Amazon's Luna cloud gaming service is making some changes, reports Engadget: It's no longer possible to buy Ubisoft+ and Jackbox Games subscriptions or standalone games through Luna. Amazon will automatically cancel any active subscriptions bought through Luna at the end of customers' next billing cycle. If you have a Ubisoft+ subscription that you bought directly from Ubisoft instead, you'll still be able to access games on that service through Luna until June 10. The Bring Your Own Library option — which allows users to play games they own on the likes of EA, GOG and Ubisoft on Luna — is going away too. You won't be able to access games from those storefronts via Amazon's streaming service after June 3.

If you bought any games outright on Luna, you'll still be able to play them there until June 10. Unlike Google did when it shut down Stadia, Amazon isn't offering refunds for those purchases. However, you'll still have access to them through the respective third-party platform that's linked to your account, be it the EA App, GOG Galaxy or Ubisoft Connect. That doesn't exactly help folks who don't have powerful-enough systems to play more demanding games and were relying on Luna.
For those users, Kotaku complains, "you'll essentially lose access to your purchased games in June unless you buy some hardware to play games like Star Wars Outlaws or set up a different streaming option..."

They describe Luna as Amazon's "barely talked about, struggling game streaming service"... On April 10, Amazon announced that it is "always looking for ways to better serve our players" and that "feedback" has made it "clear" that gamers who use Luna want "easy access to great games." And because more of that content is now offered via Amazon Prime, the company has decided that the best way to "serve" you and other users is to rip out most of Luna's gaming options and remove access to paid games you bought in the past. Do you feel better served...?

Launched in 2020, Amazon Luna has never been much of a big hit for the company, which has struggled to even figure out what to do with it. Initially, it was offered up as a Stadia competitor, providing access to big and small third-party games. This apparently didn't work out for Amazon. So in 2025, Amazon officially announced plans to pivot Luna to a service focused on Jackbox-like casual games. This latest shake-up for Luna further focuses the service on these kinds of games and will put everything available on the service behind different sub tiers, similar to Game Pass.
Their conclusion? "This is all just a great reminder to never, ever, ever, ever buy a video game through a streaming service. At least you can download digital games offline and make backups for later."

An anonymous reader quotes a report from the New York Times: As the Trump administration seeks to fill a national shortage of air traffic controllers, officials are targeting a new talent pool: gamers. The Federal Aviation Administration on Friday is making a recruiting push aimed at avid players of video games, as the agency strives to fill thousands of vacancies that lawmakers have said leave the traveling public less safe. In a new YouTube ad, the agency is using flashy graphics and the promise of six-figure salaries to convince video game enthusiasts to apply their trigger fingers in service of air safety.

In recent years, video gamers have emerged as a target demographic for recruiters at a number of federal agencies, including the military and the Department of Homeland Security. They are welcomed for their hand-eye coordination, quick decision-making in complex environments and ability to remain focused on screens for hours on end. "To reach the next generation of air traffic controllers, we need to adapt," Transportation Secretary Sean Duffy said in a statement. Focusing recruiting efforts on gamers, he added, "taps into a growing demographic of young adults who have many of the hard skills it takes to be a successful controller."

[...] The F.A.A. plans to begin prioritizing recruiting gamers over more traditional avenues like college fairs, officials said, pointing out that only 25 percent of controllers have a traditional college degree, while the vast majority appear to have logged hours gaming. During the presidential transition in 2024, incoming Trump administration officials polled about 250 new air traffic academy graduates over six weeks. Only two of those interviewed were not gamers, according to F.A.A. officials [...]. Students who failed out of the training academy were not similarly queried, officials said, though they have plans to conduct more comprehensive exit interviews in the future. Still, the overwhelming presence of gaming habits among graduates tracked with what they were hearing anecdotally from controllers already certified to work in towers and other air traffic facilities, the officials said, many of whom liked to play video games during breaks in their shifts.

Apple's 50th anniversary got celebrated in weird and wild ways. CEO Tim Cook posted a special 30-second video rewinding backwards through the years of Apple's products until it reaches the Apple I. Podcaster Lex Fridman noticed if you play the sound in reverse, "It's the Think Different ad music, pitched up." TechRadar played seven 50-year-old Apple I games on an emulator, including Star Trek, Blackjack, Lunar Lander, and of course, Conway's Game of Life.

And Macworld ranked Apple's 50 most influential people. (Their top five?)

5. Tony Fadell (iPhone co-creator/"father of the iPod")
4. Sir Jony Ive
3. Steve Wozniak
2. Tim Cook
1. Steve Jobs

One of the most thoughtful celebraters was David Pogue, who's spent 42 years of writing about Apple (starting as a MacWorld columnist and the author of Mac for Dummies, one of the first "...For Dummies" books ever published in the early 1990s.) Now 63 years old, Pogue spent the last two years working on a 608-page hardcover book titled Apple: The First 50 Years. But on his Substack Pogue, contemplated his own history with the company — including several interactions with Steve Jobs. Pogue remembers how Jobs "hated open systems. He wanted to make self-contained, beautiful machines. He didn't want them polluted by modifications."

The tech blog Daring Fireball notes that Pogue actually interviewed Scott Forstall (who'd led the iPhone's software development team) for his new book, "and got this story, about just how far Steve Jobs thought Apple could go to expand the iPhone's software library while not opening it to third-party developers." "I want you to make a list of every app any customer would ever want to use," he told Forstall. "And then the two of us will prioritize that list. And then I'm going to write you a blank check, and you are going to build the largest development team in the history of the world, to build as many apps as you can as quickly as possible." Forstall, dubious, began composing a list. But on the side, he instructed his engineers to build the security foundations of an app store into the iPhone's software-"against Steve's knowledge and wishes," Forstall says. [...]

Two weeks after the iPhone's release, someone figured out how to "jailbreak" the iPhone: to hack it so that they could install custom apps. Jobs burst into Forstall's office. "You have to shut this down!" But Forstall didn't see the harm of developers spending their efforts making the iPhone better. "If they add something malicious, we'll ship an update tomorrow to protect against that. But if all they're doing is adding apps that are useful, there's no reason to break that." Jobs, troubled, reluctantly agreed.

Week by week, more cool apps arrived, available only to jailbroken phones. One day in October, Jobs read an article about some of the coolest ones. "You know what?" he said. "We should build an app store."

Forstall, delighted, revealed his secret plan. He had followed in the footsteps of Burrell Smith (the Mac's memory-expansion circuit) and Bob Belleville (the Sony floppy-drive deal): He'd disobeyed Jobs and wound up saving the project.
In fact, the book "includes new interviews with 150 key people who made the journey, including Steve Wozniak, John Sculley, Jony Ive, and many current designers, engineers, and executives" (according to its description on Amazon). Pogue's book even revisits the story of Steve Jobs proving an iPod prototype could be smaller by tossing it into an aquarium, shouting "If there's air bubbles in there, there's still room. Make it smaller!" But Pogue's book "added that there's a caveat to this compelling bit of Apple lore," reports NPR.

"It never actually happened. It's just one more Apple myth."

Longtime Slashdot reader Elektroschock writes: When Ubisoft pulled the plug on The Crew's servers without warning, players were left with a worthless game they'd already paid for. Now, consumer watchdog UFC-Que Choisir is fighting back, demanding gamers' right to play regardless of publisher whims. Supported by the "Stop Killing Games" movement, this landmark case challenges unfair terms before the Creteil Judicial Court (Val-de-Marne near Paris), and aims to protect players from disappearing games. The lawsuit that UFC-Que Choisir filed against Ubisoft on Tuesday alleges that the video game publisher "misled consumers about the permanence of their purchase and imposed abusive contractual clauses stripping players of ownership rights," reports Reuters.

Project Hail Mary has now grossed $300.8 million globally after earning another $54.1 million this weekend from 86 markets, reports Variety, noting that after just nine days it's now Amazon MGM's highest-grossing film ever.

And last weekend it had the best opening for a "non-franchise" movie in three years, adds the Associated Press — the best since 2023's Oppenheimer: Project Hail Mary, which cost nearly $200 million to produce... is on an enviable trajectory. Its second weekend hold was even better than that of Oppenheimer, which collected $46.7 million in its follow-up frame.
But the movie is based on a book by The Martian author Andy Weir, described by one news outlet as "a former software engineer and self-proclaimed 'lifelong space nerd'... known for his realistic and clear-eyed approach to scientifically technical stories." Project Hail Mary has plenty of real science in it, whether it be space mathematics, physics, or astrobiology... The film's namesake project is even comprised of the space programs of other nations, such as Roscosmos from Russia, the Chinese space program, and the European Space Agency...

The story relies on work NASA has done regarding exoplanets, or planets outside our solar system... [This includes a nearby star named Tau Ceti approximately 12 light years from Earth which is orbited by four planets — two once thought to be in "the habitable zone" where liquid water can exist.] Tau Ceti has long been the setting used by sci-fi authors and storytellers. Isaac Asimov used it for his Robot series. Arthur C. Clarke's "Rama" spacecraft came across a mysterious tetrahedron in the Tau Ceti system. Authors Ursula K. Le Guin and Kim Stanley Robinson also set stories in Tau Ceti, and it also serves as the extrasolar setting of the 1968 Jane Fonda film Barbarella. Most recently, the Bungie video game Marathon is set in the far-off system, serving as part of the background story for the extraction shooter, about a large-scale plan to colonize the Tau Ceti system.
The movie also mentions 40 Eridani A, according to the article, a real star about 16 light-years away that was said to be orbited by the fictional planet Vulcan, home to Star Trek's Mr. Spock. It's also mentioned in Frank Herbert's Dune as the star system of the planets Ix and Richese ("noted for their machine culture and miniaturisation," according to the Stellar Australis site's "Project Dune" page).

And in a video on IMAX's YouTube channel, the film's directors explain how for a crucial scene they used non-visible-light photography, which is also an important part of modern astronomy. "Even the credits incorporate real astrophotography into the final moments," the article points out, using the work of award-winning Australian astrophotographer Rod Prazeres. "The only difference between his work of capturing space data in images and what ended up on the big screen was that he gave them 'starless versions' of his photographs to make it easier to place credit text over them."

Prazeres wrote on his web site that he was touched the producers "wanted the real thing... In a world where CGI and AI are everywhere, it meant a lot..."

Nvidia CEO Jensen Huang says he understands the concerns about "AI slop" with DLSS 5 but insists the feature preserves a game's underlying geometry and artistic intent. "I think their perspective makes sense, " said Huang during a recent appearance on the Lex Fridman podcast. "And I could see where they're coming from because I don't love AI slop myself. You know, all of the AI-generated content increasingly looks similar, and they're all beautiful... so I'm empathic toward what they're thinking. That's just not what DLSS 5 is trying to do." Tom's Hardware reports: Although Huang is striking a more conciliatory tone, much of his response is similar to what we heard at GTC [where Huang said gamers were "completely wrong."] The artist determines the geometry, we are completely truthful to the geometry... so every single frame, it enhances, but it doesn't change anything." There was some confusion about how DLSS 5 worked when it was first announced, and although the inner workings of it still aren't clear on a technical level, Huang has said that it isn't a general-purpose generative AI model. He describes it as "content-controlled generative AI." On the other end of the spectrum, Huang also said that it isn't a post-processing filter. The technical details of DLSS 5 live somewhere between that space, and we likely won't know them until later this year when the feature is set to release.

"The question about enhancing, DLSS 5... in the future, you could even prompt it. You know, I want it to be a toon shader. I want it to look like this, kind of. You could even give it an example and it would generate in the style of that, all consistent with the artistry, the style, the intent of the artist," Huang continued. "All of that is done for the artist so they can create something that is more beautiful but still in the style that they want." Although the talking points about DLSS 5 remain unchanged, it seems that Huang has at least heard the criticism. "I think that they got the impression that the games are going to come out the way the games are... and then we're going to post-process it. That's not what DLSS is intended to do."

Huang also made assertions that DLSS is "integrated" with the artist, and suggested that it would put the power of generative AI in the hands of artists working in game development [...]. Although DLSS 5 looks like it's doing a lot, Huang said that it's just another tool, not an essential feature. "The gamers might also appreciate that, in the last couple of years, we introduced skin shaders to game developers, and many of those games have skin shaders that include sub-surface scattering that makes skin look more skin-like... [DLSS 5] is just one more tool. They can decide what to use," Huang ended the conversation about DLSS 5. Immediately after, without missing a beat, he said 1993's Doom was the most influential video game ever made.

Kyle Orland writes via Ars Technica: Since deep-learning super-sampling (DLSS) launched on 2018's RTX 2080 cards, gamers have been generally bullish on the technology as a way to effectively use machine-learning upscaling techniques to increase resolutions or juice frame rates in games. With yesterday's tease of the upcoming DLSS 5, though, Nvidia has crossed a line from mere upscaling into complete lighting and texture overhauls influenced by "generative AI." The result is a bland, uncanny gloss that has received an instant and overwhelmingly negative reaction from large swaths of gamers and the industry at large.

While previous DLSS releases rendered upscaled frames or created entirely new ones to smooth out gaps, Nvidia calls DLSS 5 -- which it plans to launch in Autumn -- "a real-time neural rendering model" that can "deliver a new level of photoreal computer graphics previously only achieved in Hollywood visual effects." Nvidia CEO Jensen Huang said explicitly that the technology melds "generative AI" with "handcrafted rendering" for "a dramatic leap in visual realism while preserving the control artists need for creative expression."

Unlike existing generative video models, which Nvidia notes are "difficult to precisely control and often lack predictability," DLSS 5 uses a game's internal color and motion vectors "to infuse the scene with photoreal lighting and materials that are anchored to source 3D content and consistent from frame to frame." That underlying game data helps the system "understand complex scene semantics such as characters, hair, fabric and translucent skin, along with environmental lighting conditions like front-lit, back-lit or overcast," the company says. Nvidia's announcement video and detailed Digital Foundry breakdown can be found at their respective links.

"Reactions have compared the effect to air-brushed pornography, 'yassified, looks-maxed freaks,' or those uncanny, unavoidable Evony ads," writes Orland. "Others have noted how DLSS 5 seems to mangle the intended art direction by dampening shadows in favor of a homogenized look."

Thomas Was Alone developer Mike Bithell said the technology seems designed "for when you absolutely, positively, don't want any art direction in your gaming experience."

Gunfire Games Senior Concept Artist Jeff Talbot added that "in every shot the art direction was taken away for the senseless addition of 'details.' Each DLSS 5 shot looked worse and had less character than the original. This is just a garbage AI Filter."

DLSS 5's "AI dogshit is actually depressing," said New Blood Interactive founder and CEO Dave Oshry, adding that future generations "won't even know this looks 'bad' or 'wrong' because to them it'll be normal."

An anonymous reader quotes a report from Ars Technica: Since Andrej Karpathy coined the term "vibe coding" just over a year ago, we've seen a rapid increase in both the capabilities and popularity of using AI models to throw together quick programming projects with less human time and effort than ever before. One such vibe-coded project, Gaming Alexandria Researcher, launched over the weekend as what coder Dustin Hubbard called an effort to help organize the hundreds of scanned Japanese gaming magazines he's helped maintain at clearinghouse Gaming Alexandria over the years, alongside machine translations of their OCR text.

A day after that project went public, though, Hubbard was issuing an apology to many members of the Gaming Alexandria community who loudly objected to the use of Patreon funds for an error-prone AI-powered translation effort. The hubbub highlights just how controversial AI tools remain for many online communities, even as many see them as ways to maximize limited funds and man-hours. "I sincerely apologize," Hubbard wrote in his apology post. "My entire preservation philosophy has been to get people access to things we've never had access to before. I felt this project was a good step towards that, but I should have taken more into consideration the issues with AI." "I'm very, very disappointed to see [Gaming Alexandria], one of the foremost organizations for preserving game history, promoting the use of AI translation and using Patreon funds to pay for AI licenses," game designer and Legend of Zelda historian Max Nichols wrote in a post on Bluesky over the weekend. "I have cancelled my Patreon membership and will no longer promote the organization."

Nichols later deleted his original message (archived here), saying he was "uncomfortable with the scale of reposts and anger" it had generated in the community. However, he maintained his core criticism: that Gemini-generated translations inevitably introduce inaccuracies that make them unreliable for scholarly use.

In a follow-up, he also objected to Patreon funds being used to pay for AI tools that produce what he called "untrustworthy" translations, arguing they distort history and are not valid sources for research. "... It's worthless and destructive: these translations are like looking at history through a clownhouse mirror," he added.

"Just the anachronism of seeing Doom, one of the poster children for the moral panic around violent video games, on a Nintendo console is novel," writes Kotaku — especially with the console's underpowered "Super FX" coprocessor Hampered by a nearly unplayable framerate, especially in later levels, and mired by sacrifices, like altered levels, no floor or ceiling textures, and the entire fourth episode being cut, [1995's] Doom on the Super NES was not a good version of the game, but it was Doom running on the Super NES, and, for that alone, [programmer Randal] Linden's genius deserves recognition.
But then in 2022 when Audi Sorlie interviewed Linden on the YouTube show DF Retro, "Not really knowing where fate was going to take us, I asked [Linden] a throwaway question regarding the source code for Doom." If you ever worked on this again, Sorlie asked, would you make any improvements or do anything differently?"

"Yeah," Linden replied. "I have plenty of ideas if I could go back, but, you know, I don't think anyone's asking me to go back to Super Nintendo Doom and improve it."

A few years passed, and Sorlie joined Limited Run Games as lead producer for their development department. When LRG asked him to run down his craziest ideas, a new, improved release of Randal Linden's Doom loomed large. Convincing Linden was easy, and Sorlie said even the folks at license holder Bethesda were more amused than anything.

"You want to go back and develop for Super Nintendo?" they asked Sorlie. "Like, for real...?"

"The trick was actually pretty cool," Linden said. "It's right here." He pointed to a chip on the prototype SNES cartridge, similar to the one Limited Run sent me to test out the game. "It's a Raspberry Pi 2350." Super FX chips are no longer in production for obvious reasons, but with a clever bit of programming, Linden was able to load software onto the Raspberry Pi that fools the SNES into thinking the game has one. "The Super Nintendo doesn't know that it's not talking to a Super FX," he explained. When he programs for it, he writes code almost identical to what he'd write for an authentic Super FX chip.

"I had to go back and reverse-engineer my own code from 30 years ago," Linden laughed. "It's like, what was I doing here? And what was I doing there? Yeah, it was pretty tricky, some of the code. I was like, wow, I used to be very smart." The result of Linden's work? It's Doom, running right on a Super Nintendo, but it's smoother, packed with new content, and even includes rumble.

Valve is facing a new consumer class-action lawsuit two weeks after New York sued the video game company for "letting children and adults illegally gamble" with loot boxes. The new lawsuit is similar, alleging that loot boxes in games like Counter-Strike 2, Dota 2, and Team Fortress 2 are "carefully engineered to extract money from consumers, including children, through deceptive, casino-style psychological tactics."

"We believe Valve deliberately engineered its gambling platform and profited enormously from it," Steve Berman, founder and managing partner at law firm Hagens Berman, said in a press release. "Consumers played these games for entertainment, unaware that Valve had allegedly already stacked the odds against them. We intend to hold Valve accountable and put money back in the pockets of consumers." PC Gamer reports: The system is well known to anyone who's played a Valve multiplayer game: Earn a locked loot box by playing, pay $2.50 for a key, unlock it, get a digital doohickey that's sometimes worth hundreds or even thousands of dollars but far more often is worth just a few pennies. Is that gambling? If these cases go to court, we'll find out.

The full complaint points out that the unlocking process is even designed to look like a slot machine: "Images of possible items scroll across the screen, spinning fast at first, then slowing to a stop on the player's 'prize.' Players buy and open loot boxes for the same reason people play slot machines -- the hope of a valuable payout." Loot boxes, the complaint continues, are not "incidental features" of Valve's games, but rather "a deliberate, carefully engineered revenue model." So too is the Steam Community Market, and Steam itself, which the suit claims is "deliberately designed" to enable the sale of digital items on third-party marketplaces through "trade URLs," despite Valve's terms of service prohibiting off-platform sales.

And while the debate over whether loot boxes constitute a form of gambling continues to rage, the suit claims Valve's system does indeed qualify under Washington law, which defines gambling as "staking or risking something of value upon the outcome of a contest of chance or a future contingent event not under the person's control or influence." "Valve's loot boxes satisfy every element of this definition," the lawsuit alleges. "Users stake money (the price of a key) on the outcome of a contest of chance (the random selection of a virtual item), and the items received are 'things of value' under RCW 9.46.0285 because they can be sold for real money through Valve's own marketplace and through third-party marketplaces that Valve has fostered and facilitated."

Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

The National Videogame Museum has acquired an extremely rare MSF-1 development kit, believed to be the oldest surviving prototype of the canceled Nintendo PlayStation. Engadget reports: Nicknamed the Nintendo PlayStation, the idea was that a new CD-ROM format backed by Sony would be added to the cartridge-based Super NES, resulting in a hybrid console that could play both. The partnership didn't last long, though, with Nintendo backing out before it ever really got off the ground, announcing that it would instead be working with Philips. Sony decided to make the PlayStation on its own instead, in an act of revenge that you have to say paid off in the long run, and we never did get to see Crash Bandicoot running around the Mushroom Kingdom. Still, the short-lived Nintendo PlayStation remains a fascinating what-if scenario in video game history, and the USA's National Video Museum has acquired the original development kit.

Sony is reportedly abandoning its recent push to bring major PlayStation games to PC and will instead keep most single-player titles exclusive to the PlayStation 5. According to Bloomberg, the shift back toward console exclusivity may be driven by weaker PC sales and concerns about diluting the PlayStation brand. From the report: Online games such as Marathon and Marvel Tokon will still be released across multiple platforms, but single-player titles such as last year's samurai hit Ghost of Yotei and the upcoming action game Saros will remain exclusive to PlayStation 5, said the people, who asked not to be identified because they weren't authorized to talk publicly about the company's strategy.

The people cautioned that things could change in the future due to the unpredictable nature of the video-game industry and that Sony's plans are constantly shifting. But in recent weeks PlayStation scrapped plans to bring Ghost of Yotei and other internally developed games to PC. Two games made by external developers but published by PlayStation, Death Stranding 2 and the upcoming Kena: Scars of Kosmora, are still planned for release on PC this year.

In a 9,000-word expose, a writer for Harper's visited San Francisco's young entrepreneurs in September to mockingly profile "tech's new generation and the end of thinking."

There's Cluely founder Roy Lee. ("His grand contribution to the world was a piece of software that told people what to do.") And the Rationalist movement's Scott Alexander, who "would probably have a very easy time starting a suicide cult..." Alexander's relationship with the AI industry is a strange one. "In theory, we think they're potentially destroying the world and are evil and we hate them," he told me. In practice, though, the entire industry is essentially an outgrowth of his blog's comment section... "Many of them were specifically thinking, I don't trust anybody else with superintelligence, so I'm going to create it and do it well." Somehow, a movement that believes AI is incredibly dangerous and needs to be pursued carefully ended up generating a breakneck artificial arms race.
There's a fascinating story about teenaged founder Eric Zhu (who only recently turned 18): Clients wanted to take calls during work hours, so he would speak to them from his school bathroom. "I convinced my counselor that I had prostate issues... I would buy hall passes from drug dealers to get out of class, to have business meetings." Soon he was taking Zoom calls with a U.S. senator to discuss tech regulation... Next, he built his own venture-capital fund, managing $20 million. At one point cops raided the bathroom looking for drug dealers while Eric was busy talking with an investor. Eventually, the school got sick of Eric's misuse of the facilities and kicked him out. He moved to San Francisco.

Eric made all of this sound incredibly easy. You hang out in some Discord servers, make a few connections with the right people; next thing you know, you're a millionaire... Eric didn't think there was anything particularly special about himself. Why did he, unlike any of his classmates, start a $20 million VC fund? "I think I was just bored. Honestly, I was really bored." Did he think anyone could do what he did? "Yeah, I think anyone genuinely can."
The article concludes Silicon Valley's investors are rewarding young people with "agency". Although "As far as I could tell, being a highly agentic individual had less to do with actually doing things and more to do with constantly chasing attention online." Like X.com user Donald Boat, who successfully baited Sam Altman into buying him a gaming PC in "a brutally simplified miniature of the entire VC economy." (After which "People were giving him stuff for no reason except that Altman had already done it, and they didn't want to be left out of the trend.") Shortly before I arrived at the Cheesecake Factory, [Donald Boat] texted to let me know that he'd been drinking all day, so when I met him I thought he was irretrievably wasted. In fact, it turned out, he was just like that all the time... He seemed to have a constant roster of projects on the go. He'd sent me occasional photos of his exploits. He went down to L.A. to see Oasis and ended up in a poker game with a group of weapons manufacturers. "I made a bunch of jokes about sending all their poker money to China," he said, "and they were not pleased...."

"I don't use that computer and I think video games are a waste of time. I spent all the money I made from going viral on Oasis tickets." As far as he was concerned, the fact that tech people were tripping over themselves to take part in his stunt just confirmed his generally low impression of them. "They have too much money and nothing going on..." Ever since his big viral moment, he'd been suddenly inundated with messages from startup drones who'd decided that his clout might be useful to them. One had offered to fly him out to the French Riviera.
The author's conclusion? "It did not seem like a good idea to me that some of the richest people in the world were no longer rewarding people for having any particular skills, but simply for having agency."

The $200 billion video game industry is caught between studios eager to cut ballooning development costs through AI and a player base that has grown openly hostile to the technology after a string of visible blunders.

As Bloomberg News reports, Arc Raiders, a surprise hit from Stockholm-based Embark Studios that sold 12 million copies in three months, was briefly vilified online for its robotic-sounding auto-generated voices -- even as CEO Patrick Soderlund insists AI was only used for non-essential elements. EA's Battlefield 6 and Activision's Call of Duty: Black Ops 7 both drew gamer anger this winter over thematically mismatched or poorly generated graphics, and Valve's Steam has added labels to flag games made using AI.

Some 47% of developers polled by research house Omdia said they expect generative AI to reduce game quality, and PC gamers -- now facing inflated hardware prices from AI-driven demand for graphics chips -- have turned reflexively antagonistic.

New York state has filed a lawsuit against Valve alleging that randomized loot boxes in games like Counter-Strike 2, Team Fortress 2, and Dota 2 amount to a form of unregulated gambling, letting users "pay for the chance to win a rare virtual item of significant monetary value." From a report: While many randomized video game loot boxes have drawn attention and regulation from various government bodies in recent years, the New York suit calls out Valve's system specifically for "enabl[ing] users to sell the virtual items they have won, either through its own virtual marketplace, the Steam Community Market, or through third-party marketplaces."

The vast majority of Valve's in-game loot boxes contain skins that can only be resold for a few cents, the suit notes, while the rarest skins can be worth thousands of dollars through marketplaces on and off of Steam. That fits the statutory definition of gambling as "charging an individual for a chance to win something of value based on luck alone," according to the suit.

The Steam Wallet funds that users get through directly reselling skins "have the equivalent purchasing power on the Steam platform as cash," the suit notes. But if a user wants to convert those Steam funds to real cash, they can do so relatively easily by purchasing a Steam Deck and reselling it to any interested party, as an investigator did while preparing the lawsuit.

Microsoft has spent more than $76 billion acquiring game studios and publishers over the past few years in an attempt to turn Xbox into a Netflix-like subscription platform, and the result is that nobody -- possibly not even Microsoft -- can clearly articulate what Xbox actually is anymore, The Verge writes.

The brand started as a powerful video game console, but Game Pass and cloud gaming pushed it toward a hazier identity: the "This is an Xbox" ad campaign tried to redefine it as any device that could play Xbox games, whether a PC, a smart TV, a phone, or a Windows handheld. Microsoft then went further and started publishing its biggest franchises on PlayStation, making it one of the largest third-party publishers on a rival's platform.

Phil Spencer, who led the division for over a decade and drove the subscription pivot, announced his retirement last week, and incoming CEO Asha Sharma has pledged "the return of Xbox" -- though her memo also talks about expanding across PC, mobile, and cloud, which sounds a lot like the status quo.

In her first major interview as Microsoft's new gaming chief, Asha Sharma said that "great games" must deliver emotional resonance and a distinct creative voice, while making clear that she has "no tolerance for bad AI." Stepping in after Phil Spencer's retirement, she's pledging consistency, community trust, and a human-first approach to storytelling as Xbox enters a new era. Variety reports: Sharma was quick in laying out her top priorities for Microsoft Gaming in an internal memo announcing her promotion, noting "great games," "the return of Xbox" and the "future of play" as her three main commitments to the gaming community. So first, what makes a great game for Sharma, whose roles prior to CoreAI include top positions at Instacart and Meta? The new Microsoft Gaming CEO tells Variety it's all about games with "deep emotional resonance" and "a distinct point of view." She wants to develop stories that make players "feel something," like the kind of feelings Campo Santo's 2016 first-person mystery "Firewatch" elicited in her.

Sharma takes on the mantle as head of the leading competitor to Sony's PlayStation and Nintendo knowing full well she's entering the role as an outsider to the larger gaming community and has "a lot to learn" still. But Sharma says she's got a commitment to "being grounded in what the community is telling us." "I'm coming into gaming as a platform builder," Sharma said, adding that her goal is to "earn the right to be trusted by players and developers" and show the fanbase that "consistency" over time. In her interview with Variety, Sharma acknowledged the tumultuous state of the gaming industry, referencing Matthew Ball's recent State of Video Gaming in 2026 report as evidence that the larger "transformation" of the sector is "protecting what we believe in while remaining open-minded about the future."

Due to her strong background in AI, initial reactions to Sharma's appointment have raised concerns about what her specific views are on the use of generative AI in game development. Sharma says her stance is simple: she has "no tolerance for bad AI." "AI has long been part of gaming and will continue to be," Sharma said, noting that gaming needs new "growth engines," but that "great stories are created by humans."

The consumer movement Stop Killing Games "has come a long way in the two years since YouTuber Ross Scott got mad about Ubisoft's destruction of The Crew in 2024," writes the gaming news site PC Gamer. "The short version is, he won: 1.3 million people signed the group's petition, mandating its consideration by the European Union, and while Ubisoft CEO Yves Guillemot reminded us all that nothing is forever, his company promised to never do something like that again." (And Ubisoft has since updated The Crew 2 with an offline mode, according to Engadget.)

"But it looks like even bigger things are in store," PC Gamer wrote Thursday, "as Scott announced today that Stop Killing Games is launching two official NGOs, one in the EU and the other in the US." An NGO — that's non-governmental organization — is, very generally speaking, an organization that pursues particular goals, typically but not exclusively political, and that may be funded partially or fully by governments, but is not actually part of any government. It's a big tent: Well-known NGOs include Oxfam, Doctors Without Borders, Amnesty International, and CARE International... "If there's a lobbyist showing up again and again at the EU Commission, that might influence things," [Scott says in a video]. "This will also allow for more watchdog action. If you recall, I helped organize a multilingual site with easy to follow instructions for reporting on The Crew to consumer protection agencies. Well, maybe the NGO could set something like that up for every big shutdown where the game is destroyed in the future...."

Scott said in the video that he doesn't have details, but the two NGOs are reportedly looking at establishing a "global movement" to give Stop Killing Games a presence in other regions.
"According to Scott, these NGOs would allow for 'long-term counter lobbying' when publishers end support for certain video games," Engadget reports" "Let me start off by saying I think we're going to win this, namely the problem of publishers destroying video games that you've already paid for," Scott said in the video. According to Scott, the NGOs will work on getting the original Stop Killing Games petition codified into EU law, while also pursuing more watchdog actions, like setting up a system to report publishers for revoking access to purchased video games... According to Scott, the campaign leadership will meet with the European Commission soon, but is also working on a 500-page legal paper that reveals some of the industry's current controversial practices.

Slashdot reader BrianFagioli writes: The Salvation Army has launched what it calls the world's first digital thrift store inside Roblox, an experience named Thrift Score that lets players browse virtual racks and buy digital fashion for their avatars.

While I understand the strategy of meeting Gen Z and Gen Alpha where they already spend time and money, I feel uneasy about turning something that, in the real world, often serves low income families in genuine need into a gamified aesthetic inside a video game, even if proceeds support rehabilitation and community programs, because a thrift store is not just a quirky brand concept but a lifeline for many people, and packaging that reality as entertainment creates a strange disconnect that is hard to ignore.
"To be clear, proceeds from Thrift Score are intended to support The Salvation Armyâ(TM)s programs nationwide..." this article points out. "If it drives awareness and funds programs that help people in need, that is a win. But if it turns thrifting into just another cosmetic skin in a digital marketplace, then we should at least be willing to say that it feels off."