According to Semafor, data from NewsWhip showed that engagement on public posts linked to the New York Times website has dropped dramatically since late July. This is seemingly a unique issue to the NYT as other news organizations like CNN, the Washington Post, and the BBC have not seen similar dips in engagement.

According to the report, the New York Times' reach hasn't changed on Facebook and other social media platforms. Additionally, recent tweets by former President Barack Obama that include NYT links saw less engagement when compared to his other tweets. For example, when Obama shared articles about healthcare costs, his posts reached fewer than 800,000 users. Most of his posts reach a minimum of 10 million users.

While it's unclear what exactly is causing the drop in user reach, this wouldn't be the first time Elon Musk's X appeared to be affecting user engagement. In August, X was reported to be interfering with links to Mastodon, Bluesky, Threads, Substack and of course—the New York Times, to make them load noticeably slower. At the time, it appeared that the high-profile websites affected were only big names that Musk publicly attacked in the past.

X and The New York Times could not be immediately reached for comment.

I’ll admit that, between Forza Horizon and Forza Motorsport, I’m more of a Horizon player. I’m interested in driving and crashing beautiful cars in exotic locations, and occasionally entering a low-stakes race, rather than perfecting my times on professional tracks with top-tier equipment. Despite this predilection, I’ve had a lot of fun tinkering around in the first few hours of Forza Motorsport’s serious, car-obsessed world.

I played a near-final version of the new Builders Cup Intro Series, which features three tracks and three cars — a 2019 Subaru STI S209, 2018 Honda Civic Type R, and 2018 Ford Mustang GT. On top of the actual races, the Builders Cup career mode includes a robust vehicle-customization system and the Challenge the Grid betting module. Developers at Turn 10 Studios have discussed this section of the game at length, but the preview marks the first public playtest of these roads, cars and systems.

Put simply, they feel fantastic.

Turn 10 Studios

Turn 10 knows how to build a smooth, responsive racing game with dynamic vehicles and tracks. Forza Motorsport is the ultimate showcase of these skills. Each car in the intro series handles differently, but none of them feel unwieldy. The Ford can’t cut corners as sharply as the Subaru or Civic, but it’s a powerhouse on the straightaway; the Civic is more floaty than the Subaru; the Subaru can handle quick braking better than the other two. These unique features are baked into each vehicle, but the customization screen also allows for fine adjustments that truly affect the way they drive.

The beginning of Forza Motorsport is inviting in numerous ways. It offers a difficulty slider, three modes of play, a bounty of training and real-time assist options, and a rewind button (my absolute favorite feature). In Driving Assists, I turned the Global Presets down to light, set the Suggested Line on for braking only, and I kept ABS on, with automatic shifting. This configuration helped me feel in control on the tracks, and the customization made me comfortable experimenting with new angles and turn speeds in practice laps.

Turn 10 Studios

This is also where the rewind button became my best friend. If you’re new to Forza, rewind might seem like a silly feature for a game that takes racing so seriously, but it’s absolutely necessary for the pacing of practice rounds specifically. Rewind allows racers to mess up and quickly reset without leaving the track, and it encourages players to try, try again. It encourages play, and it’s a lovely feature — one you can turn off at any time, if you think gaming should be pure punishment.

One of the main reasons Forza Motorsport feels so great is its framerate. Motorsport runs at 60 fps on all platforms, including Xbox Series S, and I didn't notice any dropped frames during my playthrough on that console. This is vital for a racing sim, but feels especially notable when many AAA games today are either locked at 30 fps or fail to hit 60 fps on Series S. Microsoft requires feature parity between the Xbox Series X — the most technically powerful console on the market — and the Series S, Microsoft’s less powerful, cheaper and most popular option this generation. In the case of games like Star Wars Jedi: Survivor, Redfall and Starfield, developers have prioritized high resolutions in big, dense worlds over framerate, often to the detriment of combat and animations on the cheaper console.

Responsiveness is paramount in a racing game, and Turn 10 clearly knows this. The studio prioritized the proper things in order to hit 1080p and 60 fps on Xbox Series S, and the result is a game that looks pretty, but plays beautifully. Ray-traced global illumination and dynamic lighting make the cars and roads sparkle, and the environments along the tracks are busy without being distracting. So far, Forza Motorsport offers a strangely serene, high-octane experience, and I’m eager to dive into the full game.

Turn 10 Studios

There was drama recently over some features that won’t be in Forza Motorsport at launch, namely spectator mode, AI racing in featured multiplayer, and splitscreen — and that last one is a sensitive topic for Xbox owners. In August, Baldur's Gate III creator Larian Studios had to delay the game's Xbox versions because they couldn't make splitscreen work on Series S, despite it running fine on Series X. Larian eventually worked out a deal with Microsoft and it plans to release Baldur's Gate III on Series S without the feature later this year, but Xbox players still remember that sting.

After playing Forza Motorsport's Builders Cup intro series, I’m finding it hard to be concerned about the missing features. Turn10 is crafting a solid racing sim that nails the basics of responsiveness, customization and accessibility. It's a clean, polished foundation for years of DLC to come, and there’s already plenty to mess around with in the game’s first hours.

Forza Motorsport is made to be replayed. After 18 years and seven installments, 2023’s Motorsport is the final game that Turn 10 plans to release in the series, and it’ll serve as the foundation of a live-service system. The goal is for Motorsport to be a hub for regular content drops (new maps, vehicles and challenges) over the coming years, with social and sharing features built into the experience. It makes a lot of sense for the franchise.

In the game’s introductory stages, Motorsport strikes a compelling balance between customization and complexity, making each track bingeable off the bat. The game’s forgiveness stems from its malleability; nearly every setting is customizable, from vehicle upgrades, to AI difficulty, accessibility options and actual driving mechanics. This means that, when something goes wrong during a race, it doesn’t feel like the game’s fault. Forza Motorsport offers a true, repeatable test of player skill. Plus, it’s really pretty, even on Xbox Series S.

Forza Motorsport is scheduled to hit Xbox Series X/S and PC on October 10.

X, the company formerly known as Twitter, may not be labeling its ads properly, putting it at risk of — once again — running afoul of the FTC. There have been numerous reports over the last several days of ads appearing in users’ timelines without being labeled as such, according toTechCrunch, which was first to report on the stealth ads.

According to their reporting, as well as reports from industry groups, users have identified numerous ads that leave off the typical “Ad” label that identifies the post as paid advertising rather than a native post. It’s apparent that the posts are, in fact, ads when clicking into the “...” menu in the tweet, which indicates the tweet is a paid promotion.

While the unlabeled ads have irked users, who may mistakenly believe the platform is showing posts from accounts they don’t follow in their following timeline, the issue also risks stirring up more regulatory trouble with the FTC. Nandini Jammi, co-founder of watchdog group Check My Ads, has been sharingexamples on her Twitter account over the past couple days. The nonprofit group is tracking the issue and encouraging X users to report any examples they find.

It’s unclear if the unlabeled ads are the result of a bug or an intentional change by the company. X, which no longer has a functioning communications department, didn’t respond to a request for comment.

But it’s no secret the company’s advertising business has collapsed over the last year since Elon Musk took over the company. Musk recently said ad revenue is down 60 percent, a drop he has blamed on activists. The company also recently losttwo top executives overseeing brand safety, an issue advertisers have cited as a major concern and reason for pulling back from the platform.

Recording Academy CEO Harvey Mason Jr. is setting the record straight. After Variety reported earlier this week that an AI-generated track echoing the voices of Drake and The Weeknd would be considered for a Grammy Award, Mason is insisting that’s not the case. The track, Heart on My Sleeve, was created and submitted for consideration by someone using the pseudonym “Ghostwriter.” The song features lyrics written by Ghostwriter but imitates the voices of the rappers without consent.

Despite that, in an interview with The New York Times, Mason suggested the track would technically be eligible in songwriter categories because of the lyrics. “As far as the creative side, it’s absolutely eligible because it was written by a human,” he said.

However, it seems things have changed. In a recent Instagram post, first spotted by Deadline, Mason offered some clarity. The CEO made it clear the song “is not eligible for Grammy consideration.”

“Let me be extra, extra clear: Even though it was written by a human creator, the vocals were not legally obtained, the vocals were not cleared by the label or the artists and the song is not commercially available and because of that, it’s not eligible,” he said.

Based on Mason's statement, it appears the problem isn't with the fact that the track was generated using AI, but thorny issues around consent. This could possibly mean that The Grammys would consider tracks that were created by AI as long as the necessary permissions were granted and it was distributed through the proper channels. But while Mason believes the industry will have to evolve and adjust to AI, copyright issues remain complicated. And Heart on My Sleeve was recently pulled from streaming services, including Apple Music, Spotify, Tidal and YouTube, after a complaint from Universal Music Group — which represents both Drake and The Weeknd.

“I take this stuff very seriously,” Mason said. “It’s all complicated, and it’s moving, really, really quickly. I’m sure things are going to continue to have to evolve and change."

As for Ghostwriter, the creator has already released a new song using AI to imitate rappers Travis Scott and 21 Savage. The new song, Whiplash, was posted to social media platforms, including TikTok and X, formerly known as Twitter, instead of Spotify and other streaming services. Ghostwriter also tagged the rappers requesting an official collaboration. While the song seems to be resonating with some fans on the platforms, neither Scott nor 21 Savage have responded.

Patreon creators have a new option to interact with fans, as the subscription platform just rolled out a group chat feature. This community chat allows creators to interact with adoring fans, but also lets subscribers talk to one another in a space outside of comments. Creators can have up to four chats going at once and there’s a toolset in place to allow certain restrictions as to who can participate. For instance, a creator can limit a specific chat to various subscriber tiers.

Patreon group chats are exclusive to the mobile app for now, but the company says a desktop version is in the works. Yes, this all sounds suspiciously like Discord, which Patreon acknowledges, referring to the feature as “essentially a simpler, in-app Discord server.” However, it’s not like Discord has a patent on group chats. Patreon says the tools aren’t meant to replace Discord, as creators will still have access to an integrated experience with the third-party app. In other words, they can choose which chat method they prefer.

You’ll be able to do more in chats than just spit out hot takes regarding your favorite creator’s published content. The rooms allow for the sharing of photos and emojis, in addition to plain-jane text. Obviously, there are moderation tools in place for creators to limit noxious content. The company says that a future update will allow creators to enlist fans to assist with moderation, so you can, uh, actually pay money to work.

To make these group chats feel more like an actual community, Patreon has also introduced a new member profile feature. This allows you to customize your name, photo, social media links and bio, so your fellow chatters can get to know you better. The company told Engadget that all of these tools will be useful “to enable deeper connections with fandom communities.”

Patreon group chats are already rolling out to select creators, with wider availability in the coming months. The subscription platform has been busy adding new features to aid creators and fans. It recently introduced tools to publish subscriber-only podcasts on Spotify and unveiled a native video toolset.

The developer of Only Up!, a viral indie climbing game that blew up in popularity on Twitch streams, has delisted the title from Steam. After receiving accusations of using infringing assets and promoting NFTs, the game’s creator said they plan to “put the game behind” them due to stress. “What I need now is peace of mind and healing,” wrote developer SCKR Games.

The developer posted an update on the title’s Steam page explaining the decision, as first spotted byPCGamesN. “I’m a solo developer and this game is my first experience in Gamedev, a game I did for creativity, to test myself, and where I made a lot of mistakes,” SCKR Games wrote on Steam. “The game has kept me under a lot of stress all these months. Now I want to put the game behind me. And yes. The game won’t be available in the [Steam] store soon, that’s what I decided myself.” The title was delisted at the time of this article’s publication, with its name changed to “not available.” You can view a cached version of the game’s listing on the Internet Archive’s Wayback Machine.

The title’s absurd difficulty became its calling card — likely a big reason it was a hot destination on Twitch. Players stepped into the shoes of Jackie, a teenager from the projects with dreams of rising out of poverty. Inspired by “Jack and the Beanstalk,” the developer tasked gamers with climbing and parkouring through elaborate mazes of pipes and other objects stretching into the sky. Lacking a save feature, it put you back at square one after falling. “The point is that each successive level raised the stakes in the game, the higher you climb the more painful to fall,” the developer wrote on the Only Up! Steam store page. However, the title did include a time-slowing feature to help fine-tune the more difficult leaps.

SCKR Games / Steam

According to data viewed by PCGamesN, Only Up! attracted up to 280,000 concurrent viewers on Twitch at its peak. A YouTube walkthrough from ‘iShowSpeed’ (Darren Jason Watkins ) has garnered 5.6 million views in two months.

This isn’t the first time Only Up! has been removed. SCKR Games delisted it in late June following the games’ alleged copyright violations. A 3D artist accused SCKR Games of using a Sketchfab asset, a giant statue of a girl that wasn’t licensed for commercial use. (The game cost $10.) Only Up! returned in early July with a statue of Atlas replacing the infringing one.

The one-person SCKR Games says it will return with a new project. “I plan to take a pause, and continue my education in game design and further with new experience and knowledge to direct my energies to my next game with the working title Kith — it will be a new experience and a new concept with realism, a completely different genre and setting, and the emphasis is on cinematography,” the developer wrote. “This time I hope the project will be created by a small team. This is a challenging project on which I want to significantly improve my skills in game design. Thank you for your understanding.”

Thank the social media makers. Meta’s Threads is officially rolling out a keyword search feature in the United States, alongside many other countries including India, Canada, Mexico and the UK. This has been one of the most asked-for tools since the platform launched in July. Keyword search appeared last week as a beta in New Zealand and Australia, and it looks that beta was a success given today’s announcement.

Keyword search, known as hashtags or text search in some circles, is vital for connecting with communities and for following real-time events. Oddly, Threads is the first major Twitter/X competitor to integrate the feature, which could spell even more trouble for Elon Musk’s beleaguered social media site.

A Meta representative told Engadget that keyword search is being integrated into both mobile apps and the recently-launched web app, so you’ll have your pick of where to search for Star Trek fans or whatever it is you’re into. The company said it’s working on bringing the search function to other languages and countries in the near future. Before this update, you could only use search to look for active Threads accounts.

Meta has been aggressive about adding features to Threads, which is good because the app had an extremely strong start but has fizzled since the initial launch. Maybe this latest update will entice users to return to the service.

A couple weeks ago, Sega did something it doesn’t normally do: it gathered up a bunch of its studios (Atlus, Amplitude, Sega of Europe and others) and put together a showcase highlighting a number of titles coming out over the next few months.

Sonic Superstars (Release date: October 17)

Like a lot of people, I have a love-hate relationship with Sonic. While the original games on the Genesis produced iconic levels like the Green Hill Zone and unforgettable characters like Tails, Knuckles and the lovable blue hedgehog himself, more recent titles often miss the mark (to put it politely). Sonic the Hedgehog ‘06nearly broke me and the Sonic Boom series was a particularly dark period for fans of speedy protagonists.

But Sonic Superstars feels like a return to form, expanding on the breakneck 2D gameplay the franchise was best at, while adding a super crisp art style that doesn’t rely on 16-bit nostalgia. Stages like Cyber Station Zone offer fun twists on the formula by letting you transform into voxelized squids or rockets as you traverse the level. In a lot of ways, it feels like Sega is finally giving side-scrolling Sonic games the overhaul they’ve needed for more than a decade, similar to what Nintendo is doing with Super Mario Bros. Wonder.

Furthermore, Sega has added multiplayer co-op to a 2D Sonic game for the first time, and not coincidentally, it plays a lot like a modern Mario title. Health, or in this case rings are shared between all the players, so as long as your party possesses a single shiny loop, you can revive your friends (except for during boss fights). The one small issue is that due to the pace of the game, if you die you might get stuck in a floating bubble for a bit until things slow down and your friends get a chance to break you out.

Persona 5 Tactica (Release date: November 17)

This is probably the game I was most excited to try out, and even with high expectations I did not come away wanting. Not only is it a treat to hear more riffs on one of the greatest video game soundtracks in recent memory, there are so many mechanics from the JRPG franchise that transition seamlessly to the tactics genre, I’m kind of surprised it took Atlus this long to make a Persona spin-off like this.

Right away the game introduces concepts like team attacks and knockdowns that had me thinking about how to take down enemies in the fewest moves. And instead of Persona’s traditional elemental affinities, Tactica introduces new cover mechanics that make the game feel like a mix between XCOM and the Mario + Rabbids series. The chibi-style art is also fun and expressive without being too kawaii.

Also, while it’s always nice to have played Persona 5 for the added context, the title is a self-contained story featuring new characters, so you don’t need to spend 50+ hours playing P5 before diving into this.

Persona 3 Reload (Release date: February 2, 2024)

I don’t have much to say about Persona 3 Reload aside from I’m thankful that this game is finally getting the remake it deserves. The original basically paved the way for the last 15+ years of Persona RPGs. It’s kind of a shame Atlus isn’t including some of the extra content from Persona 3 FES and the PSP port (notably the female protagonist), but with discs for the original PS2 game becoming harder and harder to find, it’s nice to have a great looking and more widely available version coming in early 2024.

Endless Dungeon (Release date: October 19)

While I’m familiar with some of Amplitude Studio’s previous titles, the latest entry in the Endless series might be the most pleasant surprise I encountered at the showcase. It’s a twin-stick shooter with squad-based gameplay that’s layered on top of rogue-lite mechanics that allow you to unlock things like new weapons, characters and abilities. You can choose to go it alone and control up to three heroes at the same time (with some automated assistance) or play co-op (both local and online) with friends. Either way, the game is refreshingly challenging.

As you explore and open doors, you’ll unleash waves of enemies, collect items and upgrade skills. When you reach the final room, you’ll face a huge horde and even with one of the devs giving me pointers, we didn’t survive. But that merely highlighted the depth of the game’s strategic elements. From what I played, Endless Dungeon has exactly what I look for in a rogue-lite: deep mechanics and solid replayability (with engaging co-op as a bonus).

But my favorite thing is that, despite Sega’s long history on consoles, all of the games above will also be available on PC. This is a move the publisher said it wanted to embrace after seeing strong sales on Steam during the pandemic. Regardless, whether you’re an old-school 2D platformer junkie or someone who just wants more tactics games, there’s a lot to like from Sega’s growing family of studios. And that’s even with me running out of time to check out some of Sega’s other upcoming releases like Total War: Pharoah or Like a Dragon Gaiden: The Man Who Erased His Name.

YouTube is testing a different approach to ads on smart TVs, as well as its apps on connected devices like Apple TV and game consoles. The platform is experimenting with having longer ad breaks but fewer of them on those devices, which it refers to as connected TV or CTV experiences.

The idea is to show you ads in a way that's better aligned with each platform where you watch YouTube. On mobile, you might be more inclined to watch content like Shorts in more bitesize chunks, so shorter, rapid-fire ad breaks may make more sense. However, YouTube notes that nearly two-thirds of CTV watch time in the US lasts at least 21 minutes — around the length of a sitcom episode on broadcast TV.

The service cites research indicating that 79 percent of viewers would prefer that YouTube bunch ads together rather than spreading them out over the duration of a longer video. As such, YouTube believes that minimizing disruption is the way to go, and having longer, fewer ad breaks is one idea it's trying.

It sounds a bit like the UK TV industry's approach to advertising versus how US networks handle things. You might have time to make a cup of tea during a Coronation Street ad break in Blighty, but good luck doing that between segments of a Grey's Anatomy episode Stateside.

It's unclear exactly how YouTube plans to divvy things up, such as if it will have one four-minute break per hour instead of four one-minute ad slots. The service also didn't say whether it will show more ads overall if it moves forward with this plan.

YouTube

In addition, YouTube is looking into ways of being more transparent about the total length of ad breaks rather than showing the time remaining for each individual spot. Romana Pawar, YouTube Ads director of product management, wrote that the platform will soon publicly test an ad experience along those lines — you'll see just how long you have to wait before you can skip the remaining ads.

YouTube has been tinkering with CTV ad formats for quite some time. Earlier this year, it announced unskippable 30-second ads for its TV apps. You can probably expect the service to keep experimenting with how it presents ads across platforms. Alternatively, you can free yourself from having to put up with (seemingly less frequent) interruptions by stumping up for YouTube Premium's ad-free experience.

The person behind an AI-generated song that went viral earlier this year has submitted the track for Grammy Awards consideration. The Recording Academy has stated that such works aren't eligible for certain gongs. However, Ghostwriter, the pseudonymous person behind "Heart on My Sleeve," has submitted the track in the best rap song and song of the year categories, according to Variety. Both of those are songwriting honors. The Academy has suggested it's open to rewarding tracks that are mostly written by a human, even if the actual recording is largely AI-generated.

Ghostwriter composed the song's lyrics rather than leaving them up to, say, ChatGPT. But rather than sing or rap those words, they employed a generative AI model to mimic the vocals of Drake and The Weeknd, which helped the song to pick up buzz. The artists' label Universal Music Group wasn't happy about that and it filed copyright claims to remove "Heart on My Sleeve" from streaming services. Before that, though, the track racked up hundreds of thousands of listens on Spotify and more than 15 million on TikTok.

Over the last few months, Ghostwriter and their team have been making overtures to industry bigwigs such as Academy higher ups, according to The New York Times. As it turns out, Ghostwriter may actually have a shot at picking up a Grammy. “As far as the creative side, it’s absolutely eligible because it was written by a human,” Academy CEO Harvey Mason Jr. told the Times.

It seems there's one major roadblock as things stand, though. For a song to be eligible for a Grammy, it needs to have "general distribution" across the US through the likes of brick-and-mortar stores, online retailers and streaming services. Ghostwriter is reportedly aware of this restriction, but it's unclear how they plan to address that.

In any case, this may well be a canary in the coal mine for rewarding the use of generative AI in art. Many creatives are concerned over the issue. Some have accused the operators of generative AI systems of using copyrighted work to train their language learning models, while a major sticking point in the ongoing actors' strike is whether performers will be compensated fairly for the use of their digital likenesses. Whether the output of generative AI models can be considered truly original work is a contentious topic as well.