to snatching up developer Night School, the team behind Oxenfree and Afterparty. This acquisition has already borne fruit, as Oxenfree II: Lost Signals released earlier this year to wide acclaim. Incidentally, the sequel isn’t stuck on Netflix, as it’s also available on Nintendo Switch, PS4, PS5 and PC via Steam. So the streamer might not be using games as just a way to lure in new subscribers. Netflix could be in it for the long haul.

Beyond Oxenfree II, other original games to hit the platform include Slayaway Camp 2: Netflix & Kill and a whole lot of titles based on pre-existing TV shows. There’s a game based on the recently-canceled fantasy epic Shadow and Bone and forthcoming titles inspired by Money Heist and The Dragon Prince, among others.

Sony has revealed the PlayStation Plus monthly games lineup for December, and it’s a doozy. There’s no clear headliner here, but a trio of interesting games are about to drop, including the gorgeous open-world exploration game Sable and the cleaning-based tour de force Powerwash Simulator.

First up, there’s Sable, a game that was on everyone’s radar for years before an official release, thanks to the eye-catching graphical style. The "coming-of-age adventure and exploration game” casts you as the titular hero Sable as you ride a hoverbike through vast deserts and mysterious landscapes, encountering the remains of spaceships and other ancient artifacts. The art style is incredible and the soundtrack is by Japanese Breakfast, if that’s your bag (and it should be.) The game’s only available for PS5.

Powerwash Simulator, as the name suggests, is a cleaning sim that has you clearing grime from just about anything you can think of, from Back to the Future’s Delorean to Final Fantasy VII’s Midgar. Most of the game, however, takes place in the town of Muckingham and boasts plenty of upgrade options for your power washer and the ability to play with friends via online co-op. The gameplay is relaxing, though more complex than it lets on at first. It’s available for both PS4 and PS5.

Finally, there’s Lego 2K Drive. This is an open-world driving game comprised entirely of Lego vehicles. There are races just about everywhere you look and, of course, the ability to make your own vehicles by connecting virtual blocks. There’s local couch co-op and online play, with the latter allowing access to the entire game map. Both PS4 and PS5 players can access this game.

It’s also worth noting that some games are about to leave the service, so get those downloads ready. PlayStation Plus members have until December 4 to snag Mafia II: Definitive Edition, Dragon Ball: The Breakers and Aliens Fireteam Elite.

HTC released the Vive Ultimate Tracker, which when paired with one of the company’s virtual reality headsets, delivers multi-point body tracking for users for everything from first-person shooter gaming to soccer skills training. The new tracker follows HTC’s Vive Tracker 3.0 line and will cost $199 per unit. HTC is also selling a three-pack that comes with the required wireless dongle and other accessories for a bundle price of $599.

You can use up to five “six degrees of freedom” (6DoF) Ultimate Trackers simultaneously and connect to a single headset to collectively support multi-point full-body tracking. Each tracker relies on two wide field-of-view cameras to precisely locate the wearer's motions in 3D spaces, which ultimately gives it those self-tracking capabilities. The Global Head of Product at HTC, Shen Ye, said the technology built into the Ultimate tracker will enhance the virtual reality experience, making sessions “a lot more realistic and immersive.” Previous models relied on a base station for its tracking capabilities.

The lightweight positional trackers, weighing in at 94 grams a unit, can be attached to a variety of accessories, like a racket sports set, which expands its usability for things like VR training and dancing in VRChat. For example, the Vive Ultimate Tracker can be used specifically for foot tracking, which can be used to gauge passing skills during drills for soccer players. “From elite athletes to casual gamers, it's extremely versatile and easy to set up anywhere,” Adam Dickinson, director of Rezzil, a tech company focused on training athletes using VR, says on using the new tracker.

The new Ultimate trackers are flat and are smaller than a smartphone, giving it an entirely different look from its three-pointed predecessor, the Vive Tracker 3.0. The Ultimate Tracker can also be paired with a standard mount and paired with HTC’s Vive XR Elite and Vive Focus 3. The trackers have a battery life of up to 7 hours and need WiFi to operate.

Though the company may be getting ahead of itself, Vive says it would eventually like the Ultimate Tracker to work independently with SteamVR without being paired to an XR headset. The first step in this process should come soon, as HTC plans to release a beta for direct connection to SteamVR “in the coming weeks.” This, the company says, will expand the Ultimate Tracker’s capabilities for industrial use. HTC headsets have been vying for space in the race to deliver the best virtual reality headset and accessories, primarily against the likes of Meta and its Quest headsets. Expanding the capabilities of its trackers may help Vive narrow the competitive gap, as more innovative applications may be key to enticing the niche world of VR gamers and users moving forward.

Cyber Monday may be over, but there are still a few deals on the PlayStation 5 lingering on the internet today. You can save $50 on the console by itself, or about $60 if you pick up the PS5 with the latest Spider-Man game. Color options are slim, but you can still save upwards of $25 on PS5 controllers today, and there are a number of PS5 game deals still to be had as well. Here are the best PS5 games you can still get even now that Cyber Monday has come and gone.

Sony PS5 Slim console with Spider-Man 2

If you’re happy to go disc-free, Amazon has the month-old PS5 Slim console bundled with a digital code for Marvel’s Spider-Man 2, which Engadget found to be “bigger and better” than the 2018 original, for $499 ($60 off). Sony’s “Slim” PS5 console (officially called the PS5 Digital Edition) removes the system’s disc drive but lets you change your mind later. Unlike previous digital variants, the disc drive is a modular attachment you can add later as a separate $80 purchase.

Sony PS5 console with Call of Duty: Modern Warfare III

You can also get the console with Call Of Duty: Modern Warfare III for the same price. This is the latest version of the gaming system with its removable disc drive already included and mounted. You also get a digital copy of the newest Call of Duty game, which includes remastered versions of all 16 maps from Call of Duty: Modern Warfare 2 (2009).

Sony PS5 console (with disc drive)

A GameStop Cyber Monday deal has the PS5 console on sale for $450 ($50 off). This standard model includes a built-in disc drive that lets you choose between physical discs (without any extra purchases) or digital downloads of your favorite games.

Cyber Monday PS5 game deals

Unfortunately, most of the best deals we saw on PS5 games over the weekend are gone now. However, you can still get the dramatic action-RPG Final Fantasy XVI is still down to $35. The well-reviewed turn-based RPG Octopath Traveler II is still available for $30 and Assassin's Creed Mirage remains $20 off at $40. Sony has also started an "End of Year Deals" sale with a few OK discounts on first-party games, including the wholesome action game Ratchet & Clank: Rift Apart and the open-world samurai game Ghost of Tsushima: Director's Cut for $30 each.

Your Cyber Monday Shopping Guide: See all of Yahoo’s Cyber Monday coverage, here. Follow Engadget for Cyber Monday tech deals. Learn about Cyber Monday trends on In The Know. Hear from Autoblog’s experts on the best Cyber Monday deals for your car, garage, and home, and find Cyber Monday sales to shop on AOL, handpicked just for you.