dryriver writes: The Amiga was a remarkable machine at the time it was released -- 1985. It had a multitasking capable GUI-driven OS and a mouse. It had a number of cleverly designed custom chips that gave the Amiga amazing graphics and sound capabilities far beyond the typical IBM/DOS PCs of its time. The Amiga was the multimedia beast of its time -- you could create animated and still 2D or 3D graphics on it, compose sophisticated electronic music, develop 2D or 3D 16-Bit games, edit and process digital video (using Video Toaster), and of course, play some amazing games. And after the Amiga -- as well as the Atari ST, Archimedes and so on -- died, everybody pretty much had to migrate to either the PC or Mac platforms. If Commodore and the Amiga had survived and thrived, there might have been four major desktop platforms in use today: Windows, OSX, AmigaOS and Linux. And who knows what the custom chips (ASICs? FPGAs?) of an Amiga in 2019 might have been capable of -- Amiga could possibly have been the platform that makes nearly life-like games and VR/AR a reality, and given Nvidia and AMD's GPUs a run for their money.

What do you think the computing landscape in 2019 would have looked like if the Amiga and AmigaOS as a platform had survived? Would Macs be as popular with digital content creators as they are today? Would AAA games target Windows 7/8/10 by default or tilt more towards the Amiga? Could there have been an Amiga hardware-based game console? Might AmigaOS and Linux have had a symbiotic existence of sorts, with AmigOS co-existing with Linux on many enthusiast's Amigas, or even becoming compatible with each other over time?

How much bigger can video games get? Video games are only getting more costly, in more ways than one. And it doesn't seem like they're sustainable. From a report: There's the human cost, which Kotaku has chronicled extensively. Contract workers are continually undervalued and taken advantage of, as Call of Duty: Black Ops 4 developer Treyarch is reported to do.[...] That's only the start of it. When you adjust for inflation, the retail cost of video games has never been cheaper, and it's been this way for some time. The $60 price point for a standard big-budget release has held steady for nearly 15 years, unadjusted for inflation even as the cost to make big-budget video games has risen astronomically with player expectations. Since changing the price point seems to be anathema, we've seen the industry attempt to compensate with all manner of alternatives: higher-priced collector's editions, live service games that offer annual passes or regular expansions a la Destiny, microtransactions, and free-to-play games. Then you have loot boxes. [...]

Let's run down the Big Three. We're more than halfway through 2019, and Electronic Arts has only published one single-player game, the indie Sea of Solitude. Last year was much the same, with two indies as its only single-player releases: Fe and Unraveled 2. Activision's portfolio of single-player games looks even thinner: Sekiro: Shadows Die Twice is the only exclusively single-player, non-remake game that the publisher has released since 2015's Transformers: Devastation -- which itself is no longer available, thanks to an expired licensing agreement. Ubisoft is an exception, regularly releasing entries in single-player game franchises like Far Cry and Assassin's Creed. But it buttresses them with aggressive microtransactions and extensive season pass plans. (And the occasional diversion like Trials Rising and South Park: The Fractured But Whole.)

The big-budget single-player experience is now almost entirely the domain of first-party studios making marquee games for console manufacturers, which bankroll games like Spider-Man and God of War. The economics of first-party exclusives are totally different -- they're less about making money by themselves and more about drawing players into the console's ecosystem. This is worth considering, because as big publishers prioritize live, service-oriented games, the number of games on their schedules has dropped. If you look at the Wikipedia listings for EA, Ubisoft, and Activision games released by year, you'll get a stark -- if unscientific -- picture of how each big publisher's release slate has thinned out in the last five years, relying on recurring cash cows like sports games and annualized franchises and little else. In 2008, those three publishers released 98 games; in 2018 they released just 28, not including expansions.

EA Access -- Electronic Arts' unlimited game subscription service that lets players access a massive library of EA games -- is finally coming to the PlayStation 4 this July, almost five years after it launched on the Xbox One. From a report: Like the current Xbox offering, EA Access for the PS4 costs either $4.99 per month or $29.99 per year. In addition to unlimited access to EA's vault of games, Access also comes with other perks, including a 10 percent discount on full-priced EA game purchases as well as early trials of upcoming EA games. EA Access for PS4 will be a separate account from EA Access for Xbox One. So if you're already paying for Access on your Xbox, you will have to pay a second monthly fee to play those games on your PS4.

Why are there so many five-star reviews for an iPhone charger on Amazon with a voltage irregularity that can cause permanent damage? "It's sad to imagine how many shoppers spotted this $13.99 charger pack on Amazon's first-page results and fell for the thousands of positive reviews and the algorithmically-generated endorsement from a platform that people trust more than religion," reports The Hustle.

A spot-check confirmed that "10 of the 22 first-page results on Amazon for 'iPhone charger' were products with thousands of 5-star reviews, all unverified and posted within a few days of each other," and they've now investigated "the underbelly of Amazon's fake-review economy" and "how such a product, peddled by a ragtag troupe of e-commerce scammers, managed to game one of the world's premier technology companies." The fake Amazon review economy is a thriving market, ripe with underground forums, "How To Game The Rankings!" tutorials, and websites with names like (now-defunct) "amazonverifiedreviews.com." But the favored hunting grounds for sellers on the prowl is Amazon's fellow tech behemoth, Facebook. In a recent two-week period, I identified more than 150 private Facebook groups where sellers openly exchange free products (and, in many cases, commissions) for 5-star reviews, sans disclosures. A sampling of 20 groups I analyzed collectively have more than 200,000 members. These groups seem to be in the midst of an online Gold Rush: Most are less than a year old, and in the past 30 days have attracted more than 50,000 new users... One stay-at-home mom from Kentucky told me she makes $200-300 per month leaving positive reviews for things like sleep masks, light bulbs, and AV cables...

Fake reviews have been an issue for Amazon since its inception, but the problem appears to have intensified in 2015, when Amazon.com began to court Chinese sellers. The decision has led to a flood of new products -- a 33% increase, by some accounts -- sold by hundreds of thousands of new sellers. Rooted in manufacturing hubs like Guangzhou and Shenzhen, they use Amazon's fulfillment program, FBA, to send large shipments of electronic goods directly to Amazon warehouses in the US. This rapid influx has spawned thousands of indistinguishable goods (chargers, cables, batteries, etc.). And it has prompted sellers to game the system. "It's a lot harder to sell on Amazon than it was 2 or 3 years ago," says Fahim Naim, an ex-Amazon manager who now runs an e-commerce consulting firm. "So a lot of sellers are trying to find shortcuts." Steve Lee, a Los Angeles-based vendor, is among them: "You have to play the game to sell now," he says. "And that game is cheating and breaking the law...."
The article points out that this is illegal. "Endorsements are required to be truthful," Mary Engel, Associate Director of the Federal Trade Commission's Division of Advertising Practices, tells the site. "If a reviewer has received something of value in exchange for their opinion, they need to clearly disclose that in the review." But instead, the review-watching site "ReviewMeta" analyzed 203 million Amazon reviews and found 11.3% (22.8 million) were untrustworthy -- while another site estimates the fake-review percentage is 30%. (Amazon's own estimate? "Less than 1%") ReviewMeta also spotted more than 2 million "unverified" reviews just in March of 2019 -- 99.6% of which were five-star. "They're almost all for these off-brand, cheap electronic products: Phone chargers, headphones, cables. Generic things that are super cheap to manufacture, have good margins, and get a ton of searches."

Though Amazon has sued over 1,000 fake-review sites to date, "Their way of handling it is reactive, not proactive," says the founder of ReviewMeta. "Amazon is a $900B company with thousands of brilliant engineers. I majored in construction management. It seems like they should be able to figure this one out."

An anonymous reader quotes a report from Apple Insider: California State Assembly member Susan Talamantes Eggman on Monday announced the introduction of Assembly Bill 1163, which will require manufacturers like Apple to "make service literature and equipment or parts available to product owners and to regulated, independent repair shops." "For nearly 30 years California has required that manufacturers provide access to replacement parts and service materials for electronics and appliances to authorized repairers in the state. In that time, manufacturers have captured the market, controlling where and when we repair our property, and inflating the electronic waste stream," Eggman said. "The Right to Repair will provide consumers with the freedom to have their electronic products and appliances fixed by a repair shop or service provider of their choice, creating a competitive market that will be cheaper for consumers and reduce the number of devices thrown in the trash."

The bill, officially filed as legislation relating to electronic waste, is Eggman's second try at right to repair legislation. Her first attempt, 2018's Bill 2110, was introduced last March and subsequently died in assembly that November. Like the pending Bill 1163, last year's tendered legislation was crafted as a play to reduce e-waste. Eggman's announcement includes a word-for-word reproduction of an explainer included in 2018's press release for the now-dead Bill 2110. In it the lawmaker argues that customers who are unable to pay for manufacturer repairs are forced to replace broken equipment like smartphones, TVs and home appliances. Beyond financial benefits, Eggman also says that the repair and reuse of electronics is more efficient than purchasing a new device, noting that such measures can "stimulate local economies instead of unsustainable overseas factories."

An anonymous reader quotes a report from Motherboard: Now, for Pi Day (March 14), music software programmer Canton Becker has crafted a million-hour song based on Pi that unfolds generatively on a virtual tape deck. Titled "Shepard's Pi," the song combines two of Becker's favorite infinities: Pi, and an auditory illusion called a Shepard tone, which he describes as an "unsettling sonic illusion of a pitch that climbs or descends forever, never reaching a top or a bottom." Found at PiSongs.com, users can tune into "Shepard's Pi" in real time with a custom virtual tape deck. The track itself evolves moment to moment, but the synthesized and sampled tones will be familiar to anyone who has ever listened to the electronic music of Kraftwerk, Tangerine Dream, Aphex Twin, and Global Communication. Far from being a mere gimmick, it is a highly evocative and transporting piece of electronic music, alternately ambient, glitchy, and interestingly rhythmic. The 58,999 GB MP3 file needed to be distributed via a webpage or app, so Becker "started hacking away at the basic algorithm in the programming languages PHP and Javascript," reports Motherboard. "In between coding marathons, Becker composed and recorded the loops and samples that would form the basis of the song. He experimented with sounds that would work well together regardless of being stacked one upon the other."

"When users hit 'play' on the virtual tape deck, the algorithm actually 'performs' the piece," the report says. "This way, the 114-year song can fit in just one gigabyte of space, which is mostly comprised of the digits of Pi. The virtual tape deck was also a solution to a built-in quirk of browsers such as Chrome, Safari, and Firefox -- users must click on a webpage to trigger a sound." From start to finish, the song lasts 999,999 hours, "a limitation imposed by only considering the first one billion digits of Pi."

Some analysis from research firm MIDiA: Earlier this month Electronic Arts (EA) reported disappointing quarterly results, now Activision has laid off nearly 800 staff, mostly in marketing and sales. As MIDiA has reported multiple times before, engagement has declined throughout the sector, suggesting that the attention economy has peaked. Consumers simply do not have any more free time to allocate to new attention seeking digital entertainment propositions, which means they have to start prioritizing between them.

This downward trend in engagement has persisted for a while now, and the latest quarterly results from some major games publishers confirm that a revenue slowdown will ultimately follow consumer behaviour. Arguably sooner than most of the games industry would have thought. Publishers will be quick to blame declining engagement and revenues on Fortnite. While the title indeed intensified the manifestation of the peak attention economy dynamics among gamers, the coming slowdown is part of a much bigger challenge -- how to capture attention in an increasingly attention-scarce landscape.

Top publishers are facing several headwinds at the same time. Fortnite is only one of them, and arguably one of the less harmful ones to the long-term outlook of the games industry: Fortnite's model utilises the attention economy dynamics: It's a high-grade gaming experience and it's free to play, which means there is little barrier for consumers to allocate attention to, compare to its paid counterparts. While it has undoubtedly cannibalised some revenue and engagement from other major publishers, Fortnite engagement still contributes to the bottom line of the global games industry.
More gamers engage with games videos and events than Fortnite: Not only is engagement declining across mobile, PC and console gaming, at the same time, video is winning the race against gaming in capturing attention on multipurpose devices such as PC.

An anonymous reader quotes the Internet Archive's blog Please join us for a Grand Re-opening of the Public Domain, featuring a keynote address by Creative Commons' founder, Lawrence Lessig, on January 25, 2019. Co-hosted by the Internet Archive and Creative Commons, this celebration will feature legal thought leaders, lightning talks, demos, and the chance to play with these new public domain works. The event will take place at the Internet Archive in San Francisco....

Join the creative, legal, library, and advocacy communities plus an amazing lineup of people who will highlight the significance of this new class of public domain works. Presenters include Larry Lessig, political activist and Harvard Law professor; Corynne McSherry, legal director of the Electronic Frontier Foundation; Cory Doctorow, science fiction author and co-editor of Boing Boing; Pam Samuelson, copyright scholar; and Jamie Boyle, the man who literally wrote the book on the public domain, and many others.
Attendees will also receive a discount on the world premiere of DJ Spooky's Quantopia: The Evolution of the Internet, a live concert commissioned by the Internet Archive "synthesizing data and art, both original and public domain materials, in tribute to the depth and high stakes of free speech and creative expression involved in our daily use of media."

"The UK Parliament caused a bit of a stir this week with the news that it would play host to its first non-human witness," reports The Verge. "A press release from one of Parliament's select committees (groups of MPs who investigate an issue and report back to their peers) said it had invited Pepper the robot to 'answer questions' on the impact of AI on the labor market." From the report: "Pepper is part of an international research project developing the world's first culturally aware robots aimed at assisting with care for older people," said the release from the Education Committee. "The Committee will hear about her work [and] what role increased automation and robotics might play in the workplace and classroom of the future." It is, of course, a stunt.

As a number of AI and robotics researchers pointed out on Twitter, Pepper the robot is incapable of giving such evidence. It can certainly deliver a speech the same way Alexa can read out the news, but it can't formulate ideas itself. As one researcher told MIT Technology Review, "Modern robots are not intelligent and so can't testify in any meaningful way." Parliament knows this. In an email to The Verge, a media officer for the Education Committee confirmed that Pepper would be providing preprogrammed answers written by robotics researchers from Middlesex University, who are also testifying on the same panel. "It will be clear on the day that Pepper's responses are not spontaneous," said the spokesperson. "Having Pepper appear before the Committee and the chance to question the witnesses will provide an opportunity for members to explore both the potential and limitations of such technology and the capabilities of robots." MP Robert Halfon, the committee's chair, told education news site TES that inviting Pepper was "not about someone bringing an electronic toy robot and doing a demonstration" but showing the "potential of robotics and artificial intelligence." He added: "If we've got the march of the robots, we perhaps need the march of the robots to our select committee to give evidence."

An anonymous reader shares a thread [Editor's note: all links in the story will lead you to Twitter]: In the 1970s the cost -- and size -- of calculators tumbled. Business tools became toys; as a result prestige tech companies had to rapidly diversify into other products -- or die! This is the story of the 1970s great calculator race... Compact electronic calculators had been around since the mid-1960s, although 'compact' was a relative term. They were serious, expensive tools for business. So it was quite a breakthrough in 1967 when Texas Instruments presented the Cal-Tech: a prototype battery powered 'pocket' calculator using four integrated circuits. It sparked a wave of interest. Canon was one of the first to launch a pocket calculator in 1970. The Pocketronic used Texas Instruments integrated circuits, with calculations printed on a roll of thermal paper. Sharp was also an early producer of pocket calculators. Unlike Canon they used integrated circuits from Rockwell and showed the calculation on a vacuum fluorescent display. The carrying handle was a nice touch!

The next year brought another big leap: the Hewlet-Packard HP35. Not only did it use a microprocessor it was also the first scientific pocket calculator. Suddenly the slide rule was no longer king; the 35 buttons of the HP35 had taken its crown. The most stylish pocket calculator was undoubtedly the Olivetti Divisumma 18, designed by Mario Bellini. Its smooth look and soft shape has become something of a tech icon and an inspiration for many designers. It even featured in Space:1999! By 1974 Hewlett Packard had created another first: the HP-65 programmable pocket calculator. Programmes were stored on magnetic cards slotted into the unit. It was even used during the Apollo-Soyuz space mission to make manual course corrections. The biggest problem for pocket calculators was the power drain: LED displays ate up batteries. As LCD displays gained popularity in the late 1970s the size of battery needed began to reduce. The 1972 Sinclair Executive had been the first pocket calculator to use small circular watch batteries, allowing the case to be very thin. Once LCD displays took off watch batteries increasingly became the norm for calculators. Solar power was the next innovation for the calculator: Teal introduced the Photon in 1977, no batteries required or supplied!

But the biggest shake-up of the emerging calculator market came in 1975, when Texas Instruments -- who made the chips for most calculator companies -- decided to produce and sell their own models. As a vertically integrated company Texas Instruments could make and sell calculators at a much lower price than its competitors. Commodore almost went out of business trying to compete: it was paying more for its TI chips than TI was selling an entire calculator for. With prices falling the pocket calculator quickly moved from business tool to gizmo: every pupil, every student, every office worker wanted one, especially when they discovered the digital fun they could have! Calculator games suddenly became a 'thing', often combining a calculator with a deck of cards to create new games to play. Another popular pastime was finding numbers that spelt rude words if the calculator was turned upside down; the Samsung Secal even gave you a clue to one!

The calculator was quickly evolving into a lifestyle accessory. Hewlett Packard launched the first calculator watch in 1977... Casio launched the first credit card sized calculator in 1978, and by 1980 the pocket calculator and pocket computer were starting to merge. Peak calculator probably came in 1981, with Kraftwerk's Pocket Calculator released as a cassingle in a calculator-shaped box. Although the heyday of the pocket calculator may be over they are still quite collectable. Older models in good condition with the original packaging can command high prices online. So let's hear it for the pocket calculator: the future in the palm of your hand!

Electronic Arts' Search for Extraordinary Experiences (SEED) Division has created a "self-learning AI-agent" that has managed to teach itself how to play Battlefield 1 multiplayer. From a report: In this blog post, Magnus Nordin from SEED details how his team, inspired by Google's work with old Atari games, wondered "how much effort it would take to have a self-learning agent learn to play a modern and more complex first person AAA game like Battlefield." So they tried to find out. The results are an "agent" that, while inferior to human players, "is pretty proficient at the basic Battlefield gameplay." The agent changes behaviour if it's low on health or ammo, and while more complex behaviours like knowing the details of each map are beyond it (at the moment), EA has found that "while the human players outperformed the agents, it wasn't a complete blowout by any stretch."

An anonymous reader quotes TechSpot: Every three years the US Copyright Office reviews and renews the DMCA's anti-circumvention provisions at which time it considers exemptions to the law. It is currently looking at a proposal for allowing museums, libraries and archives to circumvent the DRM on abandoned online games such as FIFA World Cup, Nascar and The Sims.

The proposal was initiated by The Museum of Art and Digital Entertainment (The MADE). The Made is a 501c3 non-profit organization with a physical museum located in Oakland, California. The gallery "is the only all-playable video game museum in the world, [and] houses over 5,300 playable games." The Made is concerned that certain multiplayer and single-player games that require a server to run will be lost if exemptions are not made to the DMCA. It is not looking to circumvent current games but instead is looking to preserve titles that have already been shut down by the producer -- City of Heroes (and Villains) would be a good example.

"Although the Current Exemption does not cover it, preservation of online video games is now critical," a Made representative wrote to the Copyright Office. "Online games have become ubiquitous and are only growing in popularity. For example, an estimated fifty-three percent of gamers play multiplayer games at least once a week, and spend, on average, six hours a week playing with others online." The number of abandoned games is not insignificant, either. According to the Electronic Arts "Online Services Shutdown" list, more than 300 titles and servers dropped out of service just in the last four years. These games are not played anymore because they require an active server.

Gaming company Electronic Arts is not having a good week. Bowing to pressure from early players of Star Wars Battlefront II and the historically negative reaction over the weekend to the company's response to complaints on Reddit, the company has now detailed significant cuts in the cost to unlock characters in its game and promised to continue to listen to player feedback. From a report: Most importantly, Electronic Arts today announced that they are reducing the number of credits needed to unlock top characters in the game by 75 percent. Luke Skywalker and Darth Vader will now cost 15,000 credits. Emperor Palatine, Chewbacca and Leia Organa will now cost 10,000 and Iden will cost 5,000. Mashable reports on the outcry that took place over the weekend: Battlefront II isn't technically out until Nov. 17, but fans that subscribe to EA Access or Origin Access -- which give Xbox One and PC players, respectively, a five-day, 10-hour window to play EA games before they launch -- are discovering how those changes feel. And it's a bad scene, friends. "At the current price of 60,000 credits it will take you 40 hours of gameplay time to earn the right to unlock one hero or villain [in Star Wars: Battlefront II]," Reddit user TheHotterPotato wrote in a post. "That means 40 hours of saving each and every credit, no buying any crates at all, so no bonus credits from getting duplicates in crates." The Reddit post produced such a mind-blowingly negative response that an agent of EA actually responded. Unfortunately, that response made things even worse. EA's Reddit account is plastered with a barrage of downvotes, with one particular response receiving over 600,000 downvotes -- a record.

Marcus Hutchins, the 23-year-old British security researcher who was credited with stopping the WannaCry outbreak in its tracks by discovering a hidden "kill switch" for the malware, was arrested by the FBI over his alleged involvement in separate malicious software targeting bank accounts. According to an indictment released by the US Department of Justice on Thursday, Hutchins is accused of having helped to create, spread and maintain the banking trojan Kronos between 2014 and 2015. Hutchins, who is indicted with another unnamed co-defendant, stands accused of six counts of hacking-related crimes as a result of his alleged involvement with Kronos. A preliminary analysis of those counts suggest that the government will face significant legal challenges. Orin Kerr, the Fred C. Stevenson Research Professor at The George Washington University Law School, writes: The indictment asserts that Hutchins created the malware and an unnamed co-conspirator took the lead in selling it. The indictment charges a slew of different crimes for that: (1) conspiracy to violate the Computer Fraud and Abuse Act; (2) three counts of violating 18 U.S.C. 2512, which prohibits selling and advertising wiretapping devices; (3) a count of wiretapping; and (4) a count of violating the Computer Fraud and Abuse Act through accomplice liability -- basically, aiding and abetting a hacking crime. Do the charges hold up? Just based on a first look at the case, my sense is that the government's theory of the case is fairly aggressive. It will lead to some significant legal challenges. It's hard to say, at this point, how those challenges will play out. The indictment is pretty bare-bones, and we don't have all the facts or even what the government thinks are the facts.

The Free Software Foundation's anti-DRM initiative "Defective By Design" argues that since last year's annual Day Against DRM, "we've seen cracks appearing in the foundation of the DRM status quo." The companies that profit from Digital Restrictions Management are still trying to expand the system of law and technology that weakens our security and curtails our rights, in an effort to prop up their exploitative business models. But since the last International Day Against DRM, the TPP trade agreement -- a key pro-DRM initiative -- crashed and burned. And our allies at the Electronic Frontier Foundation brought major legal and regulatory challenges against DRM in Washington DC... If we play our cards right, this may be the beginning of the end of DRM.

On Sunday, July 9, 2017, we will channel this momentum into the International Day Against DRM. We'll be gathering, protesting, and making -- showing the world that we insist on a future without Digital Restrictions Management. Will you join us? Here's what you can do now:
They're asking supporters to plan a protest, translate their fliers into more languages, voice support in videos and blog posts, or make endorsements. And you can also join the "DRM Elimination crew" mailing list or their Freenode IRC channel #dbd for year-round conversation and collaboration with the anti-DRM movement -- or simply make a donation to show your support.

Reader BrianFagioli writes: A new survey reveals that families will spend more than a third of the 2017 summer season with their eyes glued to some sort of screen. To make matters worse, parents say that while they would prefer to do more activities away from devices, outings are far too expensive. A typical weekend family getaway with all things factored in, could average $2,328. Sadly, the overuse of "screens" are negatively impacting the health and behavior of children too. "With warmer weather finally arriving in most parts of the country and the school year winding down to a close, Groupon asked 1,000 U.S. parents how much time their families plan to spend on their electronic devices this summer -- and the results were staggering. The average American family will spend an average of 35 days of their summer, which is the equivalent of more than one-third, using their electronic devices. The survey, which was conducted for Groupon's Funtacular Fun Fest, found that the average child will watch an estimated 60 movies and play 150 hours of video games over the summer months," says Groupon.

It's illegal in Germany now to sell a talking doll named "My Friend Cayla," according to a story shared by Slashdot reader Bruce66423. And that's just the beginning. The Verge reports: A German government watchdog has ordered parents to "destroy" an internet-connected doll for fear it could be used as a surveillance device. According to a report from BBC News, the German Federal Network Agency said the doll (which contains a microphone and speaker) was equivalent to a "concealed transmitting device" and therefore prohibited under German telecom law... In December last year, privacy advocates said the toy recorded kids' conversations without proper consent, violating the Children's Online Privacy Protection Act.

Cayla uses a microphone to listen to questions, sending this audio over Wi-Fi to a third-party company that converts it to text. This is then used to search the internet, allowing the doll to answer basic questions, like "What's a baby kangaroo called?" as well as play games. In addition to privacy concerns over data collection, security researchers found that Cayla can be easily hacked. The doll's insecure Bluetooth connection can be compromised, letting a third party record audio via the toy, or even speak to children using its voice.
The Electronic Privacy Information Center has said toys like this "subject young children to ongoing surveillance...without any meaningful data protection standards." One researcher pointed out that the doll was accessible from up to 33 feet away -- even through walls -- using a bluetooth-enabled device.

After surveying over 9,000 Android and iPhone users, Nielsen's "Electronic Mobile Measurement" has calculated the 10 most popular apps of 2016. Interestingly, the #1 and #2 most popular apps of the year were Facebook and Facebook Messenger. BrianFagioli writes: Facebook holds the first, second, and eighth spots -- remember, the company owns Instagram too. Google has the most number of spots in the top 10, with three, four, five, six, and seven [YouTube, Google Maps, Google Search, Google Play, and Gmail]. Rounding out the bottom of the list is Apple [for Apple Music] and Amazon. Google Play is sort of a weird inclusion, however, as it is the app which downloads other apps -- it probably should have been excluded.

Amazon saw insane growth, seeing a massive 43 percent year-over-year gain. Instagram comes in at second place with 36 percent. Facebook Messenger scores the third spot. The biggest surprise is that Apple Music is the top streaming music app, beating apps like Pandora and Spotify...because other music apps had huge head-starts.

The Verge has an insightful interview of Andrew Wilson, CEO of Electronic Arts. In the wide-ranging interview, Wilson has talked about how the landscape of video games have changed over the years, and where it will be in the next few years. One remarkable comment he has made is about how video games will move from discrete experience that we have today to indiscrete experience in the next coming years. From the article (condensed): The biggest shift I think we'll see is games moving from being a discrete experience to an indiscrete experience. When I was 15 years old, if I wanted to listen to music, I had a couple of choices. I could sit up all night and hope they'd play what I liked on the radio, or I could go down to the record store. [...] Today, by virtue of the fact that almost every device I own plays me music, and services like Spotify curate and cultivate and personalize that music for me, music permeates almost every aspect of my life. It's moved from being something I have to make a conscious decision to engage with, to something that really surrounds every aspect of my life from the minute I get up in the morning to the minute I go to bed at night. When we think about games today -- already we've got more people playing more games on more platforms in more geographies around the world than ever before. It's not just a console business, or a PC business, or even a mobile business. We've now got virtual reality and augmented reality and streaming, too. Now fast-forward that to the future, and you think about what the world looks like with a 5G network streaming latency-free gaming to every device you own. It's really easy to imagine that games would permeate our lives much the way digital music does today. From the minute I get up in the morning, everything I do has an impact on my gaming life, both discrete and indiscrete. The amount of eggs I have in my internet-enabled fridge might mean my Sims are better off in my game. That length of distance I drive in my Tesla on the way to work might mean that I get more juice in Need for Speed. If I go to soccer practice in the afternoon, by virtue of internet-enabled soccer boots, that might give me juice or new cards in my FIFA product. This world where games and life start to blend I think really comes into play in the not-too-distant future, and almost certainly by 2021.

Snowgen writes: NPR reports that Dungeons and Dragons has been inducted into the Toy Hall of Fame at the Strong National Museum of Play in Rochester, NY: "The nomination process for the Toy Hall of Fame is open to the public -- but to get in, a toy has to be approved by 'historians, educators, and other individuals who exemplify learning, creativity, and discovery through their lives and careers.'" "More than any other game, Dungeons and Dragons paved the way for older children and adults to experience imaginative play," says Curator Nic Ricketts. "It was groundbreaking. And it opened the door for other kinds of table games that borrow many of its unique mechanics. But most importantly, Dungeons and Dragons' mechanics lent themselves to computer applications, and it had a direct impact on hugely successful electronic games like World of Warcraft." The report adds: "The list of 12 finalists for this year's honors had included bubble wrap, Care Bears, Clue, the coloring book, Nerf ball, pinball, Rock 'Em Sock 'Em Robots, Transformers and Uno. When it emerged in 1974, Dungeons and Dragons was groundbreaking, says curator Nic Ricketts of The Strong. In addition to its own merits, the game created by Gary Gygax and Dave Arneson established a pattern for how similar role-playing games might work -- both on table-tops and, eventually, on computers and other devices."