Tech News

Eric Migicovsky:

We’re excited to announce two new smartwatches that run open source PebbleOS and are compatible with thousands of your beloved Pebble apps.

• Core 2 Duo has an ultra crisp black and white display, polycarbonate frame, costs $149 and starts shipping in July.
• Core Time 2 has a larger 64-colour display, metal frame, costs $225 and starts shipping in December.

My advice would have been to return with just one watch. Make a decision: color or monochrome. I’d sort of lean toward black-and-white, to differentiate it from Apple Watch and other high-end smartwatches. They’re never going to out-color Apple on display quality, so why not go the other way and lean in on black-and-white utility and contrast?

I would also suggest that whining about the fact that iOS doesn’t allow third-party devices the sort of integration that Apple Watch offers isn’t the path forward. Instead of arguing that “Apple restricts Pebble from being awesome with iPhones”, lean into the ways that Pebble can be awesome because it isn’t an Apple Watch. 30-day battery life is awesome. I don’t think Apple Watch will ever offer that. Being able to run whatever apps — including watch faces — that you want on your own Pebble watch is awesome, and I know Apple Watch will never offer that. Lean into what Pebble watches can do that Apple Watches can’t. If the experience as a Pebble owner can be a lot better paired with an Android phone than an iPhone, lean into that. Show how much better it is on Android than iOS. Compete.

If you can’t show how much better Pebble is when paired to an Android device (which they couldn’t do 10 years ago), then what’s the point?

 ★ 

Taegan Goddard, writing at Political Wire regarding pollster David Shor’s appearance on Ezra Klein’s podcast:

His surveys indicate a clear causal relationship: People who relied on TikTok for news were much more likely to swing toward Trump than those who got their information from TV. His most striking data point:

When you zoom in on people who get their news from TikTok but don’t care very much about politics, this group is eight percentage points more Republican than they were four years ago — which is a lot.

What remains unclear is why this shift happened. Was TikTok’s parent company, ByteDance, subtly adjusting its algorithm to undermine Democrats? Or was the platform simply reflecting broader anti-incumbent sentiment? Shor concedes:

You could tell a story that maybe just anti-incumbent stuff is going to do really well on TikTok, and Democrats are going to do great now. I don’t really know. But I think that, for whatever reason, this major shift really helped Republicans.

It used to be that getting your message out required persuading reporters, editors, and gatekeepers — people trained to vet and verify information.

Now anyone can make a short video, and if it’s compelling enough, it spreads like wildfire — except that it may be following a path predetermined by TikTok’s algorithms.

I worry that the liberal/left response to this will be to declare, with exasperation, that people shouldn’t be getting their news or forming their political opinions by what they see on TikTok. You need to meet people where they are, and craft messages for the media they consume.

 ★ 

Random Augustine has written a splendidly nerdy but very approachable overview of the evolution of Apple’s XNU kernel over the last decade:

2017 — Page Protection Layer

With the release of the iPhone 8 and iPhone X containing the A11 processor, Apple introduced a security feature known as the Page Protection Layer (PPL). This hardware+software feature isolated a small part of the kernel and gave it privileges to modify memory page tables — critical structures that manage memory access. The rest of the kernel lost the ability to directly modify these page tables. The PPL’s limited attack surface ensured that bypasses were infamously rare. While PPL added a layer of protection, it was only partly effective as the rest of the kernel still held most privileges required to compromise data without modifying page tables.

2021–2023 — Secure Page Table Monitor

Following PPL, the release of the iPhone 13 containing the A15 processor introduced new functionality utilised in iOS 17: the Secure Page Table Monitor (SPTM). This replaced and improved upon the PPL by securing additional memory functions and dividing them into subsystems, further isolating small kernel components. Validation of code signatures, confirming that all code had been signed by Apple was also isolated.

Around this time, oblique references to exclaves began to surface in XNU source code. These exclaves were speculated to be the subsystems managed by SPTM. Then 2024 happened…

2024 — Exclaves: A major addition to XNU

With the release of XNU source code supporting M4 and A18 based systems (such as the iPhone 16), the curtain was partly pulled back on exclaves. (Exclaves are not active on prior processors).

It is now clear that exclaves are part of a much larger redesign of XNU’s security model.

I am reminded of Gall’s Law:

A complex system that works is invariably found to have evolved from a simple system that worked. A complex system designed from scratch never works and cannot be patched up to make it work. You have to start over with a working simple system.

(I also suspect that Siri — today’s Siri at least — might be a canonical example of “a complex system designed from scratch”. But that’s a different topic.)

 ★ 

Nick Heer:

They are impressive, but my interpretation of statistics like these is that one often finds percentages used like this when neither actual number is very large. Nevertheless, another indication that browser choice screens can have a positive effect for smaller browsers and, conversely, also a reminder of the power of defaults.

Saying the daily users have doubled isn’t very meaningful when they don’t state the baseline. It’s a bit of a Bezos chart. And what’s the proof that this growth is from happy users — users who, upon seeing the DMA browser choice screen on their iPhones, realized only then that they wanted to switch to Firefox? Surely some number of users who switched to Firefox via the choice screen did so by mistake, because they were confused.

The best case scenario is that this growth for Firefox (and presumably for other alternate browsers that qualified for the EU choice screens) means that alternative browsers have gone from a tiny usage share to a twice-as-large-but-still-tiny share, and that most of the growth comes from happy users. I see no proof, though, that the growth hasn’t at least significantly come from confused users who now wonder what happened to Safari. And either way, the DMA’s mandatory choice screen has, thus far, been relatively ineffective overall.

 ★ 

Ten years ago I bought a pair of Beyerdynamic DT 770 Pro headphones for use while podcasting. My product research was rigorous and exhaustive: I asked Marco Arment which headphones I should buy, he said these, so I bought them. They’re offered in three impedance variants: 32, 80, and 250 ohms. Beyerdynamics describes 80 ohms as the best “allrounder” choice, and that’s what Marco told me to get.

I’ve since worn them to record at least 275 episodes of The Talk Show (I think this episode was the first) and nearly all of the five-years-and-counting run of Dithering. They sound great, but more importantly, they’re super comfortable. I can wear them for 3+ hours and my ears don’t feel too bad at all. They’re also built to last. Just about everything on mine still looks fairly new, despite my having worn them for something approaching 1,000 hours. No cracking on the cable and the padding on the headband looks new. The one part that didn’t look new were the velour ear pads. Last week I ordered replacements from Beyerdynamics for $40; they arrived earlier this week and I swapped the old pads for new today.

When I bought my headphones in 2015, they cost $250. Today the price is down to just $170, either direct from Beyerdynamic or from Amazon (that’s a make-me-rich affiliate link). I am not an audiophile, and I literally only use mine for podcasting. But I’ve spent quite a lot time podcasting with them over the last decade. I’ll bet I’m still using the same pair (with another set of fresh ear pads) 10 years from now.

 ★ 

Modern authentication should be seamless and secure. WorkOS makes it easy to integrate features like MFA, SSO, and RBAC.

Whether you’re replacing passwords, stopping fraud, or adding enterprise auth, WorkOS can help you build frictionless auth that scales.

Future-proof your authentication stack with the identity layer trusted by OpenAI, Cursor, Perplexity, and Vercel.

Upgrade your auth today.

 ★ 

New (well, newish) Mac app from John Siracusa:

Hyperspace searches for files with identical contents within one or more folders. If it finds any, it can then reclaim the disk space taken by all but one of the identical files — without removing any of the files!

You can learn more about how this is done, if you’re interested, but the short version is that Hyperspace uses a standard feature of the macOS file system: space-saving clones. The Finder does the same thing when you duplicate a file.

I love everything about this app. I love the name — it “works” in like at least three ways. I love that it’s right up Siracusa’s alley. I love that Siracusa has talked about it, at wonderful length, on ATP and expounded upon it on his blog. I love that the premise sounds a little crazy but the explanation makes all the sense in the world. I love that this small, laser-focused utility is fully and splendidly documented. I love the way it looks. It’s got a great icon. I mean of course it would, but still, let’s celebrate how fun this is.

 ★ 

Not new, but new to me, is this delightful 7-minute short with a behind-the-scenes look at SNL’s cue card team, led by longtime main cue card guy Wally Feresten. Sometimes you just can’t beat analog.

 ★ 

As a kid I loved Richard Scarry’s books. As an adult I loved (and love) Chris Ware’s graphic novels. As a parent I loved reading Scarry’s books, again, with my son. So of course this essay from Ware, commemorating the 50th anniversary edition of Scarry’s Cars and Trucks and Things That Go, hit hard for me. Bet it will for you too.

 ★ 

Om Malik:

I have my own explanation, something my readers are familiar with, and it is the most obvious one. Just as Google is trapped in the 10-blue-link prison, which prevents it from doing something radical, Apple has its own golden handcuffs. It’s a company weighed down by its market capitalization and what stock market expects from it.

They lack the moral authority of Steve Jobs to defy the markets, streamline their product lineup, and focus the company. Instead, they do what a complex business often does: they do more. Could they have done a better job with iPadOS? Should Vision Pro receive more attention?

The answer to all those is yes. Apple has become a complex entity that can’t seem to ever have enough resources to provide the real Apple experience. What you get is “good enough.” And most of the time, I think it is enough — because what others have on the market is worse. They know how to build great hardware; it’s the software where they falter. In the case of Apple Intelligence, they have been caught short because others’ AI products, even when flawed, are significantly better than Apple’s own offerings.

Hardware inherently keeps a company honest in a way that software doesn’t. Hardware either works or it doesn’t. The only way to “upgrade” hardware is via installing newer software, or by taking the hardware apart and replacing physical components. It’s hard to think of a company, in any field, whose software is “better” than its hardware. Maybe Nintendo? But even with Nintendo, I’d say it’s more like their software is as good as their hardware. Also, an interesting thought that popped into my head reading Malik’s post just now: part of what makes Vision Pro so fascinating is that the software is better than the hardware. The hardware for immersive VR is so early-days that even the industry state-of-the-art — which is Vision Pro — stinks compared to where it’s going to be in even just five years. The 1984 Macintosh was a shitty computer with a 9-inch one-bit display, no hard drive, and an absurdly meager 128 kilobytes of RAM. But the software was amazing!

But the bigger, better point Malik makes is that “good enough” is enough to make Apple’s software seem ahead of its competition. I tried to make this point all the way back in 2007 with “Apple Needs a Nikon”, and I think the problem is worse now than it was then. No other company is even vaguely in Apple’s league. But Apple is sliding toward mediocrity on the software side. It’s very open for debate how far they’ve slipped. I, for one, would argue that they haven’t slipped far, and with an honest reckoning — especially with regard to everything related to Siri and AI — they can nip this in the bud. You might argue that they’ve slipped tremendously across the board. But what I don’t think is arguable is that their competition remains below Apple’s league. That’s what gives credence to the voices in Cupertino who are arguing that everything’s fine. Apple’s the only team in the top tier for UI design.

The best thing that could happen to Apple would be for Google to ship an Android Pixel experience that actually makes iPhone owners insanely jealous. Google is incapable of doing that through UI design. They’re incapable of catching up to Apple on hardware. But maybe on the AI front they can do it. Apple needs a rival.

 ★ 

Tesla’s share price has been having a hard time of it lately. The stock has lost about half its value since its all-time high back in December, and, since Musk took office alongside Donald Trump in January, dropped for 7 consecutive weeks, rebounding only ever-so-slightly last week, after Musk got the president of the United States to turn the White House lawn into a cheesy Tesla (sorry, Tesler) dealership. Tesla stock dropped another 5 percent today, on a day when the overall market was slightly up.

I bookmarked this Bryce Elder column at the Financial Times back on January 31, and now seems like a good time to link to it:

The usual explanation for when Tesla trading resembles a Pump.fun shitcoin is: “because Elon talks a lot”. Here’s JPMorgan analyst Ryan Brinkman to expand on the theme:

It’s not clear to us why Tesla shares traded as much as +5% higher in the aftermarket Wednesday, although we have some leading theories. Perhaps it was management’s statement that it had identified an achievable path to becoming worth more than the world’s five most valuable companies taken together (i.e., more than the $14.8 trillion combined market capitalizations of Apple, Microsoft, NVIDIA, Amazon, & Alphabet). Or maybe it was management’s belief that just one of its products has by itself the potential to generate “north of $10 trillion in revenue”. It may have even related to management guidance for 2026 (no financial targets were provided, but it was said to be “epic”) and for 2027 and 2028 (“ridiculously good”).

Brinkman, who has a long-standing “underweight” rating on Tesla, is beginning to sound a bit exasperated:

[T]he company’s financial performance and Bloomberg consensus for revenue, margin, earnings, and cash flow all keep coming down, but analyst price targets and the company’s share price keep going up. For instance, Tesla has missed Bloomberg consensus EBIT in 9 of the past 10 quarters by an average of -16.3%.

Consistently missing estimates is one thing. What Tesla has been doing is consistently missing lowered estimates. [...]

Tesla’s biggest asset is hyperbole. The more extreme the hyperbole, the more valuable it gets. Maybe after-hours market participants understand the dynamics better than Tesla bears, so are primed to park fundamentals and trade on vibes. Or maybe something else entirely is going on.

Sounds a lot like the other guy at the White House Auto Mall.

 ★ 

I’ve been commenting and expanding upon some of the commentary my piece prompted, and I have a few more coming, but it’s good to have Tsai collect a comprehensive overview.

 ★ 

Ray Maker, writing at DC Rainmaker:

This would not only be the first time Apple has created a non-watch heart rate sensor, but even more notably, the first time the company has enabled heart rate broadcasting over existing Bluetooth heart rate standards.

The question then becomes: Is it accurate?

Unfortunately, it turns out, that was not the question I should have started with. The real question to start with is: Is the heart rate function (accuracy aside), even usable? A lot of hours later, I have answers to both of those questions. And trust me, it’s a very mixed bag.

The answer:

It’s clear that any movement (even on a stationary bike) quickly leads to either dropouts or inaccurate heart rate. And outdoors running, it’s even worse. Ultimately, I don’t see any value in the heart rate sensor in this product, because it’s simply not good enough to be useful, even for casual use.

So maybe this feature is not soon coming to AirPods? I think there’s a good argument to be made that these are better than no heart rate monitor at all but also not nearly as good as an Apple Watch or dedicated device.

 ★ 

I’m a month late linking to it, but Chance Miller wrote a terrific review for 9to5Mac:

The last several releases from Beats, such as the Studio Buds Plus and Solo 4 headphones, have been powered by a custom Beats chip rather than an Apple-designed chip like what’s used in AirPods. For Beats, this has enabled better cross-platform support for Android users, but it’s also come at the cost of several popular features for Apple fans. For example, the Studio Buds Plus lack support for automatic in-ear detection, iCloud pairing, automatic device switching, personalized spatial audio, and more.

With the Powerbeats Pro 2, Beats has gone back to its roots and opted for an Apple-designed chip. The Powerbeats Pro 2 are powered by Apple’s H2 chip, the same chip used by the latest-generation AirPods Pro 2 and AirPods 4. This means you get the full suite of Apple-focused audio features.

The degree of shared engineering between Apple’s teams and Beats’s has always seemed odd to me. Sometimes it seems like Beats really is an independent subsidiary, focused on cross-platform headphones, and other times it feels like they’re making Apple products under a different brand label. The sweet spot seems to be about where they landed with these Powerbeats 2.

All of the aforementioned features and improvements make Powerbeats Pro 2 an incredibly compelling product, but Beats has one more thing: Powerbeats Pro 2 feature built-in heart rate monitoring.

Each Powerbeats Pro 2 earbud has a built-in heart rate monitor comprised of four components. First, there’s an LED sensor that emits green LED light at a rate of over 100 pulses per second. This light is emitted through the skin and hits your red blood cells. The photodiode then receives the reflected light from the red blood cells that is modulated by the red blood flow. There’s an optical lens that helps direct and separate the transmitted and received light, along with an accelerometer to ensure accuracy and consistency in data collection.

Beats adds that the Powerbeats Pro 2’s heart rate sensor technology is derived from Apple’s work on the Apple Watch.

It’s weird, but cool, that Beats has delivered in-ear heartbeat monitoring before Apple’s own AirPods have. But now it seems like a lock that this will be a feature in AirPods Pro 3, right?

What I always want in a review I read — and what I try to provide to readers through my own reviews — is a sense of whether a product is for me. Powerbeats Pro 2 aren’t for me — and I know it, because Miller’s review describes them so well. But they seem like a terrific product that a lot of people would prefer to AirPods Pro.

 ★ 

Sebastiaan de With, on X, linking to my “Something Is Rotten” piece last week:

Ex-MobileMe team here. This was a brutal time.

It was so bad that when he presented iCloud onstage, Steve said “I know what you’re thinking: why should I trust them? They’re the ones who gave us MobileMe!”

Michael Gartenberg (who worked at Apple in product marketing for a few years at the tail end of the Jobs era), responded (across two tweets):

When I was at Apple and Apple University was still around there was a whole course on MobileMe and how it was possible that things ended up the way they did. Fascinating to hear all the backstory.

One of the lessons of the Apple University course was much of the MobileMe debacle was directly because Jobs didn’t care about it. He was too preoccupied with the newest iPhone at the time. He didn’t even introduce the product, a lot of the stuff crossed his desk that he ignored.

Twitter-like social posts enforce brevity, but I suspect Gartenberg would agree that it wasn’t that Jobs didn’t care about MobileMe at all. It was that he didn’t think he had to care enough to devote his personal attention to it. Yes, Apple should offer web-based functionality for some online fundamentals (email, calendar, contacts...) and, more importantly, Apple should provide over-the-air Internet sync for that data between customers’ devices. And it should just work, in the way that a hard drive “just works” without Steve Jobs paying close attention to the current state of Apple’s file system team. But then it turned out MobileMe didn’t “just work”, and Jobs decided that he needed to pay laser-focused attention to starting over and building what we now know as iCloud (which is really quite good, very reliable, and I’d say long ago surpassed the “it just works” threshold). Steve Jobs’s final keynote — at WWDC 2011 — was largely focused on the announcement of iCloud.

Who’s got that role inside Apple today — someone with high standards, good taste, and clout within the company — for Siri and Apple Intelligence? Someone who is going to say We didn’t care enough about this, but now we need to, and will.

 ★ 

From Drexel’s YouTube channel:

But far less recognized is that Drexel made the very bold decision of committing all students to purchase a previously unreleased and untested computer from Apple. This was, of course, the Macintosh (introduced in January 1984), which was unlike any previous computer. Drexel’s commitment to the Mac was also of great benefit to Apple, helping to legitimize this brand-new platform, which helped make the Mac a successful product that continues to thrive in education 40 years later.

This entire initiative, called the Drexel Microcomputer Project, was captured in a 1-hour documentary filmed by David Jones, Dean of the Pennoni Honors College from 2008 to 2014. The film premiered at Drexel in 1985.

I was very fortunate not only to know Dave Jones (who died in 2018) but to have him as a professor for several film criticism courses (one on westerns, and another on the works of Alfred Hitchcock). I was a computer science major, not a film major, but Jones didn’t care. He was also familiar with — dare I say, a fan of — my column in The Triangle, Drexel’s student newspaper. He took me to lunch my senior year and encouraged me to pursue writing as a career. He was a great teacher: thoughtful, kind, insightful, open-minded, and deeply knowledgeable.

I saw a screening of Going National back in 2011, and sat on a panel discussion with Jones to talk about it. It’s a good documentary, and he really captured the feel of Drexel’s campus at the time. It is a very ’80s movie. It was gratifying that I got to tell him, then, that his advice to me back in 1996 had worked out pretty well.

 ★ 

Alissa Falcone, in a good piece looking back at (my alma mater) Drexel University’s groundbreaking deal with Apple 40 years ago to provide deeply discounted Macintoshes to all students, and integrate them throughout the campus and curriculums:

Drexel was prepared to buy IBM computers — and had equipped its computer centers with IBMs for decades — but the cost came to more than $1,000 per unit. IBM’s young competitor Apple, on the other hand, was willing to give discounts, provided the University agreed to secret negotiations and discreet showings of its newest, unreleased personal computer.

Bruce Eisenstein, PhD, Arthur J. Rowland Professor of Electrical and Computer Engineering in the College of Engineering, was the head of the Department of Electrical and Computer Engineering at the time, and had been the founding faculty adviser for the Drexel Computer Society started in 1972. He was Drexel’s choice to meet with an Apple representative to see the future Macintosh, which had never-before-seen properties like a mouse, icons on a screen and different fonts. This new Apple product was more powerful and easier to use than earlier personal computers; novices could supposedly master it in 30 minutes (without the need to memorize and type coded commands). And Apple agreed on the $1,000 price tag for a model that sold to the public for $2,495.

“I went back to the selection committee and I said, ‘Listen, you have to forget the IBM. This new computer from Apple is the one you have to get. They are going to make it available to us for a thousand dollars — that’s all inclusive.’ And the first question was ‘Is it compatible with the IBM computer?’ Well, no. Was there software for it? No. Were there any programs for it, like a word processor? Not yet. So the committee justifiably kept saying, well, what’s the name of this? What’s it like? I couldn’t tell them. I had to say you just gotta trust me on this. So they took a vote and unanimously voted to adopt the unknown computer that turned out to be the Macintosh,” Eisenstein recalled in Building Drexel: The University and Its City, 1891-2016.

Drexel chose the untested Macintosh even knowing that Apple wouldn’t announce it to the public until January 1984 and that the computers wouldn’t be ready until March, almost halfway through that momentous academic year.

I never had the pleasure of meeting Eisenstein, but I’d sure like to thank him for his prescience. By the time I got to Drexel in 1991 the Mac was infused throughout campus.

 ★ 

It’s an ice-cold late winter’s morning in Canada, but the offices of Ubisoft Quebec are ablaze with excitement.

The Ubisoft team is preparing the release of Assassin’s Creed Shadows, the 14th main entry in the series and an evolution for the franchise in nearly every detail. It’s set in feudal 16th-century Japan, a rich and elegant period that’s been long sought-after by fans and Ubisoft team members alike. It introduces a pair of fierce protagonists: Yasuke, a powerful warrior of African origin, and Naoe, an agile Shinobi assassin, both brought to life with attention to historical accuracy. Its world feels alive with an ever-changing dynamism that’s apparent in everything from the shifting weather to the rotating seasons to the magical interplay of light and shadow.

And what’s more, it’s set to release on Mac the same day it arrives on PCs and consoles.

“It’s been a longtime dream to bring the game to Mac,” says Ubisoft executive producer Marc-Alexis Côté, who debuted the game on Mac during the WWDC24 Keynote. “It’s incredible that I can now open a MacBook Pro and get this level of immersion.” Shadows will also be coming later to iPad with M-series chips.

Naoe, one of the game’s two protagonists, is an agile assassin who’s at her best when striking from the shadows.

Today marks one of the first times that the gaming community will get its hands on Shadows, and to celebrate the occasion, the Ubisoft offices — a mix of cozy chalet-worthy reclaimed wood and wide-open windows that afford a view of snowy Quebec City rooftops — have been reskinned with an Assassin’s Creed theme, including a display that emphasizes the heft of Yasuke’s weapons, especially an imposing-looking 13-pound model of the character’s sword. (On this day, the display is hosted by associate game director Simon Lemay-Comtois, who appears quite capable of wielding it.)

Pre-order Assassin's Creed Shadows from the Mac App Store

Côté calls Shadows his team’s “most ambitious” game. In crafting the game’s expansive world, Ubisoft’s development team took advantage of an array of advanced Mac technologies: Metal 3 (working in concert with Ubisoft’s next-generation Anvil engine), Apple silicon, and a mix of HDR support and real-time ray tracing on Macs with M3 and M4 that Côté says was “transformative” in creating the game’s immersion.

It’s been a longtime dream to bring the game to Mac.

Marc-Alexis Côté, Ubisoft executive producer

“Seeing those millions of lines of code work natively on a Mac was a feeling that’s hard to describe,” Côté says. “When you look at the game’s performance, the curve Apple is on with successive improvements to the M-series chips year after year, and the way the game looks on an HDR screen, you’re like, ‘Is this real?’”

Assassin’s Creed Shadows is a balance of the technical and creative. For the former, associate technical director Mathieu Belanger says the capabilities of Mac laid the groundwork for technical success. “The architecture of the hardware is so well done, thanks in part to the unified memory between the GPU and CPU. That made us think the future is bright for gaming on the platform. So many things about doing this on Mac were great right out of the box.”

Naoe’s counterpart, Yasuke, prefers the use of brute force.

On the creative side, Ubisoft creative director Jonathan Dumont focused on a different opportunity. “The important thing was: Does this feel right? Is it what we want to send to players? And the answer was yes.”

The creative team’s goal was nothing short of “making this world feel alive,” says Martin Bedard, a 20-year Ubisoft veteran who served as the game’s technology director (and is very good at playing as Naoe). “You’re put into a moment that really existed,” he says. “This story is your playground.”

There are also fluffy kittens. We’ll get to those.

The ever-changing seasons lend an incredible variety to the game’s environments.

And there’s tremendous power behind the beauty, because the game’s biomes, seasons, weather, and lighting are all dynamic creations. The sunset hour bathes the mountains in soft purple light; the sun’s rays float in through leaves and temple roofs. Pretty much every room has a candle in it, which means the light is always changing. “Look at the clouds here,” says Bedard, pointing at the screen. “That’s not a rendering. These are all fluid-based cloud simulations.”

“Japan feels like it’s 80 percent trees and mountains,” says Dumont. “If you’re building this world without the rain, and the winds, and the mountains, it doesn’t feel right.”

Wherever you are, wherever you go, everything is beautiful and alive.

Mathieu Belanger, associate technical director

And those winds? “We developed a lot of features that were barely possible before, and one of them was a full simulation of the wind, not just an animation,” says Belanger. “We even built a humidity simulation that gathers clouds together.” For the in-game seasons, Ubisoft developed an engine that depicted houses, markets, and temples, in ever-changing conditions. “This was all done along the way over the past four years,” he says.

To pursue historical accuracy, Dumont and the creative team visited Japan to study every detail, including big-picture details (like town maps) to very specific ones (like the varnish that would have been applied to 16th-century wood). It wasn’t always a slam dunk, says Côté: In one visit, their Japanese hosts recommended a revision to the light splashing against the mountains. “We want to get all those little details right,” he says. (A “full-immersion version,” entirely in Japanese with English subtitles, is available.)

To recreate the world of 16th-century Japan, the Ubisoft creative visited Japan to study every detail.

Ubisoft’s decision to split the protagonist into two distinct characters with different identities, skill sets, origin stories, and class backgrounds came early in the process. (“That was a fun day,” laughs Belanger.) Ubisoft team members emphasize that choosing between Naoe and Yasuke is a matter of personal preference — lethal subtlety vs. brute force. Players can switch between characters at any time, and, as you might suspect, the pair grows stronger together as the story goes on. Much of Naoe’s advantage comes from her ability to linger in the game’s shadows — not just behind big buildings, but wherever the scene creates a space for her to hide. “The masterclass is clearing out a board without being spotted once,” says Bedard.

(The Hideout is) peaceful. You can say, ‘I feel like putting some trees down, seeing what I collected, upgrading my buildings, and petting the cats.’

Jonathan Dumont, Ubisoft creative director

Which brings us to the Hideout, Naoe and Yasuke’s home base and a bucolic rural village that acts as a zen-infused respite from the ferocity of battle. “It’s a place that welcomes you back,” says Dumont. It’s eminently customizable, both from a game-progression standpoint but also in terms of aesthetics. Where the battle scenes are a frenzy of bruising combat or stealth attacks, the Hideout is a refuge for supplies, artwork, found objects, and even a furry menagerie of cats, dogs, deer, and other calming influences. “There are progressions, of course,” says Dumont, “but it’s peaceful. You can say, ‘I feel like putting some trees down, seeing what I collected, upgrading my buildings, and petting the cats.”

“The kittens were a P1 feature,” laughs associate game director Dany St-Laurent.

Yasuke prepares to face off against an opponent in what will likely be a fruitful battle.

Yet for all those big numbers, Dumont says the game boils down to something much simpler. “I just think the characters work super-well together,” he says. “It’s an open-world game, yes. But at its core, it features two characters you’ll like. And the game is really about following their journey, connecting with them, exploring their unique mysteries, and seeing how they flow together. And I think the way in which they join forces is one of the best moments in the franchise.”

And if the Ubisoft team has its way, there will be plenty more moments to come. “I think the game will scale for years to come on the Mac platform,” says Côté. “Games can be more and more immersive with each new hardware release. We’re trying to create something here where more people can come with day-one games on the Mac, because I think it’s a beautiful platform.”

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Lenovo demonstrated "a laptop with a foldable screen and one that can get extra battery life from solar power," reports CNBC, emphasizing that "These laptops are just concepts, meaning they are not commercially available." But "Lenovo, the world's biggest PC maker, has a history of showing off imaginative concepts with some becoming reality, so it's worth keeping an eye on what the Chinese technology giant is up to..." The latest concepts were unveiled at the Mobile World Congress trade show in Barcelona... When fully unfolded, the screen is an 18-inch display [on the Lenovo ThinkBook 'flip' concept]... The screen can then be folded in half horizontally to create two screens — one on the front and one on the back. The entire display can be folded down flat so the laptop turns into a tablet-like device. Lenovo also showed off a Yoga Solar PC concept, reports Gizmodo, calling it "relatively thin and light" despite a solar panel in its lid with "a supposed 24% solar conversion rate": Lenovo claims they achieved this by maneuvering the gridlines you usually find on a solar panel behind the solar cells, offering more real estate for energy absorption... Lenovo's software showed the power accumulation at around 7 V when facing away from the sunlight and 12 V when facing toward it. It could get more when getting direct sunlight. Despite the presence of the solar panel, the laptop still weighs a little more than 2.6 pounds, which isn't out of the realm of what to expect from most modern laptops. We should note that the panel isn't generating the required power to run the PC continuously. Lenovo claimed that 20 minutes of direct sunlight will transform into about one hour of video playback battery life. Depending on the CPU and battery, that could be 1/20 of the laptop's battery life. CNBC had slightly different statistics for the laptop's battery life. "Lenovo said that the solar panels can absorb even ambient light in a person's surroundings to give a user an extra hour of laptop use at the end of an eight-hour work day..."

Read more of this story at Slashdot.