It’s a weird year for video games. We’re 19 months into a fresh console cycle and support for the PS4 and Xbox One is finally tapering off as developers shift focus to the PS5, Xbox Series X and PC cloud gaming platforms. The pandemic slowed or paused development on a generation of games, and studios of all sizes are being absorbed by the biggest names in the room. The industry is in flux and the rest of the year reflects this instability. Put simply, there aren’t a lot of huge games coming out in the second half of 2022.

Right now, the video game space is made up of delays, big promises and more delays. That doesn’t mean there’s nothing to look forward to — between indie and AA developers, cloud libraries and mobile games from Netflix of all companies, this period of transition will still be packed with plenty of things to play.

The 2022 holiday release calendar definitely looks thinner than it did a few months ago, but the first half of the year was fairly busy with games like Horizon Forbidden West, Elden Ring, Pokemon Legends: Arceus, Gran Turismo 7, Kirby and the Forgotten Land and Tiny Tina’s Wonderlands. And those are just the well-funded releases with big, shiny ads — the year has also been good for indie and AA titles like Neon White, The Quarry, The Stanley Parable: Ultra Deluxe, Sifu, Tunic, OlliOlli World and Salt and Sacrifice already available. The summer’s peppered with even more small but fantastic-looking games, like the cyberpunk cat simulator Stray, Sam Barlow’s Immortality and the wildly anticipated Cuphead DLC, all due out by the end of July.

Studio MDHR

Weirdly enough, Netflix is also helping to fill in the gaps with a new push into mobile gaming, and its latest titles are a treat. Poinpy, the new game from the creator of Downwell, is particularly addictive. Netflix is also publishing the next titles from the studios behind Monument Valley and Alto’s Odyssey, and all of them are free, without ads or microtransactions, as long as you have an active Netflix subscription.

On top of all that, mid-tier publishers like Devolver and Annapurna have a steady stream of strange, high-quality games coming out at all times. And, of course, there’s Xbox Game Pass, PlayStation Plus Premium, NVIDIA’s GeForce Now and even Google Stadia — cloud-gaming services that bring hundreds of classic and new titles to essentially any device with a screen.

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So, yeah, there are plenty of fresh games heading our way this year; it’s just that there won’t be many AAA blockbusters out of Microsoft or Sony. Whether we like it or not, these studios set the pace of the industry, and gaps in their release schedules can make it feel like development has stagnated across the board. And right now, there are a lot of AAA gaps. What makes it worse is the fact that Microsoft and Sony have announced and then abandoned multiple huge projects over the past few years, giving all of us something concrete to miss in every showcase.

In late 2019 and 2020, Microsoft announced massive games including Fable, Senua’s Saga: Hellblade 2, Everwild, Avowed and Outer Worlds 2, and it hasn’t said much more about these projects since. On top of that, there’s everything going on at Bethesda, the largest brand under the Xbox Game Studios banner. Bethesda’s shiny new sci-fi RPG, Starfield, was delayed out of 2022 earlier this year alongside Arkane’s online vampire shooter, Redfall. Meanwhile, it looks like Elder Scrolls 6 has at least five more years left in development, and Fallout 5 may not come out until the next console generation. The biggest Xbox exclusives still landing this year are High on Life, As Dusk Falls and Pentiment, three mid-sized games, two of which were literally announced this month.

Sony is in a similar situation. It has more AAA exclusives hitting the market in the second half of this year than Microsoft, with Forspoken, God of War Ragnarok and The Last of Us remake on the calendar, but there are still plenty of unknowns in the PlayStation lineup. Final Fantasy XVI was a highlight of the PS5 announcement stream in 2020, but we just got a release window of summer 2023 for that one. There’s been zero to little information about other games Sony’s had in the works for years, including Wolverine, the Knights of the Old Republic remake and Spider-Man 2. A standalone multiplayer mode for The Last of Us is still MIA, and we’ve yet to get details on the “multiple game projects” that Naughty Dog is also working on.

There are a couple of big cross-platform games due to come out this holiday season, including Hogwarts Legacy and The Callisto Protocol, but fanfare for these titles has been fairly muted so far.

As for Nintendo, it’s playing by its own rules, as always, and it has Splatoon 3 and Pokemon Scarlet and Violet on the roster this year, plus whatever it announces during its next Direct showcase. It has its own troubles of course — Breath of the Wild 2 was pushed back to 2023, and then there’s Metroid Prime 4, which was announced in 2017 and… yeah.

Nintendo

The sense of insufficiency in the industry this year is the result of the console makers announcing things too early, with too much fanfare and too many impossible release windows. Of course the pandemic didn’t help, but as it stands, these studios promised the world and then went quiet on multiple massive franchises, and the silence is particularly deafening as we enter an anemic six months of AAA releases. Thankfully, there are so many amazing indie games available right now and coming later in 2022, and between cloud, mobile and PC services, there are more ways to play these titles than ever.

As Jonathan Blow would say, time is a construct anyway, and thinking of life in terms of weeks, months and years is a futile effort to logically contain chaos. Long story short, there’s a lot to look forward to in the video game universe. It may not all be coming this year — or the next, or the next — but with more games to play on more platforms than ever, we should all be plenty entertained.

Google has been trying to nudge Apple into adopting the GSMA’s RCS messaging protocol, from not-so-subtle jabs at I/O 2022 to lengthy Twitter threads from the head of Android. The latest tool from the makers of Android? Drake lyrics.

The official Android Twitter account shared an “unofficial lyric explainer video” for “Texts Go Green,” the third song from Drake’s latest album. Both the title and chorus refer to what happens when an iPhone user blocks someone from contacting them through iMessage, which defaults messages to SMS and loses features like read receipts.

Swiftly demolishing any cultural cachet by referencing lyrics from a recent Drake song, the Twitter account calls it “a real banger.” And I close my Twitter app.

— Mat Smith

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• Leaked Amazon memo says the company may run out of available labor by 2024

Balenciaga looks even worse on Mark Zuckerberg's avatar

Meta is launching an Avatars Store for digital fashion.

Meta is opening an Avatars Store where you can purchase outfits for your avatar on Facebook, Instagram and Messenger. The new looks include designer duds from Balenciaga, Prada and Thom Browne, and the company expects to add more designers over time. Zuckerberg and Eva Chen, Meta’s VP of fashion partnerships, announced the new store on Instagram Live, calling it the “first live avatar fashion show.” The “fashion show” consisted of Chen holding up paper drawings of Zuckerberg’s avatar wearing increasingly questionable, if metaverse-ready, outfits.

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Senators call for a common charger standard in the US

Europe wouldn't be alone in trying to cut e-waste.

US senators Ed Markey, Elizabeth Warren and Bernie Sanders have sent a letter to Commerce Secretary Gina Raimondo, calling on her department to develop a "comprehensive strategy" that would lead to a common charging standard. The EU acted in the "public interest" by settling on one port, the senators said, and the US ought to follow suit to reduce the environmental impact of chargers while improving convenience for users. A charger standard would theoretically reduce e-waste by letting people reuse existing cables and adapters for new devices.

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‘Diablo Immortal’ has reportedly earned $24 million since release

Free-to-play, license to print cash.

Two weeks after release, Blizzard’s Diablo Immortal has earned approximately $24 million according to Appmagic. The analytics firm said the free-to-play game had already been downloaded almost 8.5 million times. Will this inform the rest of the Diablo gaming universe? Possibly not. Diablo franchise general manager Rod Fergusson recently said Diablo IV would feature a different monetization system from Immortal.

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The Engadget guide to the best mid-range smartphones

Who says greatness has to be expensive?

Engadget

The middle of the smartphone road has amazing options that balance price and features. These days, you still get incredible cameras, vivid screens and decent battery life. But there are so many, so where do you start? How about this guide?

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Samsung has a new lineup of value-oriented monitors for content creators called ViewFinity S8, it announced. The 27- and 32-inch IPS LCD models offer features like 4K 3,840 x 2,160 resolution, accurate colors, a matte finish and professional factory calibration. Better still, the prices appear to be well under $1,000. 

The ViewFinity name promises "pinpoint accuracy and consistency" for designers, artists and professionals, Samsung said. To that end, both models offer 98 percent DCI-P3 color gamut coverage, up to a billion colors (probably using 8-bit + FRC and not true 10-bit panels), Pantone validation for accurate colors, and factory calibration. The 32-inch model is certified to VESA's DisplayHDR 600 category so should be bright enough for some HDR work, while the 27-inch model conforms to the more limited VESA DisplayHDR 400 category. 

They offer height, tilt and swivel adjustment, along with easy VESA wall mount installation. The IPS panel allows for good brightness even at acute viewing angles, while the matte finish helps reduce reflections. That means a monitor hood isn't needed, Samsung says, which also makes the ViewFinity S8 lineup more practical for vertical screen rotation (portrait mode). 

The displays also function as all-in-one docks for desktops or laptops. You can power a phone, tablet or laptop with up to 90 watts of USB-C power delivery, and also get data transfers and even ethernet over USB-C. It also supports intelligent eye care, adaptive picture for optimized quality in any viewing environment, eye saver mode and flicker free technology. 

The ViewFinity S8 models will arrive globally by the end of June, with specific dates depending on the region. Samsung didn't announce US prices yet, but the 32-inch model is priced at 820,000 won in Korea ($634), while the 27-inch model is 720,000 won ($557). 

Telegram has launched its paid $5 per month Premium subscription tier first revealed last month, it announced in a detailed blog post. Some of the notable features include a larger maximum file upload size, faster downloads, more channels and unique new stickers. 

The current limit on file size uploads is 2GB, but Premium users can send files up to 4GB in size, handy for folks who send a lot of video or large ZIP files (all users can download those extra-large documents). Paid users will also be able to download media and files at their full network speeds, rather than seeing restricted speeds. 

The Premium plan also doubles limits, letting you follow up to 1,000 channels, create up to 20 chat folders with 200 chats each, add a fourth account to any Telegram app, pin 10 chats and save up to 10 favorite stickers. And users will get unique stickers with full-screen animations visible to all users, along with unique reactions.

Other features include voice-to-text transcriptions, chat management, longer bios, animated profile pictures, more characters for media captions, 400 favorite GIFs, up to 20 public t.me links, premium badges and app icons and an ad-free experience. 

Telegram also announced that it became one of the top give downloaded apps worldwide in 2022 and now has 700 million monthly active users. It also unveiled several new features for all users, including verification badges for public figures and organizations, join request for public groups, improved bots, improved chat previews on Android, improved external sharing on iOS and more. The update is rolling out gradually, so if you don't see it now, "the new version will become available soon," Telegram wrote. 

WhatsApp has added a handful of features to make group calls more manageable. As of this week, you can both mute and message specific people in your group calls, the company announced in a tweet spotted by Android Central (via The Verge). The former should be particularly helpful in situations where someone might not be aware that everyone else can hear what’s going on in the background of their home or office. The company has also added a banner that will notify you when someone joins a group call.

WhatsApp has introduced a number of new features as of late. Alongside the group calling functionality, this week saw the addition of new privacy toggles that give people more granular controls over their profile photos and Last Seen status. The company also finally made it easier for Android users to migrate their chat histories to a new iPhone.

Nearly four months after integrating Comixology into its other services, Amazon acknowledged the platform has been left worse off. “We understand that the current experience needs improvements, and want you to know that we’re working hard to get those out the door as quickly as possible,” the company said in an 11-part Twitter thread spotted by Gizmodo.

In the coming weeks, Amazon promised to address some of the more prominent issues that have plagued the digital comics service since its integration with the Kindle app. For instance, an upcoming beta version of Comixology’s web-reading client will bring back support for double-page spreads. Additionally, Amazon said it was working to fix a problem with its store algorithm that causes the software to show results for novels and non-fiction books when customers search for comics, manga and graphic novels.

Amazon noted that some of the enhancements would arrive soon, but others do not yet have a release date. “We’ll let you know when this launches,” the company said of a feature that will allow people to filter for their comics within the Kindle app. “We know there’s a lot more that needs to be done to improve the Comixology experience, and we have many more initiatives we’ll share soon,” the company said.

For fans, Amazon’s handling of Comixology is particularly frustrating given that the previous version of the app was serviceable and included many of the features the company is now working on adding. Unfortunately, they can’t use that software anymore since it was shut down by Amazon shortly after it completed the Kindle integration. To make matters worse, Comixology is the only digital service you can currently use to purchase comics piecemeal from a variety of publishers.

Two weeks after release, Blizzard’s Diablo Immortal has earned approximately $24 million for the troubled studio, according to Appmagic. In an estimate it shared with GameDev Reports, the analytics firm said the free-to-play game was downloaded almost 8.5 million times over the same timeframe, with 26 percent of downloads originating in the US. The bulk of Blizzard’s revenue from Diablo Immortal has also come from America. To date, US players contributed about 43 percent of all the game’s earnings.

To put Immortal’s early financial success in context, Hearthstone, the only other mobile game Blizzard has out at the moment, earned about $5 million in May. Despite the vocal backlash to Immortal’s monetization systems, it’s probably safe to say no one expected the game to fail out of the gate. Instead, the worry for many fans was a scenario where Immortal was so successful for Blizzard that it went on to inform how the studio monetizes its future games.

For the time being, that fear seems unfounded. Diablo franchise general manager Rod Fergusson recently said Diablo IV would feature a different set of monetization systems than Immortal. “To be clear, D4 is a full-price game built for PC/PS/Xbox audiences,” he tweeted after the game’s recent showing at Microsoft’s recent Summer Game Fest presentation. Separately, Blizzard announced this week Overwatch 2 would do away with loot boxes.

Since the start of the year, Google has tried to publicly pressure Apple into adopting the GSMA’s RCS messaging protocol. The search giant’s campaign has involved everything from not-so-subtle jabs at I/O 2022 to long Twitter threads from the head of Android. Now the feud has expanded to include Drake.

In a tweet spotted by 9to5Google, the Android Twitter account shared an “unofficial lyric explainer video” for “Texts Go Green,” the third song from the rapper’s latest album. The song features Drake singing about a toxic relationship. Both the title and chorus of “Texts Go Green” refer to what happens when an iPhone user blocks someone from contacting them through iMessage. The service defaults to SMS and the blacklisted individual will lose all the benefits of iMessage, including read receipts if the other person had them enabled previously.

Calling the song “a real banger,” Google says the “phenomenon” of green text bubbles is “pretty rough” for both non-iPhone users and anyone who gets blocked. “If only some super talented engineering team at Apple would fix this,” the company says in the video. “Because this is a problem only Apple can fix. They just have to adopt RCS, actually.”

The irony of Google’s video is that doesn’t accurately explain the meaning of “Texts Go Green.” In the context of the song, iMessage’s incompatibility with RCS is a comfort for Drake. “Texts go green, it hits a little different, don't it?” he sings. “Know you miss the days when I was grippin' on it / Know you're in a house tonight just thinkin' on it / I moved on so long ago.”

But, hey, whatever it takes for Apple to adopt RCS, right?

As distressing a prospect it may sound, our world did exist before social media. Those were some interesting times with nary a poorly lit portion of Cheesecake Factory fare to critique, exactly zero epic fails to laugh at and not one adorable paw bean available for ogling. There weren't even daily main characters! We lived as low-bandwidth savages, huddled around the soft glow of CRT monitors and our cackling, crackling signal modulators, blissfully unaware of the societal upheaval this newfangled internet would bring about.

In his new book, The Modem World: A Prehistory of Social Media, author and Assistant Professor in the Department of Media Studies at the University of Virginia, Kevin Driscoll examines the halcyon days of the early internet — before even AOL Online — when BBS was king, WiFi wasn't even yet a notion, and the speed of electronic thought topped out at 300 baud.

Yale University Press

Excerpted from The Modem World: A Prehistory of Social Media by Kevin Driscoll. Published by Yale University Press. Copyright © 2022 by Kevin Driscoll. All rights reserved.

Early on, the heartbeat of the modem world pulsed at a steady 300 bits per second. Streams of binary digits flowed through the telephone network in 7- and 8-bit chunks, or “bytes,” and each byte corresponded to a single character of text. The typical home computer, hooked up to a fuzzy CRT monitor, could display only about a thousand characters at once, organized into forty columns and twenty-four rows. At 300 bits per second, or 300 “baud,” filling the entire screen took approximately thirty seconds. The text appeared faster than if someone were typing in real time, but it was hardly instantaneous.

In the late 1970s, the speed at which data moved through dial-up networks followed a specification published by Ma Bell nearly two decades before. Created in the early 1960s, the AT&T Data-Phone system introduced a reliable technique for two-way, machine-to-machine communication over consumer-grade telephone lines. Although Data-Phone was initially sold to large firms to facilitate communication between various offices and a single data-processing center, it soon became a de facto standard for commercial time-sharing services, online databases, and amateur telecom projects. In 1976, Lee Felsenstein of the People’s Computer Company designed a DIY modem kit offering compatibility with the AT&T system for under $100. And as newer tech firms like Hayes Microcomputer Products in Atlanta and US Robotics in Chicago began to sell modems for the home computer market, they assured consumers of their compatibility with the “Bell 103” standard. Rather than compete on speed, these companies sold hobbyist consumers on “smart” features like auto-answer, auto-dial, and programmable “remote control” modes. A 1980 ad for the US Robotics Phone Link Acoustic Modem emphasized its warranty, diagnostic features, and high-end aesthetics: “Sleek... Quiet... Reliable.”

To survive, early PC modem makers had to sell more than modems.

They had to sell the value of getting online at all. Today, networking is central to the experience of personal computing — can you imagine a laptop without WiFi? — but in the late 1970s, computer owners did not yet see their machines as communication devices. Against this conventional view, upstart modem makers pitched their products as gateways to a fundamentally different form of computing. Like the home computer itself, modems were sold as transformative technologies, consumer electronics with the potential to change your life. Novation, the first mover in this rhetorical game, promised that its iconic black modem, the Cat, would “tie you into the world.” Hayes soon adopted similar language, describing the Micromodem II as a boundary-breaking technology that would “open your Apple II to the outside world.” Never mind that these “worlds” did not yet exist in 1979. Modem marketing conjured a desirable vision of the near future, specially crafted for computer enthusiasts. Instead of driving to an office park or riding the train, modem owners would be the first truly autonomous information workers: telecommuting to meetings, dialing into remote databases, and swapping files with other “computer people” around the globe. According to Novation, the potential uses for a modem like the Cat were “endless.”

In practice, 300 bits per second did not seem slow. In fact, the range of online services available to microcomputer owners in 1980 was rather astonishing, given their tiny numbers. A Bell-compatible modem like the Pennywhistle or Novation Cat offered access to searchable databases such as Dialog and Dow Jones, as well as communication services like CompuServe and The Source. Despite the hype, microcomputers alone could sometimes seem underwhelming to a public primed by visions of all-powerful, superhuman “world brains.” Yet, as one Byte contributor recounted, the experience of using an online “information retrieval” service felt like consulting an electronic oracle. The oracle accepted queries on virtually any topic — “from aardvarks to zymurgy” — and the answers seemed instantaneous. “What’s your time worth?” asked another Byte writer, comparing the breadth and speed of an online database to a “well- stocked public library.” Furthermore, exploring electronic databases was fun. A representative for Dialog likened searching its system to going on an “adventure” and joked that it was “much less frustrating” than the computer game of the same name. Indeed, many early modem owners came to believe that online information retrieval would be the killer app propelling computer ownership into the mainstream.

Yet it was not access to other machines but access to other people that ultimately drove the adoption of telephone modems among micro- computer owners. Just as email sustained a feeling of community among ARPANET researchers and time-sharing brought thousands of Minnesota teachers and students into collaboration, dial-up modems helped to catalyze a growing network of microcomputer enthusiasts. Whereas users of time-sharing networks tended to access a central computer through a “dumb” terminal, users of microcomputer networks were of- ten themselves typing on a microcomputer. In other words, there was a symmetry between the users and hosts of microcomputer networks. The same apparatus — a microcomputer and modem — used to dial into a BBS could be repurposed to host one. Microcomputers were more expensive than simple terminals, but they were much cheaper than the minicomputers deployed in contemporary time-sharing environments.

Like many fans and enthusiasts, computer hobbyists were eager to connect with others who shared their passion for hands-on technology. News and information about telephone networking spread through the preexisting network of regional computer clubs, fairs, newsletters, and magazines. At the outset of 1979, a first wave of modem owners was meeting on bulletin board systems like CBBS in Chicago and ABBS in San Diego to talk about their hobby. In a 1981 article for InfoWorld, Craig Vaughan, creator of ABBS, characterized these early years as an awakening: “Suddenly, everyone was talking about modems, what they had read on such and such a bulletin board, or which of the alternatives to Ma Bell... was most reliable for long-distance data communication.” By 1982, hundreds of BBSs were operating throughout North America, and the topics of discussion were growing beyond the computing hobby itself. Comparing the participatory culture of BBSs to amateur radio, Vaughan argued that modems transformed the computer from a business tool to a medium for personal expression. Sluggish connection speeds did not slow the spread of the modem world.

True to the original metaphor of the “computerized bulletin board,” all early BBSs provided two core functions: read old messages or post a new message. At this protean stage, the distinction between “files” and “messages” could be rather fuzzy. In a 1983 how-to book for BBS software developers, Lary Myers described three types of files accessible to users: messages, bulletins, and downloads. While all three were stored and transmitted as sequences of ASCII characters, Myers distinguished “the message file” as the defining feature of the BBS. Available day and night, the message file provided an “electronic corkboard” to the community of callers: a place to post announcements, queries, or comments “for the good of all.” Myers’s example routine, written in BASIC, identified each message by a unique number and stored all of the messages on the system in a single random-access file. A comment in Myers’s code suggested that eighty messages would be a reasonable maximum for systems running on a TRS-80. A caller to such a system requested messages by typing numbers on their keyboard, and the system retrieved the corresponding sequence of characters from the message file. New messages were appended to the end of the message file, and when the maximum number of messages was reached, the system simply wrote over the old ones. Like flyers on a corkboard, messages on a BBS were not expected to stay up forever.

Apple Store employees at the company’s Towson Town Center location in Maryland have voted to unionize. According to the Coalition of Organized Retail Employees (AppleCore), the group that led the unionization effort, workers voted "overwhelming" in favor of joining the International Association of Machinists and Aerospace Workers (IAM). With the historic vote, Towson Town Center should become the first unionized Apple Store in the US. 

“I applaud the courage displayed by CORE members at the Apple store in Towson for achieving this historic victory,” said IAM International President Robert Martinez Jr. in a statement following the vote.“They made a huge sacrifice for thousands of Apple employees across the nation who had all eyes on this election. I ask Apple CEO Tim Cook to respect the election results and fast-track a first contract for the dedicated IAM CORE Apple employees in Towson. This victory shows the growing demand for unions at Apple stores and different industries across our nation.”

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