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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Double Dagger Studio

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

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

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

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

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

Double Dagger Studio

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

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

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

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

Double Dagger Studio

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

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

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

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

Double Dagger Studio

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

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

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

Sony has been offering custom PlayStation 5 plates for quite some time now, including a recent version that brings a Spider-Man 2 look to the console. Microsoft, which has given away several custom Xbox Series S units in contests, is getting in on the action by selling official wraps for the Xbox Series X.

Along with two camouflage colors, Arctic Camo and Mineral Camo, a Starfield-inspired wrap will be available. Pre-orders for the wraps are open now. The $50 Starfield one will ship in the US, Canada and Europe on October 18th, while the $45 camo options will hit those regions on November 10th (though fans in Europe will miss out on the Arctic option for now).

The Starfield wrap matches a themed controller and headset Xbox recently started selling as it gears up for its most important game of the year. Bethesda's next giant RPG drops on September 6th, so you'll have to wait several more weeks for the Starfield console wrap if you want to go all in on the game's aesthetic.

The wraps are made up of solid core panels with "high-tech fabric finishes." They have a hook and loop system, as well as a silicone design on the interior, to keep them secure. Microsoft says it designed them to make sure that there was no impact on performance — the company notes that the wraps even have small feet on the bottom to help maintain airflow.

Third-party companies such as Dbrand (which previously ran into trouble with Sony over its PS5 plates) have long been selling custom skins for Xbox consoles. But this isn't exactly the first time Microsoft has waded into console customization. The Xbox 360 had swappable faceplates. However, the company later admitted this idea flopped.

Microsoft

A cargo ship equipped with rigid sails, each the height of a 10-story building, has departed on its inaugural journey. The Pyxis Ocean vessel will test WindWings sails, designed to harness old-school air power to help reduce fuel usage — and the shipping industry’s CO2 emissions. The sail’s creators estimate the technology could decarbonize cargo ships by about 30 percent as the maritime sector tries to reach net-zero emissions by 2050. The estimated reduction could be higher if paired with alternative fuels.

The ship has been retrofitted with two WindWings, each measuring 37.5 m (123 ft) tall. The rigid sails are made from the same materials as wind turbines and can be added to cargo ships’ decks, providing an option for older vessels to reduce environmental impact. The ship’s maiden voyage will chart a route from China to Brazil.

The project is a collaboration between BAR Technologies (which developed the sails), Cargill Ocean Transportation, Mitsubishi Corporation and Yara Marine. “The Maritime Industry is an extremely hard industry to decarbonize,” said Cargill president Jan Dieleman. “So there’s not many tools that you have. So it’s really important that we as users of the maritime industry are also going to get involved in some of the innovation and really move the industry forward.”

BAR Technologies

The shipping industry agreed in July to reduce its greenhouse gas emissions to net zero “by or around, i.e., close to, 2050.” The nonbinding agreement is essentially toothless but meant as a signal to governments of where to benchmark their (binding) targets, according toThe New York Times. The agreement would have been even more lax if not for a “strong last-minute push” from small island nations and other less economically developed coastal countries, which led to a plan that provides a chance at limiting global warming to 1.5 degrees Celsius. That’s the threshold climate experts agree the world needs to avoid to spare Earth from the worst climate-change scenarios.

“We fought tooth and nail for these numbers,” Carlos Fuller, Belize’s representative at the United Nations, told the NYT last month. “They aren’t perfect, but they give us a shot at staying within 1.5 degrees Celsius. And that’s what we came here to do.”

Wind power has the potential to help reach those goals, but adoption is a challenge. “We have the number of ships using this technology doubling over the past 12 months,” Stephen Gordon, managing director at maritime data firm Clarksons Research, told the BBC. “This is from a low base, however. In the international shipping fleet and new-build order book of over 110,000 vessels, we have records for under 100 having wind-assisted technology today.”

YouTube is quickly becoming a home for AI-generated music, and the service is trying to strike a balance between the technology's fans and the labels eager to protect their copyrights. The company and partners like Universal Music Group (UMG) have unveiled a set of principles for AI music. In theory, the approach encourages adoption while keeping artists paid.

To start, YouTube maintains that "AI is here" and that it must have a "responsible" strategy. Accordingly, it's forming a Music AI Incubator that will influence the company's strategy. UMG and artists it represents (including Rosanne Cash, Yo Gotti and Frank Sinatra's estate) will help gather insights from YouTube's AI experiments.

YouTube also says AI music must include "appropriate protections" against copyright violations, and must also provide "opportunities" for partners who want to get involved. While the video giant hasn't detailed what this will entail, it suggests it will build on the Content ID system that helps rights holders flag their material. On top of this, YouTube claims it will scale its content policies and safety structure to adapt to AI. The firm already has systems in place to catch copyright abuse, misinformation and other violations, but intends to pour more resources into those methods.

The principles are currently vague and don't do much to change YouTube's stance. More details are due in the months ahead, however, including policies, particular technologies and monetization for creators.

Generative AI is increasingly popular for unauthorized collaborations and mashups (including for UMG artists like Drake and Frank Sinatra), but it's also finding legitimate uses. The surviving members of The Beatles are using AI to create a 'final' song from a John Lennon recording, while electronic artist Holly Herndon covered Dolly Parton using an AI voice. UMG itself is exploring AI-made soundscapes. YouTube's principles could help it profit from legal productions while dodging lawsuits from artists and labels worried about ripoffs.

As if October wasn't already going to be busy enough for new games. Publisher 505 Games has revealed that Ghostrunner 2, the sequel to a terrific cyberpunk platformer from 2020, will arrive on October 26th. It will be available on PC (Steam, Epic Games Store and GOG), PlayStation 5 and Xbox Series X/S. Pre-orders are open and those who snap up the Brutal Edition will get access 48 hours early.

The latest entry in the series takes place one year after the events of Ghostrunner. You'll once again play as Jack, a cyberninja who has to slice and dice his way up through an imposing tower. Ghostrunner is a fast-paced, often-tough game in which you parkour around treacherous environments. Jack dies often, but instant respawns, frequent checkpoints and accessibility options are helpful.

The sequel from One More Level seems to build on that foundation with new features such as a motorbike and dialogue choices. This is one of my most anticipated games of the year, so it's a real shame that it might get buried under the onslaught of blockbusters that are arriving in October.

Ghostrunner 2 will be going right up against Alan Wake 2 (October 27th) — Epic Games and Remedy last week delayed their game by 10 days to get out of the way of major titles like Super Mario Bros. Wonder and Marvel's Spider-Man 2. Also coming in October are games including Assassin's Creed Mirage (which also moved release dates to stake out its own spot on the calendar), Detective Pikachu Returns, Forza Motorsport, Lords of the Fallen and Cities Skylines II.

On top of those, many people will still be knees deep in the likes of Starfield,Armored Core VI and perhaps Immortals of Aveum by the time Ghostrunner 2 arrives. Given the abundance of games coming out in the next couple months, perhaps waiting an extra few weeks wouldn’t be a bad idea.

A federal judge has agreed with US government officials that a piece of artificial intelligence-generated art isn't eligible for copyright protection in the country since there was no human authorship involved. "Copyright has never stretched so far [...] as to protect works generated by new forms of technology operating absent any guiding human hand, as plaintiff urges here," Judge Beryl Howell of the US District Court for the District of Columbia wrote in the ruling, which The Hollywood Reporter obtained. "Human authorship is a bedrock requirement of copyright."

Dr. Stephen Thaler sued the US Copyright Office after the agency rejected his second attempt to copyright an artwork titled A Recent Entrance to Paradise (pictured above) in 2022. The USCO agreed that the work was generated by an AI model that Thaler calls the Creativity Machine. The computer scientist applied to copyright the work himself, describing the piece "as a work-for-hire to the owner of the Creativity Machine." He claimed that the USCO's "human authorship" requirement was unconstitutional.

Howell cited rulings in other cases in which copyright protection was denied to artwork that lacked human involvement, such as the famous case of a monkey that managed to capture a few selfies. "Courts have uniformly declined to recognize copyright in works created absent any human involvement," the judge wrote.

The judge noted that the growing influence of generative AI will lead to “challenging questions” about the level of human input that's required to meet the bar for copyright protection, as well as how original artwork created by systems trained on copyrighted pieces can truly be (an issue that's the subject of several other legal battles). 

However, Howell indicated that Thaler's case wasn't an especially complex one, since he admitted that he wasn't involved in the creation of A Recent Entrance to Paradise. “In the absence of any human involvement in the creation of the work, the clear and straightforward answer is the one given by the [Federal] Register: No,” Howell ruled. Thaler plans to appeal the decision.

According to Bloomberg, this is the first ruling in the US on copyright protections for AI-generated art, though it's an issue that the USCO has been contending with for some time. In March, the agency issued guidance on copyrighting AI-generated images that are based on text prompts — generally, they're not eligible for copyright protection. The agency has offered some hope to generative AI enthusiasts, though. "The answer will depend on the circumstances, particularly how the AI tool operates and how it was used to create the final work," the USCO said. "This is necessarily a case-by-case inquiry."

The agency has also granted limited copyright protection to a graphic novel with AI-generated elements. It said in February that while the Midjourney-created images in Kris Kashtanova's Zarya of the Dawn were not eligible to be copyrighted, the text and layout of the work were.

You now have an easier way to control your Tesla from your iPhone. Not a Tesla Appnotes the latest version of Tesla's iOS software now supports Shortcuts actions, making some common tasks available through Siri in addition to on-screen taps and widgets. You can use Apple's voice assistant for simple tasks like opening the trunks or windows through to special modes. If you've ever wanted to activate Bioweapon Defense Mode by talking to your phone, it's now an option.

Shortcuts also enable automations, so you can string together multiple tasks or perform those tasks on set schedules. You can create a panic mode that flashes lights, honks the horn and closes windows all at the same time, for instance, or automatically warm the cabin before your morning commute.

The available commands aren't comprehensive, and include features you probably aren't going to use – you don't really need a shortcut for an emissions test. This could still be significantly more convenient than wading through the Tesla app, however. It's also notable that there isn't any official integration with Alexa or Google Assistant as of this writing, so Android users will have to put in more work to go hands-free.

This app update doesn't give Tesla cars a built-in voice control system. You'll need to turn to cars from the likes of Mercedes or Volvo if you want to talk directly to your vehicle. It does bring voice into the equation, though, and may be appreciated if you'd rather not wade through the official app to handle common functions.