X has filed a lawsuit against media watchdog group Media Matters over the latter's research that showed ads on the social network appearing next to antisemitic content. The company's owner, Elon Musk, promised to file a "thermonuclear lawsuit" against the organization late last week following an advertiser exodus. In its complaint, X said Media Matters "knowingly and maliciously manufactured side-by-side images depicting advertisers' posts on X Corp.'s social media platform beside Neo-Nazi and white national fringe content." It added that the group portrayed the "manufactured images" as if they represented the typical user's experience in the platform. "Media Matters designed both these images and the resulting media strategy to drive advertisers from the platform and destroy X Corp," the company wrote. 

As TechCrunch notes, though, Media Matters didn't exactly "manufacture" the images it used with its research. Based on X's own investigation as it detailed in its lawsuit, the organization used an account older than 30 days to bypass the website's ad filters to follow a set of users known to produce "extreme, fringe content" along with the biggest advertisers on the platform. The group then allegedly kept on scrolling and refreshing its feed to generate "between 13 to 15 times more advertisements per hour than viewed by the average X user." X said the watchdog didn't provide any context regarding the "forced, inauthentic nature" of the advertisements it saw. It also didn't say why these accounts that are known to produce "extreme, fringe content" were monetized.

In a response to Media Matters' research, X CEO Linda Yaccarino said "not a single authentic user on X saw IBM's, Comcast's, or Oracle's ads next to the content in Media Matters' article." She added that "only two users saw Apple's ad next to the content, at least one of which was Media Matters." But Media Matters head Angelo Carusone retweeted several posts from seemingly authentic users showing ads for searches and tags such as "killjews" and "HeilHitler." We reached out to the organization about the lawsuit, and a spokesperson told Engadget: "This is a frivolous lawsuit meant to bully X's critics into silence. Media Matters stands behind its reporting and looks forward to winning in court."

Aside from X's lawsuit, Media Matters also has to grapple with an investigation by Ken Paxton, the Attorney General of Texas. Paxton said his office is looking into Media Matters, which he called "a radical anti-free speech" organization, for potential fraudulent activity. He said he's investigating the watchdog to "ensure that the public has not been deceived by the schemes of radical left-wing organizations who would like nothing more than to limit freedom by reducing participation in the public square."

The media watchdog had published its findings after X owner Elon Musk responded to a tweet that said Jews pushed "hatred against whites that they claim to want people to stop using against them." Musk wrote: "You have said the actual truth." Several big-name advertisers had pulled their campaigns from the platform following the incidents, including IBM, Apple, Disney, Paramount and Comcast. Meanwhile, Lionsgate specifically cited Elon's tweet as the reason for pulling its ads. 

Alan Wake II is a fantastic game. It tells a twisted, serpentine story of paranormal murder, shifting realities and demonic possession, with two brooding investigators at its core. Developers at Remedy Entertainment are masters of mood and Alan Wake II is their latest showpiece, highlighting the studio’s eye for psychedelic terror and complex mysteries. This game is packed with monsters, ghosts, cults, Old Gods, rock operas and mind-bending perspective swaps. And on top of all that, its character models and set pieces are absolutely gorgeous. Even though it just came out at the end of October, it’s no surprise that Alan Wake II is nominated in multiple categories at The Game Awards, including Game of the Year.

There’s a lot more than clue-gathering going on in Alan Wake II. The game regularly mixes full-motion video with CGI in a way that doesn’t feel silly or contrived; set in a universe of broken realities, the visual styles bleed into each other like alternate timelines fighting for dominance, fitting both the narrative and mechanical storytelling on display. 

Remedy Entertainment

There are two playable characters, Saga Anderson and Alan Wake, and they’re each able to escape inside their own mind to solve the mysteries at hand. Saga, the stoic FBI agent, has a Mind Place where she can connect pieces of evidence with red string on a large, wood-paneled wall, and she can also profile people of interest, using her intuition to speak with their subconscious selves and uncover their secrets. Alan, the author who’s been lost in purgatory for 13 years, has a Writer’s Room with a plot board that literally alters reality when he adds new ideas to it. Players are able to switch between Saga and Alan throughout the game, as they attempt to crack the same case from opposite sides of the underworld.

Both of their environments have been infiltrated by shadow people, the standard enemies in this universe. The black silhouettes, glitching around the edges and hissing Alan Wake’s name, are affected by light — many of them fade away under the beam of a flashlight, but some of them transform into corporeal enemies and immediately attack, requiring multiple gunshots or one strong explosion to take them out. Saga and Alan can find temporary solace under lampposts and other well-lit areas, but these tend to flicker out in the heat of combat.

Which brings us to my issue with Alan Wake II, a game I very much enjoyed and highly recommend. Because I can still hear the furious typing from people who won’t read a negative word about something they love — please remember, it’s possible to enjoy something and also discuss what it could’ve done better. In the case of Alan Wake II, this means removing the guns.

There’s a delicious undercurrent of tension running beneath Alan Wake II, propelled by dark corridors, gruesome rituals and a creeping wave of personal loss. This sense of unease builds throughout the story and bursts through the screen in jump-scare vignettes as the characters’ situations become more desperate. Mystery is the heart of Alan Wake II’s horror. Unfortunately, the slow-burning narrative tension is routinely interrupted by gunplay, replacing it with a different, harsher kind of anxiety that feels out of place in this survival horror experience.

Again and again, I’d be exploring a new area, mentally putting the clues together as the story unspooled, when suddenly — time for a gunfight. The tone would immediately shift from dark, inquisitive terror to pew pew pew, replacing my train of thought with standard action-game things like landing headshots and dodging. After the scuffle, it would take a long moment for me to find the rhythm again, remind myself what I was looking for, what was at stake, what reality I was in. The tension and terror would start to build again, and then — another gunfight.

Remedy Entertainment

There’s nothing wrong with the combat in Alan Wake II, but it isn’t revolutionary and it doesn’t serve the game’s narrative. It’s an unnecessary interruption. Alan Wake II has intense detective work, horrific setpieces, paranormal drama, reality-shifting mechanics, secrets uncovered with light, two versions of a Sherlock-style mind palace, small puzzles, grand mysteries, murderous demons and plenty of action without guns at all.

Light is the shadow people’s weakness, and Saga and Alan both carry flashlights for most of the game. Turning on the high beam stuns the shadow enemies and sometimes opens weak points in their chests. Light hurts the ghosts, but it doesn’t kill them. To kill the ghosts you need bullets. I find this concept silly enough, but there are also scenes where the ghosts have guns, which is downright hilarious. On top of that, some of the shadow people are true bullet sponges, eating eight to twelve shots before going down. This sucks in general, but it’s especially egregious in a horror game, as it replaces feelings of dread with frustration and bullet math. Tediously shooting a ghost eight times instead of one doesn’t make an encounter any scarier.

With light as a weapon, Alan Wake II doesn’t need guns. Activating the high beam already uses precious battery power, and both Saga and Alan have to find batteries hidden around their environments, keeping resource-management fears alive. There are scenes where a flashlight and weapon combination actually works well — mainly, the flashlight and flare gun offer a swift one-two punch for standard enemies, preserving the panic of an attack while offering twitchy combat moments that don’t interrupt the overall vibe. Here, the gun is secondary, while the light does most of the work. In terms of game logic, this makes way more sense than a ghosts-and-guns approach.

Remedy Entertainment

Remedy is calling Alan Wake II the studio’s “first foray into the survival horror genre,” which makes its reliance on guns and even more perplexing. Regardless of whether Alan Wake II is more of an action horror or survival horror game, I’m most concerned with how it serves horror. In this regard, the gunplay just gets in the way.

I turned on story mode about two-thirds through my playtime, and I didn’t feel cheated out of any tension or terror; the enemies were still scary, and the game’s puzzles remained challenging. Remedy does weird stuff really well, and Alan Wake II is grotesque, mind-melting and darkly soapy, like The X-Files or Twin Peaks, with a touch of Outlast and Resident Evil 4. I just wonder what game we would’ve gotten if the developers didn’t design around basic third-person shooter tropes (feel free to save those for Control, Remedy — guns make sense in that game).

You know how every big-studio action movie nowadays feels like a modified version of Iron Man? The Marvel Cinematic Universe set the modern standard for big-budget action flicks, and it seems like many other movies now attempt to imitate its tongue-in-cheek tone, the epic scale of each battle, its predictable narrative flow and climax, the green-screen action scenes, its cliffhangers and after-credits scenes. A similar phenomenon is occurring with big-budget mainstream games, where there seems to be a formula that developers attempt to emulate, and this includes gunplay with hordes of bullet-absorbing enemies.

It feels like Alan Wake II fell victim to this unnecessary constraint, with negative consequences for the game’s sense of storytelling and terror. I get it — guns, ammo and inventory management are a familiar, accepted mechanic in video games as a whole, which makes firearm combat an easy element to include in mainstream titles. I just don’t think Alan Wake II needed it to be successful.

Bluesky has just crossed 2 million users a year after the service's first ever post was created. While that's nowhere near the numbers Threads has already reached, it's still a big accomplishment for the X rival that only opened the app to users in February and still requires an invite for access. Bluesky hit 1 million users merely a couple of months ago, in September, which could mean that the platform has been sending out more invites recently. In its post announcing the milestone, the Bluesky team has also revealed that it's launching a public web interface around the end of November. 

The interface will allow anybody, even those without an account, to view posts on the platform. Its launch could make more potential users aware about the service's existence, and Bluesky believes making its posts more accessible "will be especially useful for real-time commentary and breaking news." In the long run, it could make the service one of people's go-to social networks for news in the same way X users rely on the website to read about current events. 

And for those waiting for Bluesky to become a more open platform like Mastodon, the team says federation is "timelined for early next year if development continues as planned." To become a federated or a decentralized and distributed social network, the team is currently developing the AT Protocol, which will give users the power to migrate both their identities and their content from one personal data server to another. "This is one of the core features of Bluesky that makes it 'billionaire-proof,' — you’ll always have the freedom to choose (and to exit) instead of being held to the whims of private companies or black box algorithms," the announcement post reads. 

Instagram is rolling out an app update that is surprisingly robust, bringing a whole bunch of new features to content creators. First and foremost, there’s finally some new camera filters, which should shake things up for a while. These filters range from “subtle color edits” to more expressive and stylized options.

There are some other minor Camera Roll improvements to make it easier to find what you need as you edit. These include updated previews, a refined search function and even the ability to zoom.

As for video editing, there’s a new undo/redo tool that lets you, surprise, undo actions and redo them with the press of a button. Instagram also says it's testing the ability to scale, crop and rotate individual clips as part of the editing process. The audio tools are also getting some love, as you can pull audio clips from a dedicated media hub to accompany a Reel. Followers can remix this content as they see it. If this sounds a lot like TikTok, well, that’s because it is.

To that end, there are 10 new English text-to-speech voices to choose from, though they are only available in select countries for now. Additionally, there are six new text fonts and styles available to caption up your Reels or Stories, in addition to bolded outlines that should really make your copy pop. Hopefully.

Instagram

If you really want to make something weird, Instagram now allows you to pull any part of a photo or video and turn it into a custom sticker. This also works the other way around, so users can pull eligible content from a favorite creator and turn it into a sticker. This particular tool was aided in development by Meta’s custom Segment Anything AI.

Finally, there are some updated tools for creators to keep track of their slow and steady rise to viral fame. The Retention Chart will offer a moment-by-moment insight into how many people are watching your content, though it’s not rolling out for a couple of months. The rest of these tools are available today.

YouTube has announced new experimental AI services, including a feature called Dream Track in YouTube Shorts. It creates up to 30-second soundtracks using AI-generation versions of artists' voices. Though musicians have mostly pushed back on AI (and their voices being used for training models without permission or compensation), YouTube got nine big names from the music industry to participate, including John Legend, Troye Sivan, CharliXCX and T-Pain. The company hoped to announce the feature at its Made on YouTube event in September but has been in negotiation with recording companies over rights and payments.

Users can access Dream Track by typing an idea into the creation prompt and choosing from one of the participating artists. It uses Google DeepMind's Lyria — a new, powerful music generation model designed specifically for creating high-quality vocals and instrumentals while giving the user more control over the final product. Any content Lyria produces will also have a SynthID watermark, denoting it as such. 

Charlie Puth and T-Pain created sample Dream Tracks, which YouTube has shared as inspiration. However, many of the artists involved expressed their apprehension about AI but hoped that collaborative work could create positive, non-exploitative opportunities. "When I was first approached by YouTube I was cautious and still am, AI is going to transform the world and the music industry in ways we do not yet fully understand," singer CharliXCX said. "This experiment will offer a small insight into the creative opportunities that could be possible and I'm interested to see what comes out of it." 

Music AI Tools are also coming to YouTube, in collaboration with its Music AI Incubator. These tools can create guitar riffs from a hummed melody or turn a pop track into a reggaeton anthem. Producer and songwriter, Louis Bell, created a sample video to showcase it. 

YouTube is walking a tightrope as it navigates the careful balance of introducing AI tools and protecting against misuse. The video platform recently announced new policies for labeling videos made using AI and letting public figures, such as musicians, report deepfakes. 

Dream Track is currently only available to a select group of creators and artists, whereas participants of the Music AI Incubator should be able to test the tools out later this year. 

Even though Facebook has been moving away from providing its users with easy access to news over the past year, it apparently still remains a go-to source for current affairs in the US. According to Pew Research, three out of ten adults in the country still regularly get their news from Facebook, which has outpaced all the other social media websites in the center's study. YouTube comes next in the list, with 26 percent of US adults getting news from the video hosting website, while Instagram takes third place with 16 percent. While apparently not as popular as the first three when it comes to news, TikTok (14 percent), X (12 percent) and Reddit (8 percent) also serve as news sources for the US populace. 

When it was reported a year ago that Meta will no longer be paying publishers to run their content on Facebook's News Tab, a spokesperson said "[m]ost people do not come to Facebook for news, and as a business it doesn't make sense to over-invest in areas that don't align with user preferences." But according to the study, 43 percent of users still get their news regularly from the platform. That is, however, admittedly smaller than the 54 percent of users who used to go to the social network to keep themselves updated and read about the latest events back in 2020. Meanwhile, 43 percent of TikTok users say they're getting news from the app now, compared to 22 percent three years ago. Out of all the social networks in the study, though, X (formerly known as Twitter) has the highest percentage of users (53 percent) who go to the website for news. 

Based on the study's responders, men mostly rely on Reddit to keep them abreast of current events, followed by Twitter and YouTube. Meanwhile, women consume news from Nextdoor the most, followed by Facebook and Instagram. In addition, most of the people who get their news from social media are Democrats or lean Democratic, though "there is no significant partisan difference among news consumers on Facebook, X or Nextdoor." Bottom line is, a lot of people still look to social media websites to read about the latest happenings and new information as they come out. These companies will have to continue keeping a close eye on the spread of misinformation on their platforms, even if they do decide not to focus on news anymore. 

Tags are a key way to seek out content on social media, but so far they've been missing on Meta's fledgling Threads platform. That's changing soon, however, as the feature is now in testing on Threads in Australia "with more countries coming soon," Mark Zuckerberg wrote in a new thread.

You create a tag in the usual way by placing a hash before a word, which then displays in blue text without the hash — much as mentions work in Facebook. To seek out topics, type a hash plus a keyword into the search field to see a list of relevant posts, as one does on Instagram. So far, it's limited to a single tag per post, likely to discourage hashtag spamming — though that may change, as Meta said the feature is still a work in progress.

Despite still not being in Europe, Threads has shown consistent growth and now counts nearly 100 million monthly active users, Zuckerberg wrote last month. The app recently gained a few key features like the ability to delete your threads profile without killing your Instagram account and avoid automatically sharing Threads posts with Facebook and Instagram. It also added pinned posts, and Instagram boss Adam Mosseri hinted that DMs may (or may not) be done via Instagram's inbox. 

Cameo has added a pair of timeless superstars to its stable of celebrities (a term used loosely in some cases) available for personalized video greetings. Cookie Monster and Elmo, who may or may not have fallen on hard times, will shamelessly plug their services on the six-year-old platform, offering to count to your kid’s age or rattle off words that start with the same letter as your child’s name — for $25 a pop. Perhaps that relatively low price for the Sesame Street icons is because humans don’t appear to record their voices: Cameo describes the characters as “powered by artificial intelligence.”

Cookie Monster and Elmo join a Cameo crew that also includes Kenny G ($350 per message), Danica McKellar ($150) and Billy Dee Williams ($300), among many others. Other animated characters on the platform include Thomas the Tank Engine, Grumpy Bear (from Care Bears) and JJ from CoComelon.

“Hiya, it me, Cookie Monster,” the perpetually hungry, AI-fueled blue Muppet says in a sample Cameo on the service’s website. “Me so excited to meet you and maybe share a cookie or two. Me love to sing ‘Happy Birthday,’ say goodnight before bedtime or just say hi. Me can’t wait.”

Cameo / Sesame Workshop

Disclosures on the websites for the Sesame Street characters notify customers that AI powers them. “Elmo is a virtual character powered by artificial intelligence,” the description reads. “They will take the details you give them and craft a custom video just for you!” Engadget reached out to Cameo to clarify which parts of the message are AI-generated; we’ll update this article if we hear back.

Whether parents will find it worth paying for “personalized” greetings conjured by artificial intelligence remains to be seen. Still, at least the algorithmically created furry monster messages only cost around 12 percent of the price of Michael Rapaport.

Pokémon Concierge, a stop-motion animation show from Japan's Dwarf Studio, will be available for streaming on Netflix starting on December 28. The streaming service has announced the show's arrival nine months after revealing the project, which it says is the "first-ever collaborative production between Netflix and The Pokémon Company." Pokémon Concierge has a totally different feel from the games, the anime series and the movies that came after it. There are no battles in the new show, no trainers fighting for dominance and no monsters pulling off their special moves. 

Instead, we get Pokémon chilling in pools and living their best lives as they go on a vacation. The series follows a new concierge working at the Pokémon Resort named Haru, along with her companion Psyduck, as they learn how to serve and make their Pokémon guests happy. Based on the trailer shared by Netflix, viewers will also see a number of other popular monsters, including Pikachu, Eevee and Magikarp, as they visit the resort. 

Haru will be voiced by Karen Fukuhara (The Boy and the Heron) in the English language version of the show. The Pokémon company and Netflix also signed up Mariya Takeuchi to sing a warm and relaxing theme song for the series that goes perfectly with its vibe. Takeuchi, who rose to fame in the 80's for the City Pop genre, has enjoyed renewed popularity in recent years after her song Plastic Love went viral on YouTube. 

Nintendo just held one of its Indie World showcase events, the first since April, and debuted a number of trailers for forthcoming Switch titles developed by small studios. There were plenty of nifty indies teased for the future or even surprise-released today, but let’s get one thing out of the way first. There was no new trailer for Hollow Knight: Silksong, nor was there any availability information, so the waiting game continues.

Just because Hollow Knight’s sequel continues to be vaporware doesn’t mean that the event didn’t see some big metroidvania news. There’s a new Shantae game, and it has taken even longer than Silksong to release. Shantae Advance: Risky Revolution was a title that started development over 20 years ago and was originally intended for the Game Boy Advance. The hook here seems to be multiple layers that Shantae can move between to find secrets. It will be released sometime next year.

Next, there’s Moonstone Island, a game that’s been eating up the Steam charts lately. This is an absolutely stellar game in the “cozy” genre that’s basically a combination between Pokémon and Stardew Valley. There are creatures to collect, turn-based battles, farming, romance and plenty of mystery. The world is huge and I’ve yet to uncover it all even after months of playing. The Switch version is due to arrive in spring of next year.

Another big Steam hit from earlier this year is making its way to the Switch in 2024. Core Keeper is a nifty mining-themed roguelike that I’ve had a lot of fun these past several months. The gameplay loop is addictive, with base-building, upgrades aplenty and huge bosses. There’s also a fairly robust multiplayer component.

The gorgeous tactical RPG Howl surprise-launched today. Set in medieval times, Howl has you trying to fend off a plague that turns folks into feral beasts. You’ll participate in turn-based battles as you search for a cure. The graphics and art style sure are strong with this one. There’s a demo for those curious and the full release costs $15.

Another gorgeous title, A Highland Song, releases on December 5. This sidescrolling adventure looks to share some DNA with games such as Limbo and promises an adaptive narrative that changes along with player choice. There’s also a soundtrack populated exclusively by Scottish folk bands.

Of course, that’s just scratching the surface of the trailers shown at Indie World. The Nintendo Switch is getting a refresh of one of the most iconic indie games of all time, Braid. Additionally, there’s the turn-based mouse sim Backpack Hero, the drawing-based puzzler Passpartout 2: The Lost Artist and many more, all releasing today or in the near future.