Meta started removing COVID-19 misinformation early into the pandemic, but it's now wondering if it should take a gentler approach. The Facebook owner has asked the Oversight Board for advice on whether or not it should continue its existing coronavirus policies now that the pandemic has "evolved." The company provided multiple options for the Board's consideration, ranging from the status quo through to significantly softer approaches.
The social media giant suggested that it might temporarily stop the immediate removal of false COVID-19 claims and either limit its distribution, submit it to independent fact-checkers or apply labels steering users toward accurate information. Meta was also willing to continue removing at least some misinformation, but said it would stop pulling content when it no longer represents an "imminent risk of harm." The Board would provide guidance on how Meta would make that decision.
Global Affairs President Nick Clegg characterized the advice request as an attempt to strike a balance between "free expression" and safety. The Board's decision would not only help shape that balance, but would aid Meta in responding to future health crises. Clegg noted that Meta had removed 25 million instances of bogus COVID-19 content since the pandemic began, and that it now had resources including its own virus information center as well as guidance from public health authorities.
The Board is also tackling multiple potentially important cases in other areas. A transgender non-binary couple is appealing Instagram's decision to remove two images of (covered-up) nudity despite some moderators determining that the convent didn't violate the site's pornography policies. Meta stood behind its decisions to remove the posts, but the couple said the company didn't provide an adequate answer and shouldn't censor transgender bodies at a time when trans rights and healthcare are under threat.
Another dispute challenges Instagram's decision to remove a video playing a snippet of Chinx (OS)' drill music tune "Secrets Not Safe" after UK law enforcement claimed the rap song's lyrics (referencing a past shooting) could promote real-world harm. A fourth case, meanwhile, concerns an appeal from a Latvian user who allegedly promoted violence with a post accusing Russia of fascism and referencing a poem that called on people to kill fascists.
While all of the cases could have a significant effect on Meta's policies, the possible changes to the firm's COVID-19 misinformation response may draw the most attention. Critics have repeatedly argued that Meta wasn't doing enough to fight misinformation, pointing to evidence that people who lean heavily on Facebook for news are more likely to believe false claims about vaccines and the coronavirus. Meta's request for advice runs counter to that criticism, and could raise fears that misinformation will spread rapidly.
Framework launched last year with the promise of building laptops that you could upgrade yourself with little more than a screwdriver and some patience. Now, 12 months after making its debut, the company is shipping out its first round of upgrade kits to keep those machines up to date. It’s a good start, as the outfit makes good on its pledges to make a modular, repairable machine and to bring existing users along with any future tweaks to the system. After almost breezily swapping out a first-generation mainboard for its replacement, I can say that we’re getting close to a brand new era for computing.
In order to show off how easy it is to upgrade, Framework sent over its 2021-era model, which was powered by an 11th generation Intel Core chip. In the package, but in a separate box, was a brand new 12th generation (Alder Lake) Intel Core chip attached to a mainboard. The idea, put simply, is that you can pull out the mainboard which holds the CPU and I/O, while preserving pretty much everything else. The existing RAM, SSD, WiFi card, battery, audio gear, screen et cetera, can all be reused until they break or otherwise need upgrading as well.
Upgrading or replacing any component inside Framework’s chassis requires you to use a Torx T5 screwdriver (included in the box). Naturally, replacing the mainboard is the most involved upgrade you can make since it requires you to pull apart everything else to gain access to it. Thankfully, Framework produces iFixit-style guides for you to follow, and every component is either color-coded or labeled. And there are QR codes on each unit which link to tutorial videos and support pages to help you get where you need to go.
The company announced earlier this year that it would offer a trio of new mainboard options catering for different budgets. $499 gets you a 12th generation i5-1240P, while $699 gets you an i7-1260P. If you are eager to live on the cutting edge at all times, and have the cash to spare, you can opt for the Core i7-1280P for $1,049. That’s steep, but the argument goes that buying a whole new laptop would cost you more. That said, I don’t expect users to go mad for these annual upgrades, but more likely look for a new mainboard every two or three years to keep up to date.
As for the upgrade process, I have, not necessarily a gripe, but a couple of things that are worth flagging. If you are coming to this as a novice, you’re going to take far longer than the 15 minutes promised in the how-to guide. With practice, you’ll get faster, but I think these guides need to be a teensy bit friendlier to the unenlightened amateur. Similarly, I’m not a big fan of ZIF connectors, which require you to gently slide in a ribbon cable no bigger than your fingernail into the necessary fixing. Especially since they’re small, and I’d be worried that one mis-timed sneeze would wind up costing you $699 of your own money.
Daniel Cooper
At the same time, Framework is launching two other products that show its commitment to listening to its users and making sure that OG purchasers aren’t left behind. The first is that the company is releasing its first new expansion card, which is a 2.5-gigabit Ethernet adapter. This is, in a word, very cool, ditching the standard all-metal body for a transparent plastic shell that makes it look like one of those special edition Game Boys from the ‘90s. The cyberpunk aesthetic also helps to cover the fact that, in order to accommodate the Ethernet port itself, it’s significantly larger than the rest of the expansion cards – it sticks out the side of your laptop, but in a cool way.
That came in pretty handy during my installation, since a missing WiFi driver (thanks, Microsoft) meant I couldn’t connect to the internet after my initial upgrade. (This has since been resolved, but one of the pitfalls of testing hardware long before it reaches the public). Being able to slam in an Ethernet port and hook it up to my network to resolve the issue was a godsend. Not to mention that, like all of the spare expansion cards the company offers, it’s another step toward making the laptop something more like a Swiss Army knife.
And then there’s the top cover. Now, I didn’t have many complaints about the amount of flex in the machine when it launched last year. But Framework’s engineers weren’t happy, and so redesigned the display enclosure to be CNC-milled from a solid block of aluminum. It adds some extra rigidity to the frame, and is available as standard on all new Framework laptops sold going forward, as well as being bundled in the mainboard replacement kits. But, again, rather than leave existing customers who don’t want a new CPU on the fence, you can also buy a standalone top cover for $89, and if the company can keep with this commitment of always bringing existing buyers along, then it’s going to earn a devoted, and loving fanbase.
Finally, with the upgrade finished, there’s the small matter of what users will do with the now discarded mainboard. Framework is offering users open-source plans to build desktop-style enclosures for the boards to encourage re-use, and hobbyists are already using them as the basis of their own super-cool modding projects. GitHub user Penk, for instance, has built this retro Mainboard Terminal that looks like it’s fallen out the back of a copy of Fallout. If I didn’t have to send all of this back, and I had any sort of skill at building things, I’m fairly sure I’d be trying to build something super-cool myself.
And perhaps that’s the other gift that Framework can keep giving — the notion that users should feel empowered to get their hands dirty after being told that their machines have been off limits for so long.
It’s tempting to import the Nothing Phone 1. The combination of eye-catching design, well-rounded performance and a reasonable price can make it more appealing than other mid-range smartphones, and even some pricey flagships. But is it really worth the effort to bring the Phone 1 to the US? Not necessarily. There are a number of challenges you’ll have to overcome, even once the device reaches your hands.
Importing may cost more than you think
The Phone 1 is priced at £399 in the UK and €469 in EU countries, or about $478 US as of this writing. However, you can’t just send one to an American shipping address. We haven’t found a major UK or EU retailer that will ship Nothing’s product to the US, and it’s unlikely that you will given the Phone 1 hasn’t received the FCC certification needed for legal sales inside the country.
Unless you know someone willing to serve as a go-between, you’ll need to enlist the help of a package forwarding service that will ship the Phone 1 to a US address. In the UK, your options include companies like Forward2Me, MyUS and Reship. Many of them will handle single shipments, but you may need to sign up for a membership (typically $10 per month). And an individual order can be expensive. Forward2Me, for instance, currently estimates that you’ll pay between $29 to $47 to ship a common smartphone box.
You might not have to pay significant import fees, at least. While US Customs and Border Protection does require a Merchandise Processing Fee (between $2 and $10 for informal entries like this), you can import personal-use products duty- and tax-free when they’re worth less than $800. Package forwarders will handle the paperwork, and will frequently quote the true shipping price. With that said, be sure to read the terms for these services and prepare for the possibility of extra charges.
The phone might not work properly
Mat Smith/Engadget
The expenses may not be the real dealbreaker. If anything, you’ll need to worry more about network compatibility. While the Nothing Phone 1 does support some US carriers’ 5G and LTE frequencies, it lacks long-range bands for T-Mobile and Verizon. You won’t get as robust coverage, and the performance may fall short. In testing, PCMag’s Sascha Segan noticed that the Phone 1 only managed 100Mbps downloads on 5G in areas where other phones reached 400Mbps.
This is assuming you can get the handset to work in the first place. Without certification from the FCC or American carriers, there are no guarantees you’ll get connected. Nothing warns that the Phone 1 can’t place 5G or LTE calls on AT&T as an uncertified device, and Segan lost Verizon service after two hours of use. Don’t expect the functionality to improve, either. As Nothing founder Carl Pei explained to PCMag, US certification wasn’t worth the trouble without a local carrier agreement; any broken connectivity is likely to stay broken.
After-sale support is a problem, too. Nothing’s warranty only covers service within the original purchase region, so you can’t ask for official help. We also wouldn’t expect independent repair shops to fix the Phone 1. You’ll probably have to buy a brand new phone if something breaks, in other words.
What are the alternatives?
Google
Pei has indicated that community investors in the US might get the Phone 1 through a closed beta program. Nothing also has “big plans” to launch a US-friendly phone at some stage. If you’re not part of that beta and aren’t willing to wait for a sequel, though, you’re probably better off buying an alternative device. Thankfully, there are a few viable models in the sub-$500 range.
Google’s Pixel 6a (launching July 28th) may be the easiest choice. It won’t have the Phone 1’s smooth 120Hz screen, wireless charging or dual 50-megapixel rear cameras, but you will get a speedy processor and the latest Google software features for a modest $449. If you crave a high-refresh screen, Motorola’s 144Hz-capable 2021 Edge is on sale for $400 as we write this. And yes, the iPhone 11 is still surprisingly capable if you don’t mind the three-year-old specs.
We’d advise against Samsung’s sluggish Galaxy A53 5G, but it is an option if you’re determined to get a 120Hz display or simply prefer the safety of a large brand’s ecosystem. You might also want to wait awhile. Apple should have a better $500 device when it updates the iPhone lineup in September (possibly the iPhone 12), and the solid Galaxy S21 FE may see further price cuts.
Transit app Moovit is aiming to be more helpful when it comes to helping users get to their destination. Starting today, the app is rolling out more personalized trip-planning features in 3,500 cities across 112 countries to build on its existing route suggestions.
One of new functions is called Smart Cards. Intel-owned Moovit will populate travel suggestions on the home screen based on factors such as your location, the time of day and week, your previous activity and items you mark as favorites. For instance, if you're out and about and you have your home set as a favorite destination, Moovit will automatically suggest the best transit options to get back there. On the flip side, if you have your work address saved, the app will offer transit suggestions for traveling there during weekday morning commute hours.
A "recent trips" card will display transit options for destinations you've searched within the last 30 days on the same day of the week and at around the same time. You'll also get transit suggestions for a nearby stop that you've marked as a favorite and departure details for nearby stations. In addition, you'll have the option to return to your last trip itinerary. You can swipe between all these cards, which will appear just below the search bar.
Moovit
Another of the three new features is called Smart Trips. You'll be able to set your preferred transit options when you set up the app or through the preferences menu on the Suggested Routes screen. That should be useful for those who, for instance, prefer not to take the subway. While you can select transit options in Google Maps, it's on a trip-by-trip basis. Being able to save preferred modes of transport should save Moovit users some time.
The last of the new features is Smart Returns. You can quickly select a trip back to the last location you departed from. You'll be able to set a departure time for the return journey on the Itinerary screen and receive a notification with suggested routes when it's time for you to get going.
Instagram is making it a little easier for creators to make a living from their merch. The social network has introduced the option to shop through chats. Message a small business and you can ask questions, receive product details and check out (using Meta Pay, naturally) without leaving the conversation. You can buy and customize that must-have shirt without visiting a website or looking for a shoppable post. The feature is available through qualified small businesses in some countries. We've asked Meta for more details.
Chat-based shopping isn't a surprising move. You can already shop through WhatsApp chats in many countries. This expansion could make Instagram chats just as viable for shopping, and might be particularly useful in North America and other regions where WhatsApp doesn't have much clout. If nothing else, this makes Instagram more of a full-service storefront — you might never need to leave the app to address your concerns.
As the boundaries between developed spaces and wildlands continue to blur, the frequency and intensity of human-animal interactions will surely increase. But it won’t just be adorably viral trash pandas and pizza rats whistling on your veranda — it’ll be 30-50 feral hogs in your garbage and birds of prey predating upon your precious pekinese. Next thing you know your daughter’s knocked up and the fine china’s missing! But it wasn’t always like this, Peter Alagona explains in his new book, The Accidental Ecosystem. He explores how and why America’s cities — once largely barren of natural features — have exploded with wildlife over the past 150 years, even as populations have declined in their traditional habitats.
In the excerpt below, Alagona examines our long and complicated relationships with the coyote, one that has lasted for millennia and ranged from reverence to revulsion, a narrative now influenced by the social media hivemind.
Urban adapters and exploiters may be prepared for life among people, but are people prepared for life among them? In the 1970s and 1980s, when coyotes started showing up more often in dozens of American cities, residents and officials were unprepared, and many were unwilling to accommodate animals they saw as dangerous interlopers. As one teenager who lost her toy poodle to a coyote told the Los Angeles Times in 1980, “Coyotes make me mad. They take care of our rats, which are really disgusting. But I hate coyotes.” The same year, the Yale social ecology professor Stephen Kellert found that, among US survey respondents, coyotes ranked twelfth from the bottom on a list of “most liked” animals, above cockroaches, wasps, rattlesnakes, and mosquitoes but below turtles, butterflies, swans, and horses. The most-liked animal was the dog, which is so closely related to the coyote that the two can mate in the wild and produce fertile offspring.
In his 2010 book Some We Love, Some We Hate, Some We Eat: Why It’s So Hard to Think Straight about Animals, the anthropologist Hal Herzog wrote that “the way we think about other species often defies logic.” This is not to say that our ideas about animals are arbitrary, but rather that the ways we think about them are shaped as much by history, culture, and psychology as by physics, chemistry, or biology. In the absence of this social context, people’s ideas about and actions toward other animals can seem nonsensical, hypocritical, or downright weird.
Animals are often presumed innocent or guilty — and thus treated with respect or contempt — based on the baggage our culture, through art or literature or tradition, has forced them to carry. An animal’s inherent or perceived qualities also matter. We tend to give the benefit of the doubt to creatures that are big, that we think are cute, pretty, majestic, or humanlike, that seem to embody admirable qualities such as grit, entrepreneurship, or good parenting, or that at the very least leave us alone. Yet such perceptions rarely reflect a species's real behavior or ecology. Many people see rats as disgusting or dangerous, even though most rats pose little threat to most people most of the time. Cats, meanwhile, seem friendly and cuddly despite being ferocious predators and disease-ridden ecological wrecking balls.
Mass and social media play especially important roles in shaping perceptions. When large and charismatic wildlife species started showing up in many American cities more frequently in the 1970s and 1980s, around the time of Kelly Keen’s death, newspapers and TV shows often adopted one of two tones: irony or sensationalism. Ironic images and stories emphasized how surprising it was to see wild animals showing up in supposedly civilized areas. Sensationalistic stories emphasized conflicts between people and wildlife. They often used military metaphors about wars and battles or echoed the paranoid, racist, and xenophobic tropes of the day, comparing wildlife to undocumented immigrants, gang members, criminals, terrorists, and “super predators.”
These images were circulating in the media during an era when the proportion of Americans with firsthand experiences of wild places was flattening or even declining. During the 1970s and 1980s, \consumer products and better infrastructure fueled the growth of outdoor sports, including non hunting wildlife activities like bird watching and photography. Yet technology, which enabled so many people to enjoy the outdoors, also began inserting itself into these same people’s encounters with nature, first mediating and then replacing them. Video screens allowed Americans to spend more time watching virtual creatures and less time interacting with actual animals. Animal-themed visual media exploded in popularity, while zoos and museums struggled to attract patrons. Between 1995 and 2014, even the National Park system saw its annual per capita visitation slide by 4 percent.
It is not surprising, therefore, that the people who encountered wildlife in cities often reacted by treating these animals like the caricatures they read about in the news or saw on TV. For many, creatures like coyotes looked like either cuddly pets or bloodthirsty killers. Neither image was accurate, of course, but both had real world consequences.
When people who viewed coyotes with suspicion saw them in urban areas, often the first thing they did was call the police. Involving the police tended to turn a non problem into a problem or make a bad problem worse. Yet moving away from a law-enforcement-based approach has been difficult.
As late as 2015, New York City, which saw its first coyote twenty years earlier, was still often approaching these creatures as outlaws. That April, the New York Police Department, responding to an early-morning 911 call reporting a coyote in Riverside Park on Manhattan’s Upper West Side, deployed tranquilizer guns, patrol cars, and helicopters. The ensuing three-hour chase ended when officers failed to corner the fugitive canine. When questioned about the costly and time-consuming incident, the NYPD contradicted a statement previously issued by the Department of Parks and Recreation saying that the city would no longer pursue coyotes that did not appear to pose a threat. It turned out that the two departments did not have a written agreement spelling out this policy. NYPD officers were not trained on how to deal with coyotes, but it was up to them to decide how to respond. The result was predictable: the same excessive force that has plagued modern policing in general was mobilized to combat a wild animal that presented little if any risk.
Over time, some cities and their residents adjusted to their new reality of living with coyotes. Jurisdictions with ample budgets, supportive residents, and helpful institutions like zoos and museums developed research, education, conservation, and citizen science programs. Some parks and police departments started working together to develop new policies and practices, limiting the use of force and trying, with some difficulty, to respond only to genuine emergencies. One of the key messages wildlife officials stressed was that the decision to launch a response should depend on an animal’s behavior — whether it appeared injured or sick or was acting aggressively — and not its mere presence.
As such messages have percolated, attitudes have evolved. In New York, as people have become more accustomed to living with coyotes, fear has given way to tolerance and even a tenuous kind of acceptance. In some neighborhoods, individual coyotes have become mascots with names, backstories, and social media accounts. Few people actually trust coyotes, and most people don’t want them prowling around their backyards, schools, or playgrounds, but many communities have shown a growing willingness to embrace their furry neighbors.
As early as 2008, studies from suburban New York showed that most residents appreciated coyotes, enjoyed having them around, and even “found the likelihood of injury from a coyote acceptable.” But people’s willingness to live alongside coyotes in their communities dropped quickly when incidents occurred, suggesting that tolerance for them remained fragile. Overall, however, the longer most people lived with urban wildlife like coyotes, the more they viewed these creatures not as threats but as natural and beneficial members of multispecies urban communities.
The FCC's 25Mbps broadband standard seemed fast in 2015, but that was seven years ago — and the agency's current leadership believes it's time to raise that baseline. Chairwoman Jessica Rosenworcel has proposed raising the minimum definition of broadband to 100Mbps for downloads and 20Mbps for uploads. The previous 25/3 benchmark is both outdated and hides just how many low-income and rural internet users are being "left behind and left offline," Rosenworcel said.
The chair said multiple pieces of evidence supported the hike, including requirements for new network construction stemming from the Infrastructure Investment and Jobs Act. The FCC had already proposed upgrades to rural speeds through a special program, but this would affect the definition of broadband regardless of where users live in the country.
Rosenworcel also wanted the minimum speed to evolve over time. She proposed setting a much higher standard of 1Gbps down and 500Mbps up for some point in the future. The leader further suggested more criteria for determining the "reasonable and timely" rollout of broadband, including adoption rates, affordability, availability and equitable access.
It's unclear if the standards change will move forward. Ars Technicanotes any proposed upgrade would require a vote, and the current commission is deadlocked with two Democrats and two Republics. As the Senate has done little to advance commissioner nominee Gigi Sohn, there's no guarantee Rosenworcel (a Democrat) will get her way. Telecoms might not be thrilled, either. Comcast only last year raised the speed of its $10 Essentials tier to 50Mbps downstream — it and other carriers might have to invest in better networks to reach the 100Mbps minimum in some areas, let alone a possible 1Gbps threshold.
If you're looking for a way to upgrade your home's WiFi, Amazon's Eero 6 routers are a good option. Not only are there are a number of WiFi 6 options to choose from, but all of them have been discounted for Prime Day. The Eero 6 is on sale starting at $71, while the Eero Pro 6 starts at $148 for the two-day shopping event. The company's newest editions, the Eero Pro 6E and the Eero 6+, are available for $194 and $90, respectively.
Most people will be best served by either the Eero 6 or Pro 6 systems. The former can cover up to 1,500 square feet with just one node, and you can add additional routers into the mix to expand coverage for larger homes. It's a dual-band system that can reach speeds up to 900Mbps, and each router has two Ethernet ports built in. For Gigabit internet, the tri-band Eero Pro 6 is your best bet as it supports that level of speed, plus one router can cover up to 2,000 square feet.
Amazon came out with both the Eero Pro 6E and the 6+ earlier this year, but they're very different systems. The Pro 6E is the best WiFi 6 system you can get from Amazon right now, and it gives you access to the 6GHz band to reach speeds up to 1.3Gbps. Each node covers up to 2,000 square feet, and you'll be able to connect up to 100 devices at once. The Eero 6+ sits in the middle of the standard Eero 6 and the Pro 6 systems. The dual-band router will give you speeds up to 1Gbps, coverage for up to 1,500 square feet and a device cap of 75. Plus, it has access to a 160MHz radio channel, which should provide faster wireless speeds.
Meta is taking legal action against two prolific data scrapers. On Tuesday, the company filed separate federal lawsuits against a company called Octopus and an individual named Ekrem Ateş. According to Meta, the former is the US subsidiary of a Chinese multinational tech firm that offers data scraping-for-hire services to individuals and companies.
Octopus also sells software people can use to carry out their own data collection campaigns. According to Meta, this program first compromises the Facebook and Instagram accounts of the user by providing their authentication information to Octopus before proceeding to scrape all the data accessible to that individual’s accounts. The software can then obtain phone numbers, dates of birth and other personal information about every Facebook and Instagram friend connected to a particular Octopus customer. Meta alleges Octopus violated its terms of service and the Digital Millennium Copyright Act by offering an automated scraping service and attempting to avoid detection by the company.
“Companies like Octopus are part of an emerging scraping industry that provides automation services to any customer — regardless of who they target and for what purpose they scrape,” Meta said. “This industry makes scraping available to individuals and companies that otherwise would not have the capabilities.”
As for Ekrem Ateş, the individual Meta sued, the company says he used automated Instagram accounts to collect information on more than 350,000 Instagram users and later published that data on a series of clone sites where one could view the data of those individuals without their consent. Since the start of 2021, Meta says it has taken multiple enforcement actions against Ateş, including sending him a cease and desist letter and revoking his access to its services. This isn’t the first time Meta has used legal action to try and stop data scraping. In 2020, for instance, the company sued a Turkish national who scraped more than 100,000 Instagram profiles.
Additive manufacturing is one of the most important technological advances of the 21st century. It's revolutionized the way we build everything from airplanes and wind turbines to medical implants and nano-machinery — not to mention the tidal wave of creativity unleashed once the tech made its way into the maker community. In Cosplay: A History, veteran cosplayer and 501st Legion member, Andrew Liptak explores the theatrical origins of the craft and its evolution from costuming enthusiasm to full-fledged fandom. Liptak also looks at how advances in technology have impacted the cosplay community — whether that's the internet forums and social media platforms they use to connect, the phones and cameras they use to publicize their works, and, in the excerpt below, the 3D printers used to create costume components.
In the summer of 2017, I picked up a Nintendo Switch and began playing the latest installment of Nintendo’s The Legend of Zelda series, Breath of the Wild. My son, Bram, and I hacked and slashed our way through Hyrule. Featuring a massive open world, the game is full of fascinating costumes, objects, and weapons, and, without question, we settled on a Halloween costume for that year: one of the main character Link’s colorful outfits, to be accompanied by a handful of cool-looking items: a sword, shield, bow with quiver of arrows, and a magical tablet called a Sheikah Slate (a magical data pad).
My local library had just installed a 3D printer, and after a bit of poking around online, I found the files for the Sheikah Slate, then sent them a file to print. A day or so later, I had the white tablet in hand. After a little sanding, some paint, and a ribbon, I had a serviceable replica. When I came across another set of plans for a lightsaber-like Guardian Sword++ (1), I had a friend with a 3D printer of his own print me one. Before I knew it, I had two of my items for the character.
Courtesy of Andrew Liptak
The process of 3D printing also goes by “additive manufacturing,” “computer automated manufacturing,” “layered manufacturing,” or “rapid prototyping.”(2) The process starts with a designer-developed 3D object known as a Computer Aided Design (CAD), which the software converts to a file that can be read by a printer (usually a Standard Tessellation Language file, or STL). This STL file guides the computer to lay down plastic in a series of fine layers. As the machine lays down each successive layer, one can slowly build up a three-dimensional object like a part for a costume. While slow, the process allows makers to print extremely detailed objects that you might not be able to create with traditional manufacturing methods.
There are three main 3D printing methods makers can use. The most common is fused filament fabrication (FFF), in which a spool of thermoplastic (like ABS or PLA) is melted in a heated nozzle and extruded onto a build surface to form the object. The next method is stereolithography (SLA), in which a printer beams a laser into a vat of resin, bonding the material into a solid object, layer by layer, as it slowly works its way from bottom to top (or top to bottom). The third method is called selective laser sintering (SLS), in which a machine puts down a layer of powdered material like fine resin or metal. When the layer is in place, the machine uses a laser to trace the desired pattern, fusing the layer into the right shape. Once one layer is complete, the machine lays down another layer of powdered material, and the process repeats itself.
Each of these methods can be used in a variety of ways. Chemist David E. H. Jones had initially proposed the process in his New Scientist magazine column in 1974, observing that “many liquid monomers can be polymerised to solid by ultraviolet light, or even visible light. Accordingly, a laser-beam shone through a tank of monomer should leave an optically straight fibre in its path,” he wrote. “A laser beam aimed in the right direction zig-zags all around the tank to create an interlaced web of fibres. By proper settings of the mirrors anything from a Brillo-pad to a vest can be made: and with no moving parts at all (3)!”
Courtesy of Andrew Liptak
From here, engineers and scientists began to devise systems to realize his theory. In 1981, Japanese scientist Hideo Kodama wrote a paper for the Review of Scientific Instruments—“Automatic method for fabricating a three-dimensional plastic model with photo-hardening polymer”—in which he described the method for printing up an object (4), which several companies and entrepreneurs followed a couple of years later before registering a series of patents for specific systems. Thus, 3D printing was born.
The automated process initially found a home as a manufacturing technique. It allowed companies to construct new types of models, but also became an easy way to create a prototype of an object: one merely needed to develop a computer model and print it up, without having to manufacture a new set of molds or a machine part. But the process didn’t immediately become widespread, thanks in part to the patents that individuals and companies held on these techniques. That began to change in the mid-2010s as those patents expired, causing a boom in the availability of 3D printers. As Filemon Schöffer wrote in TechCrunch, “When the Fused Deposition Modeling (FDM) printing process patent expired in 2009, prices for FDM printers dropped from over $10,000 to less than $1,000, and a new crop of consumer-friendly 3D printer manufacturers, like MakerBot and Ultimaker, paved the way for accessible 3D printing (5).”
Prop-making studios in Hollywood have used the technology for years to create costumes, but the newfound availability of home devices has been a boon for cosplayers, allowing them to create individual props or entire costumes (6).
Before the widespread availability of 3D printers, sculptors had to rely on a variety of techniques to replicate costume parts: carving out EVA foam, making resin molds, machining metal parts, sculpting bucks for vacuum formers, and other techniques—a lot of effort if you’re looking to build only one item or a limited run of items. Now, a cosplayer can print up an entire preset suit of armor with a 3D printer.
Ahead of Dragon Con 2019, Jack Durnin of Charleston, South Carolina, decided to build a Martian marine from Syfy’s science-fiction series The Expanse. “I saw the promo for season two,” he told me at the convention, “and I saw the Martian marines in the teaser, and was like, ‘What is this show?’ ”and ended up binging the entire series.
Durnin was already an experienced hand when it came to costuming. In high school and college, he made short films, for which he built many of the sets, costumes, and props himself. As he got into cosplay, he built Commander Shepard’s N7 armor from Mass Effect. When he watched The Expanse, he realized that he could put together his own set of the Martian marine power armor.
While some of the show’s fans had tracked down the real-world helmets and components that the studio’s makers had used to create the onscreen costumes, the Martian marine costume was different. It was entirely original to the series, and if he wanted his own version, he’d have to make it himself, from the ground up. “I started with the helmet,” he explained, “because I knew that would be the hardest and would take the most time. I started with screenshots and then the initial shape, trading the three dimensions of the helmet, and then started sculpting it.” From there, he went to work on sculpting the forearms and armor, using the same EVA foam that he had used for his Mass Effect armor. Durnin and his then-girlfriend (now wife), Jenni Tyler, debuted their costumes at that year’s convention. Their work was rewarded by astonished onlookers and even garnered praise from the cast and crew of the show.
Access to a printer has another effect on the costuming community: it democratizes the field in a completely unprecedented way. In earlier days, a skilled modeler could produce a detailed model to sell to or share with the community at large. But this method inherently came with a bottleneck: said maker could produce their products only one by one. By creating a file and sharing it with others, ten or more makers could put together the piece at the same time. Hundreds of identical costumes could materialize worldwide almost simultaneously.
In the lead-up to Rogue One: A Star Wars Story, interested cosplayers started a number of groups to create costumes for one of the film’s new trooper classes: the shoretrooper. While some makers decided to go the traditional route of sculpting and vacuum forming their own versions, one maker decided to model up his own printable version.
Courtesy of Andrew Liptak
In 2016, Sean Fields launched a website featuring a Dropbox link that contained all of the files required to put together the costume. Best of all, he released the files at no cost for anyone to download on their own. As a result, hundreds across the world built their costumes from his design. Fans from the US, Europe, Asia, and elsewhere constructed the costume, turning out at events clad in it. Others followed: a maker named Paul Prentice developed his own set of highly accurate shoretrooper armor, which he gave to interested makers in exchange for a charitable donation.
This technology had another, unexpected side effect: it helped to shorten the amount of time it would take someone to develop and build a costume. “When I was first becoming a prop maker,” Brian Anderson explained to me at FAN EXPO Boston in 2019, “there was an enormous investment in being able to produce something.”
When Lucasfilm released the television series The Clone Wars in 2008, Anderson, a longtime member of the 501st Legion, wanted to build a set of clone trooper armor from the series. “It took me over a year to sculpt and produce the molds for that suit, and an investment of several thousand dollars and materials just to get to that very first set.” Making armor in that fashion, he explained, wasn’t something one could do on impulse: it required a lot of planning and investment to complete. But once that money was spent, “subsequent suits were easy to make, because I could then vacuum form the armor [onto the existing molds].”
But with those molds already formed, he couldn’t easily improve them, especially as new details came to light. “Now, with 3D printing, the risk is so much lower.” At the time we spoke in August 2019, the final Star Wars film, The Rise of Skywalker, had yet to hit theaters, but he had already printed up a helmet that would appear in the film. “They were just shown in publicity photos for the first time a couple of weeks ago,” he said, but if there was a significant change, the original developer could simply take the model, tweak it, and rerelease it online for builders to print out again. “That happened to me with the helmet from The Mandalorian; I’ve already made that helmet from the file that Sean Fields produced. He said from the beginning, ‘This file probably isn’t accurate, and as I find new details, I’m going to iterate on the model, and anyone who buys the file now will get every free iteration through completion.’ When I first started working on that, a bunch of people asked why I was wasting my time on it if I knew it wasn’t going to be accurate. It’s twelve dollars’ worth of filament to print one. If I have to print a new one, it’s no big deal. And so, it lets people jump on trends very early and not have to worry so much about getting it right on the first try.”
Courtesy of Andrew Liptak
But while 3D printing has proved to be useful to cosplayers, it’s not the be-all and end-all technique that will replace the methods that preceded it. Processes like traditional sculpting, molding, and others remain in use throughout the world, and printing an object doesn’t mean that one can simply pull it off a printing bed and step into a convention with it in hand. These objects often require postproduction work, usually sanding down the lines left by the printer to a smooth surface (itself a labor-intensive process), filling in cracks and seams made when joining two parts together, and priming and painting the object.
Even once complete, a prop might not be very durable. A maker might opt to print out a hollow version of their desired prop, with a honeycomb-like interior structure, to save printing time and weight. A couple of years ago, I bought a replica run from Neill Blomkamp’s 2013 film Elysium. The parts were beautifully designed and printed and were extremely light. I built the prop, but when it fell (twice!), it broke along a couple of weak points, requiring fixes. When a friend printed up Link’s Guardian Sword for me, I had him do it as a solid part, realizing that it would be much sturdier.
Courtesy of Andrew Liptak
Given that 3D printing often relies on melting plastic to extrude, props can also be extremely susceptible to heat: more than one cosplayer has noted that they’ve had a prop or costume part that’s melted on them in extreme heat, like in a hot car in the sun or if left next to a heater. This isn’t to say that other manufacturing methods are inherently better: objects cast in resin can melt, deform, or shatter; fiberglass and plastic can crack with age or strain; and fabrics can tear.
But despite those drawbacks, 3D printing is a game-changing technology, allowing cosplayers to work up entire outfits and costume components quickly and cheaply, opening the field to new costumers who might not have been able to take part previously.
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(1) “Un Bal Costumé Chez Jules Verne” [A Costume Ball at the Home of Jules Verne], Le Monde illustré, 21st year, no. 1044, April 14, 1877, https://laporteouverte.me/2016/11/13/un-bal-costume-chez-jules-verne.
(2) Herbert R. Lottman, Jules Verne: An Exploratory Biography (New York: St. Martin’s Press, 1996), 204.
(3) Lydia Smith, “5–10 March 1891: Bovril and the First Ever Sci-Fi Convention, at the Royal Albert Hall,” Royal Albert Hall (website), March 2, 2016, https://www.royalalberthall.com/about-the-hall/news/2016/march/5-10-march-1891-bovril-and-the-first-ever-sci-fi-convention-at-the-royal-albert-hall.
(4) “ ‘The Coming Race’ and ‘Vril-Ya’ Bazaar and Fete, in Joint Aid of the West End Hospital, and the School of Massage and Electricity,’ ”Royal Albert Hall (website), https://memories.royalalberthall.com/content/coming-race-and-vril-ya-bazaar-and-fete-joint-aid-west-end-hospital-and-school-massage-and-1.
(5) Alex Palmer, “The Strange Story of the Vril-Ya Bazaar and Fete, the ‘World’s First Sci-Fi Convention,’ ”Mental Floss, May 31, 2021, https://www.mentalfloss.com/article/646499/first-sci-fi-convention-vril-ya-bazaar.
(6) The Encyclopedia of Science Fiction, A D Condo (entry), updated May 24, 2017, http://www.sf-encyclopedia.com/entry/condo_a_d.
