Valve may not have touched the Half-Life franchise in over a decade apart from releasing its VR-only game Alyx, but that isn't stopping enthusiasts from giving the game a visual overhaul. NVIDIA has unveiled a community-led Half-Life 2 RTX: An RTX Remix Project that, as the name implies, will remaster the classic shooter for PCs with GeForce RTX graphics. The team isn't just adding ray tracing, though — this is an attempt to modernize the overall look and feel of the game.

The ray-traced lights are the star attraction, of course, but the modders are also using an early version of RTX Remix to add extra model detail (through Valve's Hammer editor) and rework materials with physical-based rendering properties. The result is what you'd expect. Where the original Half-Life 2 graphics look flat and otherwise dated, the RTX port is moodier and far more detailed. You might want to spend extra time inspecting Dr. Kleiner's desk or the pet headcrab Lamarr. Not surprisingly, the refresh makes use of additional NVIDIA tech like DLSS 3 upscaling, Reflex anti-lag and RTX IO GPU-accelerated storage.

The project is only just getting started, and there's no tentative release date. Right now, this is more of a marketing showcase than a practical release. It comes alongside news of DLSS 3.5, which uses AI to improve ray-traced light quality by generating pixels between sampled rays. Titles like Alan Wake 2 and Cyberpunk 2077: Phantom Liberty will support the feature on launch.

The unofficial port is notable all the same. Existing RTX conversions like those for Portal and Quake II are pretty, but limited by either the age of a game or its relative scale. Half-Life 2 set a new standard for modern first-person shooters between its tightly integrated story, expansive (and seamless) world and physics-driven gameplay. Now, it's getting an upgrade that could keep it relevant on modern PCs.

After voicing Mario for 27 years, Charles Martinet will no longer play the plumber. Nintendo announced in a tweet yesterday that he'll move into a newly created Mario Ambassador role and "continue to travel the world sharing the joy of Mario," the company said. Martinet also voiced Luigi, Wario, Waluigi and several other Nintendo characters over the years, with a few cameo roles in the recent Mario movie, where Chris Pratt voiced Mario.

Nintendo has confirmed to Kotaku that he is not involved in the upcoming Super Mario Bros. Wonder, which comes out on October 20. It’s the end of a gaming mascot era.

– Mat Smith

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Russia's Luna-25 spacecraft crashes into the Moon

The country's last attempt to reach the moon was in 1976.

Roscosmos

Over a week after its August 10 launch, Russia's state-run space agency, Roscosmos, confirmed its Luna-25 spacecraft had spun out of control and rammed into the Moon. "The apparatus moved into an unpredictable orbit and ceased to exist as a result of a collision with the surface of the Moon," Roscosmos explained in a statement. Luna-25 was heading to the south pole to find water ice and spend a year analyzing how it emerged there, and if there was a link with water appearing on Earth.

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Tesla says data breach was an inside job

The leaks detail thousands of Autopilot complaints over the past years.

A Tesla data breach earlier this year affecting more than 75,000 people was caused by "insider wrongdoing," according to a notification on Maine's Attorney General website. The 75,735 people impacted were likely current or former Tesla employees. In the employee letter, Tesla provided more information about the incident, confirming the May 10 breach date and that Handelsblatt had obtained Tesla confidential information. "The investigation revealed that two former Tesla employees misappropriated the information in violation of Tesla’s IT security and data protection policies and shared it with the media outlet."

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Hard sail test aims to reduce cargo ship emissions by 30 percent

With 123-foot solid sails.

BAR

A cargo ship equipped with rigid sails, each the height of a 10-story building, has departed on its inaugural journey. The Pyxis Ocean vessel will test WindWings sails, designed to harness old-school air power to help reduce fuel use — and the shipping industry’s CO2 emissions. The sail’s creators estimate the technology could decarbonize cargo ships by about 30 percent. The rigid sails are made from the same materials as wind turbines and can be added to cargo ships’ decks, providing an option for upgrading older, less fuel-efficient vessels.

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YouTube wants to benefit from AI-generated music without the copyright headaches

The platform and Universal have unveiled principles for handling the emerging category.

YouTube and partners like Universal Music Group (UMG) have unveiled a set of principles for AI music. In theory, the aim is to encourage adoption while keeping artists paid. YouTube also says AI music must include "appropriate protections" against copyright violations and provide "opportunities" for partners who want to get involved. While the video giant hasn't detailed what this will entail, it suggests it’ll build on the Content ID system that helps rights holders flag their material. It’s all rather vague at the moment, but at least the video service is aware of the incoming challenges of AI. Even if others aren’t quite getting it.

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Meta will soon offer Stories and Reels in chronological order, among other changes, to comply with the European's Digital Services Act (DSA), the company announced. The changes were expected after the European Commission announced that it had reached an agreement in April to create new rules that would require platforms like Facebook to offer alternative systems "not based on profiling" as a key requirement. 

Meta said it has mobilized over 1,000 people to "develop solutions to the DSA's requirements." Some of the changes will increase transparency about how its systems work and provide users more options to tailor their experiences on Facebook and Instagram. At the same time, it's establishing an "independent compliance function" to ensure it meets ongoing regulatory obligations. 

Starting later this month, Meta will offer Reels, Stories, Search and other parts of Facebook and Instagram that are unranked by Meta using its AI recommendation process. "For example, on Facebook and Instagram, users will have the option to view Stories and Reels only from people they follow, ranked in chronological order, newest to oldest," wrote Meta President of Global Affairs Nick Clegg. 

It's not clear how Meta will implement the change. The main Feed on Instagram already allows users to sort by Following instead of using the algorithm-based approach. However, the "Following" feature is effectively a secondary page on Instagram, and the app always defaults to the algorithmic "For You" option when first opened. Facebook is even more of a hassle, forcing you to select a menu, go into Feeds and tap "Friends" rather than "All." 

Users will also be able to view Search results based only on the words they enter, rather than results personalized specifically to them based on their previous activity and personal interests. The company is also providing more information about how its AI systems rank content via 22 system cards for Facebook and Instagram, adding to its "Why Am I Seeing This" feature. 

"These cards provide information about how our AI systems rank content for Feed, Reels, Stories, and other surfaces; some of the predictions each system makes to determine what content might be most relevant to people; and the options available to help customize an experience on Facebook and Instagram," Meta said.

Meta is also expanding its Ad library to display and archive all ads (for one year) that target EU users, including date run, parameters used for targeting (age, gender, location), who received the ad and more. It's also rolling out two new tools for researchers that include publicly available content from Pages, Posts, Groups and Events. 

The company said that it "welcomes the principles of transparency, accountability and user empowerment at the heart of the DSA," adding it has "long advocated for a harmonized regulatory regime." However, Meta previously expressed extreme displeasure when Apple introduced changes that allowed users to easily opt out of targeted advertising starting with iOS 14. To that end, observers will no doubt be keenly interested in how the changes are implemented and whether they follow the letter, if not the spirit, of the new law.

Microsoft is significantly restructuring its Activision Blizzard merger proposal by selling cloud gaming rights for Activision Blizzard games to rival Ubisoft, it wrote in a blog post late yesterday. That would address a key concern of UK regulators, which blocked the deal in part become of Microsoft's potential dominance in cloud gaming — but nothing is likely to be approved until October 18th. 

"As a result of the agreement with Ubisoft, Microsoft believes its proposed acquisition of Activision Blizzard presents a substantially different transaction under UK law than the transaction Microsoft submitted for the CMA’s consideration in 2022," Microsoft President Brad Smith wrote. 

If the merger goes through, Microsoft would transfer "cloud streaming rights for all current and new Activision Blizzard PC and console games released over the next 15 years to Ubisoft Entertainment SA, a leading global game publisher. The rights will be in perpetuity," Smith added. That means Microsoft wouldn't be able to make Activision Blizzard games exclusive for Xbox Cloud Gaming, nor have any say on how they're released on rival services. It will also allow Ubisoft to offer Activision Blizzard cloud gaming services on Apple and other non-Windows systems. 

As for the terms of the transaction, "Ubisoft will compensate Microsoft for the cloud streaming rights to Activision Blizzard’s games through a one-off payment and through a market-based wholesale pricing mechanism, including an option that supports pricing based on usage," Smith said. 

In its own blog post, Ubisoft indicated that Activision Blizzard titles will be available across a range of services if the deal goes through. "With a single subscription to Ubisoft+ Multi Access, players will soon be able to play their favorite Ubisoft and Activision Blizzard games across multiple platforms including PC, Xbox consoles and Amazon Luna, and on the PlayStation platform through Ubisoft+ Classics," wrote Ubisoft's Daniel O'Connor.

The UK's CMA (Competition and Markets Authority) blocked the proposed merger earlier this year citing cloud gaming monopoly concerns as the primary issue. However, after the US Federal Trade Commission (FTC) lost its own appeal to block the merger, the CMA agreed to extend negotiations until August 29th. "Based upon the discussion to date, both sides — Microsoft and the CMA — have confidence that Microsoft notifying a restructured transaction is capable of addressing the concerns that the CMA has identified," the CMA said in July. 

The UK regulator will now examine the restructured deal and deliver a decision by October 18th, it said in an article published today. "This is not a green light. We will carefully and objectively assess the details of the restructured deal and its impact on competition, including in light of third-party comments," said CMS chief executive Sarah Cardell. "Our goal has not changed — any future decision on this new deal will ensure that the growing cloud gaming market continues to benefit from open and effective competition driving innovation and choice."

Those who follow publications like Engadget on X, the social network formerly known as Twitter, will know that the articles they share on the platform appear with a text snippet, an image and a sometimes-truncated version of their headline. That may not be the case in the near future. According to Fortune, the company is planning to implement major changes to the way shared articles appear on a tweet (or a post, as it's now called) by removing their text elements and leaving just their lead images with an overlay of the URL. In a post about the update, Elon Musk has confirmed that X is working on the new format and that the idea came from him directly.

That corroborates Fortune's report, which says Musk is pushing for the new format. It also says that the change going to happen even though X ran it by advertisers who didn't like it. The company's main reason for removing the text in shared tweets is apparently to make posts look less compact and to fit more of them in the portion of the timeline that appears on screen. Musk also thinks it could help lessen instances of clickbait shared on the website. As the publication explains, X's current format typically cuts part of the headline in shared articles, which works to the advantage of websites that write clickbait headlines and posts. 

It's also very much possible that X is implementing this change to encourage not just news publications, but also individuals, to write meatier posts on the website itself. After all, they will have to add context to the URL they share in order to get readers to click through the lead image. Musk has been encouraging users to post long-form pieces directly on the platform and allows Blue subscribers to write as many as 25,000 characters in a single post. More recently, Musk tweeted that journalists who want "more freedom to write and a higher income" should publish directly on X. As 9to5Mac notes, though, X recently had some issues paying creators part of its ad revenue-sharing program, because the number of interested users far exceeded its expectations. 

It might not be an overstatement to say Rode's original Wireless GO microphone system changed how a lot of YouTubers work. It wasn't the first wireless mic system, not by a long long shot, but its focus on creators made it incredibly popular. That success would inspire a lot of competing products — such as DJI's — which have since won over fans in a category that Rode arguably defined. Today, Rode fights back with the Wireless Pro — its new flagship wireless microphone system for creators.

The headline feature is the inclusion of onboard 32-bit float recording which means you should no longer have to worry about setting mic gain levels (though it's probably best that you do). This feature means the onboard recording will be almost impossible to "clip" or distort through being too loud. Effectively you should always have a useable recording if things went a bit too loud on the audio in your camera, which will be a great anxiety reducer to anyone who's ever had a production ruined thanks to bad audio.

The Wireless Pro could arguably help bring 32-bit float into the mainstream. There are specialist audio recorders out there that already offer this feature. And Rode already included it on its NT1 hybrid studio microphone, but given that you can plug a lot of different microphones into the Wireless Pro transmitters, this opens the door for recording a wide variety of audio content in 32-bit float — as long as you can feed it into a 3.5mm jack.

In a further attempt at streamlining the creatory process, the Wireless Pro also has advanced timecode capability so you won't need an external device for this. Though you will need to set this up via Rode Central, the companion app for the mic (there's no option on-device for this setting).

Photo by James Trew / Engadget

The Wireless Pro borrows a few features from alternatives or aftermarket accessories by including a charging case as standard (Rode currently offers one as a standalone purchase). That case is good for two total charges of the entire system according to the company and comes as standard with the new model. The stated battery life for the transmitters and receiver is around severn hours, meaning the Wireless Pro should be good for at least 20 hours total recording onto the 32gb storage (good for 40 hours of material apparently).

Another key upgrade is the improved range. The Wireless GO II, for example, has an approximate range of 656 feet (200 meters). The new Pro models expands that to 850 feet (260 meters) which is, coincidentally, a shade more than DJI's stated 820 feet (250 meters).

When Rode unveiled its more affordale Wireless ME kit, it introduced the idea of the receiver doubling as a "narrator" mic via a TRRS headset in the headphones/monitoring port. That's a feature that carries over to the Pro meaning you can record up to three different speakers albeit one of them will be wired, rather than cable free.

There are a couple of minor, but welcome quality of life updates, too, such as locking 3.5mm jacks so you won't rip your lav mic out and plugin power detection so the system can detect when the camera its plugged into is active, using that info to optimize power usage.

At time of publication, DJI's dual-mic product retails for $330. The Rode Wireless Pro will cost $399. That's obviously a slice more, but the company decided to include two Lavalier II mics as part of the bundle. The Lavalier II costs $99 on its own, so from that perspective the entire bundle represents a decent value if you're looking for complete solution. 

Over the weekend, many X users noticed that older Twitter images had mysteriously disappeared from the site. Now, the company has confirmed that an unspecified “bug” is responsible and it’s working on a fix.

The issue first cropped up Saturday, when older tweets that had originally included images began to show as un-clickable t.co URLs instead. X now says the bug affected “images from before 2014,” but as The Verge previously pointed out tweets from 2014 — including the iconic Oscars selfie from Ellen DeGeneres — were also at least temporarily affected.

The 2014 Oscars photo has since been restored but other older tweets still seem to have missing photos for now. “We fixed the bug, and the issue will be fully resolved in the coming days,” X said in a statement via its support account.

X didn’t respond to a request for comment, or provide further details on the cause of the bug. The company said it hadn’t lost the underlying images or data. But it’s hardly the first time some aspect of the service has been disrupted over the last several months. Photos and links on the platform briefly broke in March as the result of API changes. The company was also recently caught slowing down links to a number of competitors and other websites run by entities Elon Musk has previously attacked. Musk has repeatedly complained about the state of X’s infrastructure, but has also drastically cut its budget for servers and laid off many site reliability engineers in an effort to reduce costs.

The James Webb Space Telescope (JWST) captured extraordinarily detailed images published today of the Ring Nebula. The gaseous cloud, also called M57 and NGC 6720, contains 20,000 dense globules rich in molecular hydrogen. It sits about 2,500 light years away from Earth.

The first image (above) was taken with the NIRCam (Near InfraRed Camera), one of the Webb Space Telescope’s primary sensors. It is designed to detect light in the near-infrared spectrum and can capture remarkably detailed images. NIRCam also took the equally hypnotizing updated image of the Pillars of Creation.

Meanwhile, the second image (below) was captured using the JWST’s MIRI (Mid-InfraRed Instrument). It better highlights the nebula’s (roughly) ten concentric arcs beyond its outer edge, likely formed from its central star’s interaction with a lower-mass companion in its orbit. “In this way, nebulae like the Ring Nebula reveal a kind of astronomical archaeology, as astronomers study the nebula to learn about the star that created it,” the European Space Agency wrote in a press release.

ESA / Webb / NASA / CSA / M. Barlow / N. Cox / R. Wesson

The Ring Nebula was discovered somewhat serendipitously in 1779 by French astronomers Charles Messier and Antoine Darquier de Pellepoix while they searched for comets. It’s a planetary nebula, named as such because early researchers mistook their appearances for distant worlds. The Ring Nebula formed from a medium-sized star that shed its outer layers as it exhausted its fuel and approached its demise.

“The colourful main ring is composed of gas thrown off by a dying star at the centre of the nebula,” the ESA wrote. “This star is on its way to becoming a white dwarf — a very small, dense, and hot body that is the final evolutionary stage for a star like the Sun.”

Two of the standout indie hits of the past few years are Cult of the Lamb and Don’t Starve Together. Now, the pair of critically-acclaimed darlings are teaming up for a new game mode, unique in-game items and even some character cameos. This crossover impacts both games, though each receives different perks.

The biggest draw here is a brand-new game mode for Cult of the Lamb that’s directly inspired by Don’t Starve Together. The appropriately-named Penitence Mode ups the stress factor by giving your lamb protagonist the same mortal needs as your cute and poop-obsessed followers. In other words, you have to eat and shelter yourself, in addition to providing for your cult. You are given the same options as the criticality-acclaimed traditional game, so you can eat meat and veggies, or go at it Yellowjackets style (cannibalism.)

The games also now share some items to create a unique look, so you’ll be able to unlock decorations in Cult of the Lamb from Don’t Starve, like pig heads on sticks, and vice-versa. Look for new chest skins, tabernacle decorations and more.

Finally, there’s some characters making their way through a “crossover portal.” Webber, from Don’t Starve’s Reign of Giants DLC, is now an unlockable cult member, complete with a new “never hungry” trait so you can save that grassy gruel for someone that actually needs it. Additionally, Don’t Starve’s lamb-like ewelet critter/pets are getting even, uh, lamb-ier, thanks to clothing and design options inspired by the other game.

The update is available now for PlayStation and Xbox consoles. The developers also note that a major content update is coming soon to Cult of the Lamb and that Don’t Starve Together will continue to receive more content in its ongoing From Beyond story arc.

Imagine a game that might be described as the opposite of Half-Life 2, Left 4 Dead or Counter-Strike: Global Offensive. These are first-person shooters set in wartorn, post-apocalyptic cities, so their inverse might be a third-person game with no weapons at all, set in a warm, buzzing metropolis of friendly characters, maybe starring an adorable cat. Weirdly, the result could look a lot like Little Kitty, Big City, the first project from former Valve designer Matt T. Wood.

In nearly 17 years at Valve, Wood helped build and ship the company’s most notable titles, including Left 4 Dead, Left 4 Dead 2, Portal 2,CS:GO and both episodes of Half-Life 2. He was a founding member of the CS:GO project and worked on that series for six years; he was pivotal in crafting Portal 2’s co-op mode, and he created choreography and combat scenes in Half-Life and Left 4 Dead. Level design was one of his specialties.

Wood left Valve in mid-2019, and today he’s the head of his own game development company in Seattle, Washington, Double Dagger Studio. He didn’t plan on starting his own studio post-Valve, and he certainly didn’t think he’d be building and self-publishing a game about an adorable cat. But, he is, and it's called Little Kitty, Big City.

“It really is more about cozy exploration,” Wood told Engadget. “The game has aspects of platforming, but it's very light platforming. It's more about exploring vertically, and exploring nooks and crannies. I've done a lot of things throughout my career, but one of the things I spent a lot of time doing was level design in video games, so I have a lot of personal interest in creating spaces that feel fun to explore, to sort of poke around in.”

Little Kitty, Big City has Saturday-morning-cartoon vibes, with hand-animated scenes and a clean, friendly art style. The main character, Kitty, has wide green eyes, inky fur and batlike ears, and they’re on a mission to find their way home to an apartment complex in the center of a bustling downtown. However, procrastination is highly encouraged. Little Kitty, Big City is an open-world game filled with adorable animals to befriend, people to pester, quests to complete and hats to wear.

The hats are embellished bonnets that come in various forms, including a fish head, a half-shucked corn cob, little devil ears, a cowboy situation, a hedgehog and even some root vegetables. Kitty’s face endearingly pokes through the center of each hat, and they can be equipped at will throughout the game. Aside from a few unique cases, there are no stats attached to the hats — wearing the ladybug head doesn’t grant Kitty movement speed, and the construction hat doesn’t add bonus armor. Mostly, they exist to be cute.

“As a game designer, you kind of sit down and go, what is the purpose of this thing that you're doing?” Wood said. “You always need a function, a purpose, a reason for doing the thing. I think 10 years ago, I would have said, OK, hats are gonna give you this ability, or, like, there's going to be all of this gameplay tied to all this stuff. And while that is true for some things regarding the hats, largely, they're cosmetic. It was refreshing to come to that conclusion to say, no, these are just for fun.”

Double Dagger Studio

Wood’s long history at Valve contextualizes his current role as the founder of an independent studio, and his years inside the insular company have helped shape his approach to game design.

Valve is a unique behemoth, even in the AAA space. It owns Steam, which functions as a bottomless bank; it’s a private company, so it doesn’t have shareholders to appease; and it’s the steward of iconic franchises including Portal, Half-Life, Counter-Strike, Left 4 Dead, Team Fortress and Dota 2 (many of which are on Wood’s résumé).

“Valve is not a typical large game studio,” Wood said. “You have a lot of autonomy and freedom to do things there. But, you still sort of live within that direction that Valve goes in.”

Valve’s internal structure has long been the subject of myth and legend among video game fans, with the company’s founder Gabe Newell in the role of messiah and the Valve Handbook for New Employees as its sacred text. The handbook made its way online in 2012 and went viral for its Libertarian-inspired corporate ideals — it outlined a flat hierarchy at Valve, suggesting employees had the ability to manage themselves and work on their dream projects at any given time. This cemented Valve’s reputation as an ultra-rad, super-cool video game company in the public eye, and this perception persists today.

In practice, this structure has resulted in an incredibly rich company that doesn’t produce much. It’s a running joke that Valve can’t count to three: Half-Life 2: Episode Two and Team Fortress 2 came out in 2007, Left 4 Dead 2 came out in 2009, and Portal 2 came out in 2011. In 2020, Valve debuted Half-Life: Alyx, a VR game exclusive to the studio’s Index hardware, and after ignoring an extremely disruptive bot invasion, the company rolled out an update to TF2 this summer, largely comprising community-made maps and assets. Meanwhile, Steam has been printing money while maintaining Valve’s deathgrip on the PC marketplace.

Double Dagger Studio

When Wood talks about the fun and freedom he feels building Little Kitty, Big City, he compares it with a top-down rigidity and complacent bureaucracy he experienced in Valve’s production line. Here’s how he described it:

“Valve talks a lot about, like, you can do anything you want. And it's like, well — that's never true. You know, Valve has a direction and they have a trajectory. And so, for me, it was realizing that the direction that Valve was going in was not a place that I wanted to be long-term. Because I’d been there for a long time and they were sitting on their laurels a little bit, and it's like they weren't really challenging themselves, taking risks or doing anything. Steam’s making a lot of money so they don't really have to, but I was not OK with that. And after many years of trying to figure out how to manage that, I decided, you know, it's important for me to go and make my own decisions for a while.”

Wood made it clear that he appreciated the opportunities and stability that Valve provided him, and overall he called it a “great company.” It’s easy to see why so many talented game developers are drawn to Valve, a studio with unlimited resources, a laissez-faire management style and a library of prestigious IP. Working at an established studio also means there are plenty of experts around to check your progress and offer advice, and these are fail-safes that Wood doesn’t have any longer as an independent developer.

“That can be a bit scary,” Wood said. “But it's been great. I love working with a small team focused on a game where, to us, it's different. To me, it's a challenge.”

Double Dagger Studio

Wood said that even though he likely works more now, he also has more energy and passion for his projects than he did in his final five years at Valve. Little Kitty, Big City represents a litany of game-design firsts for Wood, including the fact that it’s a mini open world and it has zero combat. There are now seven full-time team members at Double Dagger Studio, plus a few contributors, and they all found each other naturally, by Digital Age standards — Wood shared early ideas of Little Kitty, Big City on Twitter, and interested developers got in touch.

“At first I did reach out to some of my co-workers who had left Valve already and they were interested, but like — this was a common theme about reaching out to people who used to work at Valve, is that most people when they leave Valve, they're kind of done,” Wood said.

Despite the current surge of indie-focused publishers like Annapurna Interactive, Devolver Digital, Private Division, Humble, Netflix and Raw Fury, Wood is self-publishing Little Kitty, Big City under Double Dagger Studio. That’s not to say he didn’t explore a potential partnership — he actually made it all the way to final contract meetings with one publisher in particular, but in the end, he turned the deal down.

“It didn't make any sense,” Wood said. “Because what they were able to do, for me, absolutely did not justify the money that they were gonna take. And so it was really hard to find a publisher that made sense. I think that the difference between where I was in my career, and where someone maybe right out of school would be, is that I walked away from Valve with a chunk of money that I said, ‘I'm gonna invest that into a company.’ And so I didn't have to rely on a publisher to spend $100,000 on a year of development or whatever. I did have that freedom and space to say no.”

Double Dagger Studio

This year alone, Little Kitty, Big City was announced for Switch, it had a successful showing at Summer Game Fest, and it’s getting some fresh swag in the form of a Makeship campaign offering an exceedingly cute Kitty plush and a salmon-shaped, zip-up catnip toy. The Double Dagger team is finishing the game while Wood oversees it all, no safety net in sight.

When we first started talking, Wood described Little Kitty, Big City as something like Alice in Wonderland or The Wizard of Oz, a game about a lost soul trying to find their way home and meeting a colorful cast of characters along the journey. This may be Kitty’s story, but at this stage in his career, it feels a lot like Wood’s, too.

Little Kitty, Big City is on track to come out in 2024 for Switch and PC — via Steam, of course.