Instagram is introducing ads to the Shop tab it introduced last November as part of a divisive app redesign. The Facebook-owned company's push to bring ads to more parts of its app has upset some users, but at least the move makes sense in this context.
Moreso than on Reels or the Explore feed, ads seem like a natural fit for Instagram's shopping section, where you go to peruse products from brands and creators. They'll look like the other tiles on the Shop home page, but with a little "sponsored" label that tells you someone paid to show you them.
As a rep for luggage brand Away explains in their spiel, ads tend to be more successful "in an environment where the consumer is already in a shopping mindset which the Shop tab naturally attracts."
Clicking on a Shop ad will show you more details about the product, including any additional images, and let you browse more items from the brand. You can also save products to your wishlist or share them with friends. As is the norm, you can hide or report ads, too. Unlike Instagram's video ads in Stories and Reels, you can't skip photo ads.
Movies Anywhere, the streaming hub that pulls together films you purchase for a variety of digital stores, has added a feature many users have long been hoping for: lists. Not only will this help you better organize your library, the system will automatically generate personalized lists based on the movies you own. You should now see a My Lists tab next to My Movies.
Organizing a Movies Anywhere library presents a different challenge to grouping titles together on the likes of Netflix and Amazon Prime Video. While subscribers of those services have access to the same content based on the country they're in, every Movies Anywhere user has a unique selection of films in their locker.
Movies Anywhere is looking to avoid having the same movie in too many lists. As such, movies are typically funneled into categories to which they're most closely matched.
One key part of the My Lists feature is that it takes into account viewing behavior. During a demo last week, Movies Anywhere didn’t go into too much detail about how this works. However, if you watch a few minutes of any film, the algorithm, artificial intelligence and machine learning systems will consider what you're interested in watching when they organize your lists.
Movies Anywhere’s content team classifies the films and there are around 2,000 different potential categories as things stand. These are centered around things like genres, franchises, people (say, actors, directors or composers) and themes. So, if you have a lot of movies about robots or cyborgs in your library, they might be grouped together in a list. Same thing goes for a collection of Marvel Cinematic Universe films. Other lists might focus on movies focused on antiheroes or musicians. The system might generate a list of nostalgic flicks, or classify films into subgenres.
Lists that Movies Anywhere creates for you are marked as "automatic lists." You can also create and modify lists. You'll be able to add and remove films, reorganize lists and rename them. If you own all the Star Wars movies, for instance, you can place them in release order, sort them in the canonical timeline or even arrange them in the so-called Machete order. It’s up to you.
One thing you can't do right now is modify any lists on the Movies Anywhere smart TV app. You can only browse your lists there. But because your lists sync across devices, you can make changes on a phone, tablet or computer, and you'll see those reflected on your smart TV.
This is a useful update, especially for Movies Anywhere users who pick up a ton of movies during sales or those who redeem tons of digital codes from Blu-ray purchases. The service says that My Lists is "a direct response to specific requests" from users. It should bring some more order to users' libraries, which can get unwieldy as they grow in size.
Last week, Facebook released its first "widely viewed content" report, a document that essentially was the company's response to numerous reports that the most engaging content on the platform usually comes from polarizing and potentially misleading conservative figures and outlets, including Newsmax, Fox News, Ben Shapiro and Dan Bongino. The report last week contradicted that, saying that in Q2 of 2021, top domains included more innocuous content coming from YouTube, Amazon, TikTok and a cat GIF from Tumblr.
But on Friday, the New York Times published a report saying that it had seen a "widely viewed content" report for Q1 of 2021 and that it showed different trends. For example, the most-viewed link was a story claiming a Florida doctor died from the coronovirus vaccine. Facebook has now confirmed the document's accuracy and released it directly.
Facebook spokesperson Andy Stone took to Twitter to get into the details of the report and said that Facebook withheld the report because "there were key fixes to the system we wanted to make," but he didn't elaborate on what those fixes are.
On the question of the unreleased report from earlier this year and why we held it. We ended up holding it because there were key fixes to the system we wanted to make.
Stone also did a deep dive into the misleading story that came out of Florida, trying to explain Facebook's decisions around it. “News outlets wrote about the south Florida doctor that died. When the coroner released a cause of death, the Chicago Tribune appended an update to its original story; NYTimes did not," he wrote on Twitter. "Would it have been right to remove the Times story because it was COVID misinfo? Of course not. No one is actually suggesting this and neither am I. But it does illustrate just how difficult it is to define misinformation."
As noted by the New York Times, Facebook has been trying to counter pressure around the things shared on its platform, specifically regarding misinformation around COVID-19 and its vaccine. Much of that pressure is coming directly from the US government. President Biden memorably said last month that Facebook was "killing people" with vaccine misinformation on its site, though he walked back his statements slightly later.
Music publishers have been on a spending spree in recent years, buying the catalogs and copyrights for songs of famous musicians at a frantic pace. Last December, Universal Music Publishing Group bought up Bob Dylan’s entire discography in a deal estimated at more than $300 million. Similarly, Stevie Nicks sold an 80 percent share of her works to Primary Wave Music for an estimated $100 million that same month. But as all this money changes hands for the industry’s biggest stars, one songwriting startup has plans to open the firehose of music royalties to the everyman.
“You see these huge deals, like the Bob Dylan deal with the publishing rights and all this money,” Alex Mitchell, co-founder and CEO of Boomy told Engadget. “It started with a recognition that most people are going to be left out of that and it caused us to have a conversation about equity in the music industry, 'how do we fairly remunerate artists, what's the role of labels,' there's just chaos happening in the music industry right now.”
Mitchell realized that one major obstacle keeping amateur musicians from becoming published musicians was a technological one. Setting up a home recording studio is no small task, and teaching oneself how to navigate the hyper-granular control schemes of professional-grade DAWs (digital audio workstations) like Ableton Live or Pro Tools can take months, if not years, to fully master. But what if you had an AI-based co-writer to handle the heavy technical lifting instead, similar to what Tik Tok and Instagram do for their creators?
“We really started looking at what it takes to draw creativity out of somebody, what kind of tool can you put in their hands — where there's so much of the process that's semi- or fully-automated — that they can just add their own layer of humanity to it.” What they came up with was Boomy.
“There's already AI being used in studios and in the music creation process,” Mitchell said. “A great example of this is Ozone auto-mastering. They have used artificial intelligence to be able to create great mixes, put great final polish on tracks, things like that.”
“So what we've done is we've taken a lot of those concepts and we've rewritten this stuff from the ground up,” he continued. “[It’s] less to think about how people usually make music, and more in the context of, if somebody doesn't have any skills at all, how fast can we get them making some stuff that they think is pretty cool?”
The web-based app is, essentially, a one-button music studio. Users can compose wholly original songs in around 5 to 10 minutes simply by clicking Create Song from the homepage, selecting the desired style of beat — whether that’s rap, lo-fi, experimental or “global grooves” — and then fiddling with the composition and mix until they’re satisfied. That song can then be uploaded to any of 40-plus streaming and social platforms where the song’s author can earn royalties based on the number of times their song is played.
Embedded below is a loopable, meditative jingle I put together during the course of my research. Despite my inherent lack of rhythm and general disinterest in music production, I found this to be a rather relaxing and enjoyable experience. After choosing the underlying beat and waiting a half-minute for the AI to generate a mix, the production process largely involved just shuffling icons around to adjust the composition and fiddling with dropdown menus to the instrument sets until I got something that I liked and think vaguely resembles the Konami menu screen music I grew up with. The entire process took less than 10 minutes.
Unlike recurrent neural network analysis models such as OpenAI or Google’s Magenta which, for example, can analyze Michael Jackson songs to be able to recreate the King of Pop’s signature sound, Boomy is not trained on copyrighted works. This is due in part because of the highly-segmented nature of copyright law, which varies drastically between nations and territories, but also because of the black box nature of such systems. If the infinite monkey theorem is any barometer, there is always a chance (albeit tiny) that a system trained on Michael Jackson might randomly spit out a perfect recreation of “Thriller.” And that’s very bad for the system’s designer.
“If I'm a music publisher and I own the rights to Michael Jackson,” Mitchell said. “I'm going to look at that model I'm gonna say ‘great, you know what, that's all mine’… if you're making a copy of somebody else's work, even if it's transformed, you're probably going to owe some publishing on that.’”
Instead, the team is taking a bottom up approach, leveraging previous experience in A&R research to train its AI in building beats and compositions from scratch. “We have some really advanced algorithms that are doing automatic mixing, deciding what sound should go together — what are the features of those sounds, how do those fit together, what is the perceived loudness rate of those sounds,” Mitchell explained.
Those features grew from a brute-force development approach — putting together various combinations of beats and compositions, then presenting them to beta testers. “In our first iteration of our model had a 98-percent rejection rate, but a 2-percent stay rate,” he continued. “And in that 2 percent, over millions of sessions, we started saying, ‘okay, here are groups of features that go well together.’”
Mitchell doesn’t view Boomy simply as a music creation tool, but as a means to achieve “the ideal world that we want to create," one which would allow creators anywhere on the planet to register themselves as a co-writer of their work alongside Boomy at their local publishing rights organization. However, because copyright law varies from country to country, Boomy has established an alternative way to ensure that songwriters get paid for their creative works.
“So what we're saying here is, a real world example would be, we just built a music studio, we filled it with great equipment, and spent millions of dollars building the studio,” Mitchell told Engadget. “You can come in and use it for free, make whatever you want, and on your way out, we're assigning you to our label, and we're going to give you an 80 percent rev share on everything we collect from what you made in the studio.”
“The IP vests with us,” he continued, noting that Boomy has been used to create more than 3 million songs to date, “which actually makes us, ironically, the largest record label in the world.” For users who are either already established musicians or otherwise want to obtain sole ownership of their songs, ”they can submit a rights request, and we can basically either sell the copyright to them or come to some other arrangement.”
While Mitchell could not share exact figures with Engadget, he did estimate that in the two years since Boomy’s launch, the company has paid out “tens of thousands' ' of dollars in royalties to its user base.
Moving forward, Mitchell foresees Boomy’s UI to add more additional control features and composition inputs, “over the next several months, we're really gonna focus and double down on vocal, melody and top line,” he explained.
The company is also working on new methods to earn royalties for its users. “We’ve got a bunch of influencer groups lined up and we've been doing some stuff behind the scenes to place tracks into YouTube videos,” Mitchell continued. “If you're a creator, or if you've got a podcast, rather than go pay for music rights, why not get paid for the music that you're using?”
You can't escape viral TikTok songs. They're everywhere, and you're bound to hear them over and over again if you spend time on any social media platform. If you actually like listening to TikTok earworms, you can now also listen to them on SiriusXM. The satellite radio service has launched TikTok Radio, a full-fledged music channel dedicated to viral hits from the platform that's now available in vehicles, on desktop, connected devices and on the SXM app.
According to the companies, the channel will sound like a radio version of the platform's "For You" feed. In fact, some of TikTok's most popular creators will be presenting music and sharing stories about the viral hits you can listen to. They named Billy (@8illy), Cat Haley (@itscathaley), HINDZ (@hindzsight), Lamar Dawson (@dirrtykingofpop) and Taylor Cassidy (@taylorcassidyj), in particular, though the channel will feature more creators in the future.
One of the shows you can look forward to is The TikTok Radio Trending Ten, which will have the creators presenting the current most popular songs on the platform. It will stream every Friday at 3PM ET with replays throughout the weekend. You can also listen to it anytime through the SXM app. DJ Habibeats (@djhabibeats) and DJ CONST (@erinconstantineofficial) will also serve as the channel's resident DJs and will mix trending hits live simultaneously on TikTok and Tiktok Radio every Fridays and Saturdays starting at 7 PM ET.
Scott Greenstein, President and Chief Content Officer of SiriusXM, said in a statement:
"Our groundbreaking new channel with TikTok is a first-of-its-kind, capturing the pulse of the global music culture, vibrancy and vitality found on the entertaining social platform and recreated as a full-time music channel on live national radio and our streaming platforms. The creators, who are also presenting the music on TikTok Radio, are deeply involved in the channel and will reflect the unique sound and personality of TikTok that is so enmeshed with today's music culture and community. TikTok creators will be delivering new audio experiences for our listeners as they tap into the latest music trends on TikTok."
If you’re a retro gamer, it’s hard not to ignore the Atari Lynx. The first color hand-held it might have been, but its small library of games (under 100 official titles) and general mishandling by Atari itself earned it little more than a walk-on role in gaming history for most people. As such, the homebrew and indie scene for the Lynx is pretty thin compared to its contemporaries (the Game Boy and the Game Gear).
The system still has its fans, though, (me included) and a few dedicated folks still hold a candle for the chonky handheld, with new titles now more common than they were a decade ago. But the real rarity is the full, physical release. Here are four new games you can play on original hardware, complete with cartridge and box, just as nature intended.
For Lynx diehards, there’s one destination to gather: AtariAge. And user Fadest (real name, Frédéric Descharmes) is one of the long-standing members of the handheld’s forum there. He’s perhaps best known for his Yastuna series of puzzle games. His two new releases keep the puzzle trend, but with a shoot-em-up/adventure twist.
Descharmes began programming for the Lynx as a way to channel his enthusiasm for retro gaming while he soothed his son to sleep late at night. He came to the Lynx specifically for its technological limitations (although it was advanced for its time). “I like the NES and Game Boy, and even code for them, but in my beginner situation, the Lynx was probably the best choice when I started in 2004,” he told Engadget.
Raid on TriCity takes the classic Tetris format and introduces a shoot-em-up component. As the blocks fall, you can’t move them or rotate them, but you can shoot them away brick by brick. You score, as normal, by completing lines (and not by shooting), and some of the Tetrominoes contain power-ups or enemies/ways to die.
Descharmes already released a pay-what-you-want ROM-only version of Raid on TriCity. “Second Wave” is essentially the same game as a physical release with some new in-game perks. The two most important ones would be the addition of an EEPROM for storing progress/high scores (no retail Lynx games ever had batteries or memory like some Game Boy titles did) and a new story mode which injects some life into an otherwise pick-up-and play time killer.
As simple as the game may sound, the hybrid dynamic picks the best elements of both genres and blends them to great effect. As you see blocks falling you have to make a quick decision about whether you want to go for a complete line, or whether a power-up might be more appealing or perhaps you have to sacrifice one to get rid of a baddie behind it. Sometimes this can be a bit of a gamble if a power-up you want has blocks above it that might bring you closer to the upper threshold and thus the end of the game.
Likewise, as lines complete and bring any power-ups above it one row down, a helpful bomb can become a death sentence (bombs trigger when a line is completedtaking anything one square around it along with it — including your spaceship if you’re not careful).
The story mode isn’t exactly its own adventure, more it serves as a way to break up the game play with some narrative interludes and an element of interactivity in choosing your “path” through a network of levels. The levels themselves are really just more of the same shoot-a-block business, but it makes it feel more like making progress, and thus a game with an end to reach (rather than a high score to beat).
Fadest’s second new title is another puzzler, but this time it’s more about strategy and fortune. I say fortune, but it’s usually mis-fortune to be fair. The game looks like it’s going to be a retro space shooter at first glance, but is more akin to a card game. Each turn you’ll be presented with an item/card and can only place it one square away in any direction from your last move. But each item/card will either be a scoring opportunity or a penalty of some kind.
This simple premise is deceptively addictive. There are four main “cards” to place: A probe, an asteroid (two types!) a mine or a pirate ship. Your job is to surround the asteroids with four probes to earn points (hence the game’s name). However, the pirates have other ideas and will disable any probes adjacent to them. This not only robs you of points, but can also be fatal: mines are diffused by surrounding them with probes, and you can only have three “live” ones on the map at any time. This means an ill-placed pirate, or just a string of bad luck with many mine cards can end your mission in a snap.
The goal is simple, reach the end of the “deck” while scoring as many points as you can along the way. At first, the game feels frustrating, as if you are merely at the whim of whatever cards are in the pile. And while this is true, you soon learn some strategies to increase your chances of getting to the end and racking up some points to boot.
For me, the fun of the game is built right into that frustrating nature. Many times I was killed early on, which only stoked my desire to beat the game and make it to the end. Once you do, you find yourself wanting to then beat your own high score. As with Raid on TriCity, Asteroid Chasers can remember your high scores giving the game longer term appeal. There are also many achievements to unlock (fortunately, also remembered) which will reward you with different music and other goodies giving this relatively simple game a lot more longevity than it first suggests.
Songbird Productions
If you’ve paid any attention to Atari’s handheld or the Jaguar indie scene in the last 20 years, you’ll be familiar with Songbird Productions. Not only is it a popular retailer of rare and homebrew games, its founder, Carl Forhan, is responsible for a number of Lynx titles being saved from obscurity by finding unfinished IP and seeing them through to completion, along with some original titles of his own.
One such title is CyberVirus, a first person space shooter. “In CyberVirus, I had to redo all the missions, redo the health and powerup system, and add new features to the game which were not in the original prototype.” Forhan told Engadget. I also enjoy the purity of these older, smaller machines where you have to fight for RAM and CPU cycles to do everything. It's a fun challenge for my brain, I suppose.”
This new title, as the name suggests, is a follow-up to the original CyberVirus. The first version was released almost 20 years ago and is one of the “unfinished” games that Songbird rescued. It’s also a rare first-person/3D shooter on the Lynx. Lost Missions is a collection of levels that were also in the original, developed initially by Beyond Games, and presented to Atari as a demo back in 1993.
The nine new missions see you take on a familiar cast of robotic foes as you seek to achieve your objective. This could be as simple as destroying some communication towers, but the number of enemies soon ramps up making each mission exponentially harder. You have a selection of weapons at your disposal and a semi-open 3D world to explore, not bad for a console released in 1989.
CV-TLM will appeal to fans of early first person shooters like Doom, but instead of a complex map you must navigate open terrain. Thank’s to the game’s origins, the graphics and gameplay are much nearer to those found in official releases (given that this nearly was one) compared to even some of the more ambitious homebrew titles that have emerged since the Lynx’s commercial demise.
The result is a fun, frantic shooter that deserved to make it onto shelves back in the '90s. Forhan’s given the game the next best thing in this release which comes with a slick, glossy box and a physical cartridge that’s indistinguishable from the originals (many homebrew releases, including the above are 3D printed).
The catalog of official releases for the Lynx tends to skew toward arcade titles, puzzlers and racing games. There’s a little bit of everything for sure, but adventure games and RPGs are generally lacking. Unnamed is a welcome salve, then, for fans of either of those genres. While the game is published by Songbird, it’s the work of Marcin Siwek who’s other Lynx title — Unseen— was a dark, choose your own adventure style game. Siwek’s second title is much more immersive with your onscreen character free to move around, find items and solve puzzles.
You awaken in a strange place with no memory of how you got there. Your task is to figure out why and how they find themselves in this strange world. Along your journey you find new rooms to explore and items to help you along the way. It’s a classic recipe, but one that lends itself particularly well to the handheld format.
Unnamed is refreshing, not just for its playstyle, but as a true indie game (rather than a rescued abandoned title) it has a surprising amount of depth and atmosphere. Within moments of playing, I knew that this is a game that I would truly want to “get into” and complete. As with Descharmes‘ titles, Unnamed features an EEPROM for saving progress meaning you can pick it up without having to start from scratch every time.
The graphics are a good blend of cute and sinister and the music strikes the perfect balance of ambiance without being a distraction. The challenges and puzzles to be solved are pitched just at the right level and there’s a genuine sense of wondering if you might have missed something — which might sound annoying, but I think is the hallmark of a good RPG.
NBC has shared the first trailer for Frogger. As expected, the show is a mix of Takeshi’s Castle and Wipeout. The clip offers a look at some of the whimsical sets contestants will need to traverse in order to claim a grand prize of $100,000.
When NBC announced it was adapting Konami’s seminal 1981 video game into a Peacock series, it said the initial season would feature 13 hour long episodes and 12 different obstacle courses. One unexpected treat is that Damon Wayans Jr. of Happy Endings is on co-hosting duties.
Frogger will debut on September 9th, with new episodes to follow every Thursday. While we wait, you can play Frogger in Toy Town, the latest game in the series, on Apple Arcade.
A year after it wowed many with its first gameplay video, Chinese developer Game Science Studio is back with an even more impressive look at Black Myth: Wukong. The studio has switched from Unreal Engine 4 to UE5 for the action RPG. According to NVIDIA, it's the first peek at a UE5 game that uses Deep Learning Super Sampling (DLSS), the company's AI-powered upscaling tech.
The 12-minute preview, which you can watch in 4K at 60 frames per second, shows off much more action from the game. It features a couple of stunning boss fights, including one with an electric dragon on a frozen lake. The visuals here are eye-popping: expect buttery-smooth animations, gorgeous environments and dazzling snow and ice effects.
Black Myth: Wukong is based on the story of the Monkey King and the Journey to the West. Game Science Studio seems to have taken inspiration from Sekiro: Shadows Die Twice here, but that's hardly a bad thing. The gameplay and creature design certainly draw from the Souls-like approach popularized by From Software — for instance, you see the protagonist evading the terrible beasts' attacks while looking for an opportunity to leap in with their staff.
The studio was formed by a group of former Tencent Games employees, according to prominent games industry analyst Daniel Ahmad. There's no confirmed release window as yet for Black Myth: Wukong. Game Science Studio said last year it was aiming to bring the game to PC (which is a sure bet given the DLSS support) and consoles by 2023.
If streaming the Neon Genesis Evangelion saga on Netflix and Amazon Prime Video has made you an acolyte of the hit anime, then we have good news. The original series is coming to Blu-Ray for the first time in North America.
But, this isn't just a regular physical release. Billed as "Neon Genesis Evangelion: Ultimate Edition," the box set is spread across 11 discs, contains over 7 hours of bonus features, along with extras that span a 156 page book, art boards and limited edition artwork, a Sachiel resin paperweight and a NERV ID Card with lanyard.
The release includes the official and classic dubs and subtitled versions, plus the follow-up films, Evangelion: Death (True)² and The End of Evangelion. All of that will cost you $275 during the current pre-order period, which ends December 7th. Afterwards, you'll have to fork out $350 for the special release. As of now, the Blu-Ray is listed as sold out in the US, probably because fans quickly snapped up the 5,000 copies that were available. Though it still appears to be in stock in the UK, where it's limited to just 2,500 copies.
GKIDS Films
Despite all the riches on offer, what you won't get here is the series' "Fly me to the Moon" ending theme, likely due to licensing issues. As fans will know, the song was also missing from Neon Genesis Evangelion on Netflix. The streamer opted to replace it with "Hostility Restrained" from the show's score. Those feeling wistful can listen to it in the video below.
In a surprising twist, OnlyFans, a video site best known for its adult videos and images from independent creators, is banning, well, explicit videos and images. The site has exploded in popularity over the last few years, with more than two million creators offering content to their paid subscribers. Many of the top creators on the platform share adult content.
In a statement, OnlyFans said the move was “to ensure the long-term sustainability of our platform.” The company said it was due to pressure from banking and payment partners, but a damning BBC investigation revealed that OnlyFans had let a lot of illegal content from creators make it on to the site.
The BBC tested whether OF would allow users to promote themselves as young teenage creators with photos. It apparently did, until the BBC asked the video-sharing site about these accounts. The report makes this sudden direction shift seem less, well, sudden.
OF will ban users from uploading photos and videos of "sexually explicit conduct" as of October 1st. Nudity will apparently still be allowed, as long as creators stick by OnlyFans' Acceptable Use Policy.
Could the site suffer a similar fate to Tumblr? When that social network instituted a ban on adult content, it saw popularity plummet. OnlyFans is a little different in a few ways. The major difference is how it offers a way for creators to directly make money from its audience.
While Tesla’s AI Day was a relatively dry tour through the company’s AI tools and ambitions, there had to be One More Thing. That thing was the Tesla Bot.
Tesla boss Elon Musk said it would be a “friendly” humanoid robot, slow and weak enough for you to outrun and overpower it — just in case the robot uprising.
Musk said the company plans to have a prototype of the Tesla Bot ready by next year. I’m taking bets on which year we’ll actually see it.
Ready for a foldable? The Z Flip 3 is a satisfying upgrade from the original, thanks to water resistance and a larger, more useful Cover Display. According to Reviews Editor Cherlynn Low, its $1,000 starting price puts it in the same class as flagships from Apple, Google and Samsung itself, too. However, the Flip 3 is held back by battery life and potential durability issues.
The blockbuster sci-fi series premieres on September 24th.
Apple has offered another look at its latest sci-fi saga, Foundation. The latest trailer doesn't reveal too much about the story — based on a series of Isaac Asimov novels — but it has some impressive visuals, including an elevator that, according to showrunner David S. Goyer, stretches around 26 miles into space.
QuakeCon may not have happened last year due to the pandemic, but id Software is hoping a Quake remaster might help distract its fans. Out now for $10 on PC, Xbox, PlayStation and Nintendo Switch, the game now has support for widescreen resolutions up to 4K, dynamic lighting and anti-aliasing. Regardless, it still looks like Quake to me.
Call of Duty: Vanguard, the next entry in Activision's long-running first-person shooter series, arrives November 5th. Like 2017's Call of Duty: WWII, the studio's previous project as lead developer on the franchise, Vanguard takes the series back to where it all started: the Second World War. According to the game’s creators, the game is pitched as a “filmic blockbuster,” with characters, set pieces and everything you might expect from a war movie.
