Apple this year differentiated the iPad by creating a superset of iOS that only works on the company's tablet, the cleanly named iPadOS. In theory, iPadOS fixes the many shortcomings of previous iOS versions that tried to serve two masters, the iPad and the iPhone. But some fundamental issues remain. From a column: Apple's iPadOS page is adamant that a world of possibilities is now "ours." The "Features" section provides a long, long list of new iPad talents. Without getting into the embarrassing details about the klutziness that makes me a good product tester because I tend to do things that knowledgeable users already know how to do, I'm confused and frustrated by all of these "possibilities." For relatively simple tasks such as using multiple apps side by side or opening more than one window for an app such as Pages, the iPad support site is cryptic and, in some cases, just plain wrong. As just one example, the on-line guidance advises: "go to Settings > General > Multitasking & Dock..." Trouble is, the General section of Settings on my iPad Pro doesn't have a Multitasking & Dock section. A little bit of foraging gets me to the Home Screen & Dock section where, yes, the Multitasking adjustments are available.

On the positive side, one now has a real Safari browser, equivalent in most regards to the "desktop" version, and the ability to open two independent windows side by side. Because I feel self-conscious about my mental and motor skills, I compared notes with a learned friend, a persistent fellow who forced himself to learn touch typing by erasing the letters on his keyboard. He, too, finds iPadOS discoverability to be severely lacking. There are lot of new and possibly helpful features but, unlike the 1984 Mac, not enough in the way of the hints that menu bars and pull-down menus provide. It all feels unfinished, a long, long list of potentially winning features that are out of the reach of this mere mortal and that I assume will remain undiscovered by many others. Kvetching aside, we know that Apple plays the long game. Today's stylus equipped and mouse-capable iPad shows great promise. (I connected my trusted Microsoft Mouse and its two buttons and wheel -- no problem.) It clearly has the potential to become a multifaceted device capable of a wide range of interactions. From the simplest one-finger control enjoyed by children and adults alike to the windows and pointing device interactions "power users" hope for, the iPad shows great potential -- and the need for more work to make the new features more discoverable.

Security researchers at IBM have found evidence that hackers have been working on creating malicious scripts they can deploy on commercial-grade "Layer 7" routers to steal payment card details. From a report: This discovery is a game-changer in what researchers call Magecart attacks, also known as web skimming. These are attacks where hackers plant malicious code on an online store that records and steals payment card details. Until now, Magecart-specific code was only delivered at the website level, hidden inside JavaScript or PHP files. However, this new discovery is an escalation of Magecart attacks to a new level, where the malicious code is injected at the router level, rather than being added by hackers on outdated websites.

Layer 7, or L7, routers are a type of commercial, heavy-duty router that's usually installed on large networks, such as hotels, malls, airports, casinos, government networks, public spaces, and others. They work like any other router, except with the added benefit of being able to manipulate traffic at the seventh layer (application level) of the OSI networking model -- meaning they can react to traffic based on more than just IP addresses, such as cookies, domain names, browser types, and more. In a report published today, researchers with the IBM X-Force Incident Response and Intelligence Services (IRIS) team said they found evidence that a well-known hacker group has been testing Magecart scripts to deploy on L7 routers.

"Businesses are waking up to the skills gamers can bring to the workplace," argues the BBC, adding that "Even the military is hiring gamers." "The ability to assimilate information, react swiftly and co-ordinate actions whilst remaining calm under pressure are often attributes of people that are good at gaming," a Royal Air Force spokesperson tells the BBC. Those skills are part of what the RAF is looking for "in a variety of roles. Skills acquired through gaming can be very relevant to certain areas."

"There are plenty of soft skills that gamers can utilise in a professional setting, such as teamwork, problem solving and strategic planning," says Ryan Gardner, a regional director with Hays recruitment.
They also interview the man who told Kotaku that "If you're playing EVE Online you basically already have an MBA." Matthew Ricci tells the BBC he stands by the sentiment -- and Eve players might understand why. Often made fun of in gaming circles as a "spreadsheet simulator", the economy of the fictional Eve universe is driven by real market principles. If you want to build a new spaceship, the raw material has to be mined by another player. Manufacturing costs come into effect, and commodities fluctuate in price based on demand and haulage distance.

Mr Ricci, who had always dreamed of being the boss of his own company, ran an in-game corporation comprising hundreds of players. Eventually, he realised he could transfer his skills to real-life business -- instead of doing it for free. He restructured Zentech, once a taxation vehicle for his father's business, and it is now in its fourth year helping international brands enter the Canadian market... He credits his success to his family, his obsession with running his own business -- and "a damn good company in Iceland that made a damn good game".
The BBC also spoke to a radiotherapy physicist who says old-school games like Palace of Magic, on his father's Acorn Electron [released in 1983] not only exposed him to computers, but encouraged a competitive streak which he believes translates to his work today. "When creating treatment plans, the aim is to optimise the radiation dose to the tumour and restrict it as much as possible to healthy surrounding tissue and organs... Most videogames are essentially puzzles to solve," he says. "And problem-solving is a big part of my job."

It was the best-selling game of June, with IGN calling it "the most accessible game design tool ever created, and that core is just one part of a greater whole..."

Since its launch three weeks ago, fans have already built over 2 million custom stages, NPR notes -- but the real news is that Super Mario Maker 2 finally represents a shift in Nintendo's attitude towards its fan community: It's Nintendo's reliance on the creative spirit of these dedicated players that makes the Super Mario Maker series such a quietly radical property within the Nintendo canon... By loosening its grip on a beloved property and tossing the keys to the player community, Nintendo feeds into the fan-obsessive tendencies they've previously refused. With the Super Mario Maker series, Nintendo acknowledges the history of competitive speedrunning, tournament play, and even the masochistic fan games that have made their games visible and interesting in an entirely different way. It's the rare Nintendo game that is depending on those players, creators, and spectators to keep it alive. Super Mario Maker 2 has only been out for a few weeks, but already we've seen how the game's deceptively complex course editor has led to the community making some astounding levels...

Nintendo has always been old-school in the way they rely on offline experiences, downplaying the kind of online communities that other developers prioritize. Ironically, it is that indifference that has made fan communities formed around Nintendo games feel singular and special -- they're smaller, more intimate, and regulated by the players themselves. With the Super Mario Maker franchise, Nintendo finally acknowledges the power and influence of its most obsessive fans -- by creating something that couldn't thrive without them.
IGN argues that "it's astonishing how incredibly well it's all held together in one cohesive package... It does nearly everything better than its already excellent predecessor, introducing some incredible new ideas, level styles, building items, and so much more - all while maintaining the charm of Mario games we know and love."

And Slashdot reader omfglearntoplay writes "If you like old games from the 1980s, this is your game."

"Tech workers' favorite communications tool, Slack, is losing ground to its biggest rival, Microsoft Teams, which has copied its way into popularity," writes Rani Molla for Recode. "In other words, Slack has the same problem as Snapchat, which has suffered from its bigger rival Facebook's relentless appropriation." From the report: Slack's market share among the world's largest companies is mostly flat, adoption rates are declining, and a bigger portion of these companies indicate they plan on leaving the service, according to a new survey by market research firm ETR, which asks chief information officers and other leaders at the world's biggest organizations* where they plan to spend their company's tech budget. Meanwhile, Teams is seeing increased market share, relatively higher adoption rates, and low rates of defection, according to the data.

Slack, which is currently trading below its first-day opening price, has been beset both by smaller companies hoping to improve upon it and tech giants trying to copy and replace it. Microsoft, at one point, had even considered buying Slack. Instead, nearly four years after Slack's debut, Microsoft launched Teams, which has since adopted many of its competitor's functions, including the basic premise of creating an online office space for coworkers to collaborate and communicate. The situation was similar with Facebook, which after failing to buy Snapchat began to copy it, feature by feature. Facebook did this with impunity because it's not really possible to copyright what software does -- you can only copyright the code itself. Since products like Slack and Microsoft Teams or Facebook and Snapchat are built on different platforms, the code for each is likely distinct, so copying features is fair game.

"It took 10 months to get it done, but the Granite State is now officially a Geeky State," writes Concord Monitor science reporter David Brooks.

"The latest New Hampshire Historical Highway Marker, celebrating the creation of the BASIC computer language at Dartmouth in 1964, has officially been installed. Everybody who has ever typed a GOTO command can feel proud..." Last August, I wrote in this column that the 255 official historical markers placed alongside state roads told us enough about covered bridges and birthplaces of famous people but not enough about geekiness. Since anybody can submit a suggestion for a new sign, I thought I'd give it a shot.

The creation of BASIC, the first programing language designed to let newbies dip their intellectual toes into the cutting-edge world of software, seemed the obvious candidate. Beginner's All-purpose Symbolic Instruction Code has probably has done more to introduce more people to computer programming than anything ever created. That includes me: The only functioning programs I've ever created were in vanilla BASIC, and I still recall the great satisfaction of typing 100 END...

But BASIC wasn't just a toy for classrooms. It proved robust enough to survive for decades, helping launch Microsoft along the way, and there are descendants still in use today. In short, it's way more important than any covered bridge.
The campaign for the marker was supported by Thomas Kurtz, the retired Dartmouth math professor who'd created BASIC along with the late John Kemeny. "Our original idea was to mention both BASIC and the Dartmouth Time-Sharing System, an early system by which far-flung computers could share resources. They were created hand-in-hand as part of Kemeny's idea of putting computing in the hands of the unwashed masses.

"However, the N.H. Division of Historical Resources, which has decades of experience creating these markers, said it would be too hard to cram both concepts into the limited verbiage of a sign."

The highway marker calls BASIC "the first user-friendly computer programming languages... BASIC made computer programming accessible to college students and, with the later popularity of personal computers, to users everywhere. It became the standard way that people all over the world learned to program computers, and variants of BASIC are still in use today."

In the original submission, an anonymous Slashdot reader notes that last month, Manchester New Hampshire also unveiled a statue of Ralph Baer, whose team built the first home video game sold as Magnavox Odyssey, sitting on a park bench. "The Granite State isn't shy about its geek side."

Catalyst is Apple's framework that enables developers to easily bring existing iOS apps to the Mac, while SwiftUI is a new, Swift-based technology that makes it easy for developers to create one app that runs on all of Apple's platforms. Jason Snell from Macworld highlights the slow, invisible transition of these new technologies. From the report: Catalyst, which arrives this fall, will allow developers who are well-versed in the vagaries of writing iOS apps to use those skills to write Mac apps. This will most commonly take the form of bringing iPad apps to the Mac, with additions to make them feel more like native Mac apps, but it's more than that -- it provides iOS developers with a familiar set of tools and access to an entirely new platform, and it makes the target for professional apps across Apple's platforms broader by including both the iPad and the Mac. iOS apps are currently built to run on devices running Apple-designed ARM processors, and if the rumors are true, that's another transition waiting to happen. But given that all Mac and iOS developers are already using Apple's Xcode tools to develop their apps, I suspect that the pieces have been put in place for a fairly simple transition to a new processor architecture.

And then there's SwiftUI, which may be a harder concept for regular users to grasp, but it's a huge step on Apple's part. This is Apple's ultimate long game -- an entirely new way to design and build apps across all of Apple's platforms, based on the Swift language (introduced five years ago as yet another part of Apple's long game). In the shorter term, iOS app developers will be able to reach to the Mac via Catalyst. But in the longer term, Apple is creating a new, unified development approach to all of Apple's devices, based in Swift and SwiftUI. Viewed from this perspective, Catalyst feels more like a transitional technology than the future of Apple's platforms. But we're talking about the long game here. Transitional technologies are all a part of the long game. Catalyst will bring those apps to the Mac. iOS and Mac developers will pick up Swift and SwiftUI. Mac apps can integrate iOS stuff via Catalyst. iOS apps can integrate Mac stuff for use on the Mac. And all developers can begin experimenting with SwiftUI, building new interfaces and replacing old ones in a gradual process. "And then we'll turn around sometime in the 2020s and realize that all of this talk of UIKit and AppKit and Catalyst is behind us, and that our apps are written in Swift with interfaces created using SwiftUI," Snell writes in closing. "It will have all changed due to Apple's slow and steady pace of iterative, continuous improvement. The long game never stops, and it can be hard to see that you're even in it."

dryriver explains the new buzz around "Dreams" for PS4 (now in open access). Created by the studio that made PS4's Big Little World, Dreams "is not a game. It is more of an end to end, create-your-own-3D-game toolkit that happens to run on PS4 rather than a PC... essentially an easy to use game-engine a la Unity or UnrealEngine." Dreams lets you 3D model/sculpt, texture, animate and create game logic, allowing complete 3D games to be authored from scratch. Here is a Youtube video showing someone 3D modeling a fairly sophisticated game character and environment in Dreams. Everything from platformers to FPS games to puzzle, RPG and Minecraft type games can be created.

What is interesting about Dreams is that everything anybody creates with it becomes available and downloadable in the DreamVerse and playable by other Dreams users -- so Dreams is also a distribution tool like Steam, in that you can share your creations with others.

While PC users have long had access to 3D modeling and game authoring tools, Dreams has for the first time opened up creating console games from scratch to PS4 owners, and appears to have made the processs quicker, easier and more intuitive than, say, learning 3D Studio Max and Unity on a PC. Dreams comes with hours of tutorial walkthroughs for beginners, so in a sense it is a game engine that also teaches how to make games in the first place.
Back in January Push Square gushed that "There's simply nothing like this that's ever been done before... This is one of the most innovative, extraordinary pieces of software that we've seen on a console in quite some time..."

"And it can be browsed for hours and hours and hours. It's like when you fall into a YouTube hole, and you're clicking from recommended video to recommended video -- except here, you're jumping from minigames involving llamas to models of crustaceans to covers of The King of Wishful Thinking..."

"It's an astounding technical achievement with unprecedented ambition."

Indian video streaming giant Hotstar, owned by Disney, today set a new global benchmark for the number of people an OTT service can draw to a live event. From a report: Some 18.6 million users simultaneously tuned into Hotstar's website and app to watch the deciding game of the 12th edition of the Indian Premier League (IPL) cricket tournament. The streaming giant, which competes with Netflix and Amazon in India, broke its own "global best" 10.3 million concurrent views milestone that it had set last year. Hotstar topped the 10 million concurrent viewership mark a number of times during this year's 51-day IPL season. More than 12.7 million viewers huddled to watch an earlier game in the tournament, a spokesperson for the four-year-old service said. In mid-April, Hotstar said that the cricket series had already garnered a 267 million overall viewership, creating a new record for the streamer. (Last year's IPL had clocked a 202 million overall viewership.) These figures coming out of India, the fastest-growing internet market, are astounding to say the least. In comparison, a 2012 live stream of skydiver Felix Baumgartner jumping from near-space to the Earth's surface, remains the most concurrently viewed video on YouTube. It amassed about 8 million concurrent viewers.

Ars Technica's Kyle Orland reports that Brazilian ROM hacker Vitor Vilela has released a ROM patch for the hit arcade game Gradius III, creating a new, slowdown-free version of the game for play on SNES emulators and standard hardware. "In magazine screenshots, the game's huge, colorful sprites were a sight to behold, comparable to the 1989 arcade original," writes Orland. "In action, though, any scene with more than a handful of enemies would slow to a nearly unplayable crawl on the underpowered SNES hardware." From the report: The key to Vilela's efforts is the SA-1 chip, an enhancement co-processor that was found in some late-era SNES cartridges like Super Mario RPG and Kirby Super Star. Besides sporting a faster clock speed than the standard SNES CPU (up to 10.74 Mhz versus 3.58 Mhz for the CPU), SA-1 also opens up faster mathematical functions, improved graphics manipulation, and parallel processing capabilities for SNES programmers.

The result, as is apparent in the comparison videos embedded here, is a version of Gradius III that Vilela says runs two to three times faster than the original. It also keeps its silky smooth frame rate no matter how many detailed, screen-filling sprites clutter the scene. That's even true in the game's notorious, bubble-filled Stage 2, which is transformed from a jittery slide show to an amazing showcase of the SNES' enhanced power. As if that wasn't enough, the patch even slashes the game's loading times, cutting a full 3.25 seconds from the notably slow startup animation. Vilela notes that the lack of slowdown "makes it incredibly super difficult" and even suggests that "some arcade segments of the game do not look RTA (real-time action) viable with SA-1. But we shouldn't underestimate the human capabilities."

dryriver writes: A lot of people seem to believe that computers somehow need polygons, NURBS surfaces, voxels or point clouds "to be able to define and render 3D models to the screen at all." This isn't really true. All a computer needs to light, shade, and display a 3D model is to know the answer to the question "is there a surface point at coordinate XYZ or not." Many different mathematical structures or descriptors can be dreamed up that can tell a computer whether there is indeed a 3D model surface point at coordinate XYZ or behind a given screen pixel XY. Polygons/triangles are a very old approach to 3D graphics that was primarily designed not to overstress the very limited CPU and RAM resources of the first computers capable of displaying raster 3D graphics. The brains who invented the technique back in the late 1960s probably figured that by the 1990s at the latest, their method would be replaced by something better and more clever. Yet here we are in 2019 buying pricey Nvidia, AMD, and other GPUs that are primarily polygon/triangle accelerators.

Why is this? Creating good-looking polygon models is still a slow, difficult, iterative and money intensive task in 2019. A good chunk of the $60 you pay for an AAA PC or console game is the sheer amount of time, manpower and effort required to make everything in a 15-hour-long game experience using unwieldy triangles and polygons. So why still use polygons at all? Why not dream up a completely new "there is a surface point here" technique that makes good 3D models easier to create and may render much, much faster than polygons/triangles on modern hardware to boot? Why use a 50-year-old approach to 3D graphics when new, better approaches can be pioneered?

Apple has unveiled a few different subscription services today at its "show time" event, including a new Apple Arcade game subscription service for titles that can be installed from the App Store. The company is aiming to curate some of the 300,000 games currently available from the App Store into this new ad-free subscription service. "There will be 100 new and exclusive games available on Apple Arcade, which will launch on the iPhone, iPad, Mac, and Apple TV," reports The Verge. From the report: These games won't be available on any other mobile platform or any subscription service other than Apple Arcade. Games will be downloaded and played straight from the App Store, and subscribers will be able to try games whenever they want and resume them across devices. All of the game features, content, and future updates will be included, and there will be no ads shown within the games.

SimCity creator Will Wright is also making a game for the service. Apple is promising games from Annapurna Interactive, Bossa Studios, Cartoon Network, Finji, Giant Squid, Klei Entertainment, Konami, Lego, Mistwalker Corporation, SEGA, Snowman, ustwo games, and more. Apple isn't just curating the games for Apple Arcade; it's actually planning to contribute to the development costs of creating them. Apple might not have announced its own game studio today, but it's certainly a big step toward that. Apple Arcade is launching this fall in more than 150 countries, but Apple is not yet revealing pricing for this subscription service. Apple does say that "access for up to six family members," will be available, suggesting you'll be able to share the subscription. While the full list of games isn't available yet, some of the titles revealed on Apple Arcade's website include: LEGO Brawls, HitchHiker, Kings of the Castle, Where Cards Fall, and Frogger in Toy Town. If you're a game developer, you can sign up for more information about the service here.

Reader samleecole writes: Recently I was looking around at the state of modern image editors and discovered something really disappointing. The issue? Well, even with the rise of modern Photoshop alternatives such as Affinity Photo and Pixelmator, these image editors are not designed to handle animated GIFs. Which means that, despite the fact that I'd certainly love to see what life is like outside of the world of Adobe, it looks like I'm stuck in that ecosystem for a little while longer. Don't get me wrong: Adobe's software is great, if a bit expensive. But I do think that its business model highlights just how consolidated its power actually is -- and it's not talked about nearly enough in the creative space.

[...] Adobe is too powerful and can ignore things it doesn't want to do -- whether in the form of cutting prices or ignoring usability concerns -- in part because it carries itself like it's the only game in town. Here's a case in point that matters a lot to me, actually: Apple has supported a native fullscreen mode in Mac OS since 10.7, better known as Lion. It's a fundamental feature, and helps keep windows well-sorted on laptops in particular. It works pretty well in every major Mac application -- except Adobe's. Worse, if you drag a picture from a web browser into Photoshop, the window moves and doesn't stay in the middle of the screen, creating a constant frustration that could be remedied if, again, Adobe bothered to support the native fullscreen mode that has come in Mac OS for the past seven and a half years.

Amazon's Echo-branded smart speakers have attracted millions of fans with their ability to play music and respond to queries spoken from across the room. But almost four years after inviting outside developers to write apps for Alexa, Amazon's voice system has yet to offer a transformative new experience. From a report: Surveys show most people use their smart speakers to listen to tunes or make relatively simple requests -- "Alexa, set a timer for 30 minutes" -- while more complicated tasks prompt them to give up and reach for their smartphone. Developers had less trouble creating hits for previous generations of technology.

Think Angry Birds or Pokemon Go on the iPhone, or, decades ago, spreadsheets on the first Windows computers. Amazon counts some 80,000 "skills" -- its name for apps -- in its marketplace. It seems impressive, but at this point in their development, Apple's App Store and the Google Play Store each boasted more than 550,000 applications and minted fortunes for many successful developers. "This platform is almost four years old, and you can't point me to one single killer app," says Mark Einhorn, who created a well-reviewed Alexa game that lets users operate a simulated lemonade stand and is one of 10 developers interviewed for this story.

CNET reports on the massive ice wall created by an "intricate network of small metal pipes, capped off by six-foot-high metal scaffolding." It turns out, coolant is running through the pipes, freezing the soil below and creating an impermeable ice wall that's nearly 100 feet deep and a mile long, encircling the reactors. It's like a smaller-scale subterranean version of the Wall in Game of Thrones, but instead of keeping out White Walkers and wights, this line of defense keeps in a far more realistic danger: radioactive contaminants from melted-down reactors that threaten to spill into the water by Fukushima Daiichi....

The structure, which cost roughly $300 million, paid for by public funds, serves as critical protection, defending the Fukushima area from one of the most radioactive hotspots in the world. While Tokyo Electric Power Co., also known as Tepco, struggles to find a way to remove radioactive material from the facility -- a process the government estimates could take more than four decades -- the more immediate concern is what to do with the contaminated water leaking out from the facility. One of the solutions has been to put up (down?) this underground ice wall, which prevents much of the surrounding groundwater from getting in.

This week the Washington Post shared the story of 20-year-old Sam Haberern, who was playing Call of Duty on his Xbox when the other players "started asking him whether he had ever testified in court or murdered anyone." "They said they were from Maryland and that they were going to come and kill me," he said. By then it was 3 a.m., and Haberern decided to quit. One of the gamers in the party then sent him a message via Xbox Live. It contained his home address. Next his house phone rang, then his mother's cellphone. A message appeared on his TV screen from one of the party members -- it was asking why he didn't answer... Haberern contacted Microsoft, which makes Xbox, via its website and reported what happened. Unsatisfied with that process, he then typed a Reddit post, which would go viral, asking what recourse was available to him. The varied and ultimately unsatisfying answers centered on a common theme: There was no good solution.

Toxic behavior in competitive activities is not a new development, nor is it exclusive to video gaming, as social media users can attest. But its persistence amid a rapidly rising medium -- both in terms of users and revenue -- spotlights the question of why undesirable or, in some cases, criminal interactions have been so difficult for the video-game industry or law enforcement to eliminate. Now, with technological advances in online multiplayer games and video gaming's increased prevalence worldwide, a growing percentage of the population is becoming unwittingly exposed to a slew of abusive acts that are only becoming more visible. While game publishers, console makers, online voice-chat applications and even the FBI are aware of these issues and working to confront them, complications stemming from modern technology and gaming practices, freedom of speech concerns, and a lack of chargeable offenses on the legal side make toxic elements a challenge to extinguish.... Ambiguities within the U.S. legal system have played a role in constraining the efforts of law enforcement during the era of online gaming.
After the death threats, Haberern didn't contact the police, but questioned whether Microsoft was creating a safe environment for kids.

The next day, he was back to playing videogames. "But I definitely don't accept invites from people."

Video game publisher Ubisoft is working with Mozilla to develop an AI coding assistant called Clever-Commit, head of Ubisoft La Forge Yves Jacquier announced during DICE Summit 2019 on Tuesday. From a report: Clever-Commit reportedly helps programmers evaluate whether or not a code change will introduce a new bug by learning from past bugs and fixes. The prototype, called Commit-Assistant, was tested using data collected during game development, Ubisoft said, and it's already contributing to some major AAA titles. The publisher is also working on integrating it into other brands. "Working with Mozilla on Clever-Commit allows us to support other programming languages and increase the overall performances of the technology. Using this tech in our games and Firefox will allow developers to be more productive as they can spend more time creating the next feature rather than fixing bugs. Ultimately, this will allow us to create even better experiences for our gamers and increase the frequency of our game updates," said Mathieu Nayrolles, technical architect, data scientist, and member of the Technological Group at Ubisoft Montreal.

An anonymous reader quotes a report from Motherboard: Piracy isn't always the vile market bogeyman it's portrayed to be by the entertainment industry, a new joint study by Indiana University has found. Indiana University Researchers like Antino Kim say that online piracy can sometimes have a positive impact on markets, and being overly-aggressive in the policing and punishing of pirates may sometimes be counterproductive. As an example, Kim's study ("The 'Invisible Hand' of Piracy: An Economic Analysis of the Information-Goods Supply Chain") points to the hit HBO show Game Of Thrones, which routinely breaks piracy records thanks to heavy file sharing on BitTorrent. The researchers found that piracy often acts as a form of invisible competition, keeping both the manufacturer (HBO) and the cable operator (say, Comcast) from raising prices quite as high as they might otherwise. Raise prices too high, for example, and users will just flee to piracy, creating even higher losses. The researchers are clear to note their findings have their limits, and that they're not openly advocating for companies to fully embrace piracy. They do, however, argue that if you understand the benefits of piracy as a form of invisible competition, you'll find that overly-aggressive anti-piracy efforts can actually harm the market. "Our results do not imply that the legal channel should, all of a sudden, start actively encouraging piracy," researchers said. "The implication is simply that, situated in a real-world context, our manufacturer and retailer should recognize that a certain level of piracy or its threat might actually be beneficial and should, therefore, exercise some moderation in their anti-piracy efforts."

In late 1966, a 29-year-old computer scientist drew a series of abstract figures on tracing paper and a quadrille pad. Some resembled a game of cat's cradle; others looked like heavenly constellations; still others like dress patterns. Those curious drawings were the earliest topological maps of what we now know as the internet. The doodler, Lawrence G. Roberts, died on Dec. 26 at his home in Redwood City, Calif. He was 81. The New York Times: The cause was a heart attack, said his son Pasha. As a manager at the Pentagon's Advanced Research Projects Agency, or ARPA, Dr. Roberts designed much of the Arpanet -- the internet's precursor -- and oversaw its implementation in 1969. Dr. Roberts called upon a circle of colleagues who shared his interest in computer networking for help in creating the technical underpinnings of the Arpanet, integrating and refining many ideas for how data should flow. Dr. Roberts was considered the decisive force behind packet switching, the technology that breaks data into discrete bundles that are then sent along various paths around a network and reassembled at their destination. He decided to use packet switching as the underlying technology of the Arpanet; it remains central to the function of the internet.

And it was Dr. Roberts's decision to build a network that distributed control of the network across multiple computers. Distributed networking remains another foundation of today's internet. Dr. Roberts's interest in computer networking began when he was a graduate student at the Massachusetts Institute of Technology in the early 1960s. He paid close attention to the work of his longtime colleague, Leonard Kleinrock, who had done research on theoretical aspects of computer networks, analyzing the problem of data flow. Dr. Roberts also followed the ideas of J.C.R. Licklider, a prominent psychologist and predecessor of Dr. Roberts's at ARPA, who envisioned what he called an "intergalactic computer network."

DarkRookie2 shares a report from Ars Technica: Discord has announced that it will start taking a reduced, 10-percent cut from game revenues generated on its online store starting next year, one-upping the Epic Games Store and its recently announced 12-percent cut on the Epic Games Store. The move comes alongside a coming expansion of the Discord Games Store, which launched earlier this year with a tightly curated selection of games that now includes roughly 100 titles. The coming "self-serve publishing platform" will allow developers "no matter what size, from AAA to single-person teams" to access the Discord Store and the new 90-percent revenue share. "We talked to a lot of developers, and many of them feel that current stores are not earning their 30% of the usual 70/30 revenue share," Discord writes in the announcement. "Because of this, we now see developers creating their own stores and launchers to distribute their games instead of focusing on what's really important --making great games and cultivating amazing communities."

"Turns out, it does not cost 30% to distribute games in 2018," the announcement continues. "After doing some research, we discovered that we can build amazing developer tools, run them, and give developers the majority of the revenue share."