17656 stories
·
175 followers

25 years, one website: ISS in Real Time captures quarter-century on space station

1 Share

With the milestone just days away, you are likely to hear this week that there has now been a continuous human presence on the International Space Station (ISS) for the past 25 years. But what does that quarter of a century actually encompass?

If only there was a way to see, hear, and experience each of those 9,131 days.

Fortunately, the astronauts and cosmonauts on the space station have devoted some of their work time and a lot of their free time to taking photos, filming videos, and calling down to Earth. Much of that data has been made available to the public, but in separate repositories, with no real way to correlate or connect it with the timeline on which it was all created.

That is, not until now. Two NASA contractors, working only during their off hours, have built a portal into all of those resources to uniquely represent the 25-year history of ISS occupancy.

ISS in Real Time, by Ben Feist and David Charney, went live on Monday (October 27), ahead of the November 2 anniversary. In its own way, the new website may be as impressive a software engineering accomplishment as the station is an aerospace engineering marvel.

ISS in Real Time – Overview

Scraping space station data

“Everything that is on the website was already public. It’s already on another website somewhere, with some of it tucked away in some format or another. What we did was a lot of scraping of that data, to get it pulled into the context of every day on the space station,” said Feist in an interview with collectSPACE.com.

As an info box on the front page of ISS in Real Time tallies, at its debut the site contained mission data for 9,064 days out of the 9,131 (99.32 percent coverage); 4,739 days with full space-to-ground audio coverage; 4,561,987 space-to-ground comm calls in 69 languages; 6,931,369 photos taken in space over 8,525 days; 10,908 articles across 7,711 days; and 930 videos across 712 days.

Or, to put it another way, particularly appropriate for the history it spans, had this project relied only on the technology that existed when Expedition 1 began, the data archive would fill 3,846 CD-ROMs.

an info graphic sho Statistical data about the contents of the <em>ISS in Real Time</em> website at its debut. Credit: ISS in Real Time

And they did all this in a period of about 11 months, but only in the hours when they were not at work writing software (Feist) or designing user interfaces (Charney) for Mission Control, the EVA (Extravehicular Activity, or spacewalk) Office, or other communities supporting the ISS and Artemis programs at NASA’s Johnson Space Center in Houston.

“Being inside NASA actually didn’t help at all,” said Feist. “If you’re inside NASA and you want to use data, you have to make sure that it’s public data. And because there’s this concept in the government of export control, you have to never, ever make the mistake of publishing an image or something else that you found somewhere else without knowing if it’s already public.”

“So even though we were at NASA, what we had to do was pretend we weren’t there and find the data anywhere we could find it in the public already,” he said.

As it turned out, that worked fairly well for days beginning in 2008 and onward. ISS occupancy, however, pre-dates a lot of the multimedia archives we take for granted today.

“This was the problem,” said Feist. “If stuff was released publicly back then, it was done to media on tape. There was no such thing as streaming video in 2000—YouTube wasn’t invented until 2005. So there’s just no way to go back in time on the Internet and go find the treasure trove that we know exists internally. We know NASA has full days archived on tape, but it just hasn’t been exported yet.”

Even after the change to digital photography and video, there still remained the challenge of linking each file to the day, hour, minute, and second that it was captured. For example, while the Internet Archive has been a tremendous source for the project, only sometimes do the videos it holds include the unique identifier that is needed to determine when the video was taken.

two men pose together for a photo in a mission control room <em>ISS in Real Time</em> creators Ben Feist (at right) and David Charney stand inside the International Space Station control room at NASA&#8217;s Johnson Space Center in Houston, Texas. Credit: ISS in Real Time

In other situations, Feist turned to artificial intelligence to sort through the tens of thousands of files to learn if they were appropriate for inclusion.

“We know that NASA publishes all of its PAO [public affairs office] photos to Flickr. Right now, there are about 80,000 photos in just the Johnson Space Center collection on Flickr alone. So we scraped those, and then I wrote an AI process as part of the pipeline to figure out which of those photos were flight photos and which of them were ground photos, so that we only show flight photos,” he said.

Visualizing 25 years

As Feist was figuring out how to import all the data, Charney was figuring out how the public would access it all.

This is not the first project of its type that Feist and Charney have brought online. In 2019, they introduced Apollo 11 in Real Time, which did for the 50th anniversary of the first moon landing what ISS in Real Time does for the 25 years of human occupancy. Apollo 13 and Apollo 17 sites followed (and more Apollo missions are still to come, Feist and Charney say).

They also built a version of ISS in Real Time for NASA, called Coda, which has been in use internally at the space agency for the past four years.

Even with all of that as a foundation, designing the user interface for ISS in Real Time required Charney to wrap his head around all of the different ways people would be using the site.

“The entire site is an experience,” Charney told collectSPACE. “Just the idea that we could visualize 25 years of what went on, or that we even have every day over the past 25 years in here, is something we wanted to explore and feel the data throughout those 25 years.”

<em>ISS in Real Time</em> begins 25 years ago on Nov. 2, 2000, with the ISS Expedition 1 crew&#8217;s arrival at the space station. Credit: collectSPACE.com

One of the questions was what users would find if they picked a day when no data is available. How could they still make it interesting and still play as though you were in Mission Control?

“Some days have all of the media available—video and tons of photos. And then there are other days where there is no data. There are a lot of days that have at least a photo, but for others, we found there are a lot of great articles we could use so that even on a day that doesn’t have a lot of media, there is some interesting information you can access,” said Charney.

Through Charney’s design, in addition to the data coming from the space station, users can also see where the ISS was in its orbit over Earth, which astronauts were aboard the station, and what spacecraft were docked at any given moment. Visitors can also access transcripts of the space-to-ground comm audio, including translations when the discussion is not in English.

Feist and Charney plan to continue to build out the site and add more data as it is released by NASA, so it remains as close to as “in real time” as possible. They also have ideas for other data sets they could add, including the archived and live telemetry that provide the status of systems and conditions aboard the ISS.

Ultimately, it is the longevity of ISS in Real Time that sets it apart, they said.

“One thing that’s cool about this is you can go to the first day that the Expedition One crew was aboard and let it play. It will then play all the way through that day’s timeline and go to the next day, and then play all the way through that timeline and go to the next day,” said Charney. “So if you start on November 2 and have 25 years to go, the space station, as currently planned, will likely have long met its end before you reach the end.”

“So this might be the longest interactive experience ever built,” said Feist.

Read full article

Comments



Read the whole story
fxer
17 hours ago
reply
Bend, Oregon
Share this story
Delete

Australia’s social media ban is “problematic,” but platforms will comply anyway

1 Share

Social media platforms have agreed to comply with Australia’s social media ban for users under 16 years old, begrudgingly embracing the world’s most restrictive online child safety law.

On Tuesday, Meta, Snap, and TikTok confirmed to Australia’s parliament that they’ll start removing and deactivating more than a million underage accounts when the law’s enforcement begins on December 10, Reuters reported.

Firms risk fines of up to $32.5 million for failing to block underage users.

Age checks are expected to be spotty, however, and Australia is still “scrambling” to figure out “key issues around enforcement,” including detailing firms’ precise obligations, AFP reported.

An FAQ managed by Australia’s eSafety regulator noted that platforms will be expected to find the accounts of all users under 16.

Those users must be allowed to download their data easily before their account is removed.

Some platforms can otherwise allow users to simply deactivate and retain their data until they reach age 17. Meta and TikTok expect to go that route, but Australia’s regulator warned that “users should not rely on platforms to provide this option.”

Additionally, platforms must prepare to catch kids who skirt age gates, the regulator said, and must block anyone under 16 from opening a new account. Beyond that, they’re expected to prevent “workarounds” to “bypass restrictions,” such as kids using AI to fake IDs, deepfakes to trick face scans, or the use of virtual private networks (VPNs) to alter their location to basically anywhere else in the world with less restrictive child safety policies.

Kids discovered inappropriately accessing social media should be easy to report, too, Australia’s regulator said.

Tech companies have slammed Australia’s social media ban as “vague,” “problematic,” and “rushed,” AFP reported.

Each platform is expected to detect age based on a range of signals, such as “how long an account has been active,” whether the users engage with content geared toward younger users, how many friends “who appear to be under 18” they have, or whether they appear to be underage in their profile pictures or image uploads. The eSafety regulator said platforms can also rely on audio analysis to detect age based on users’ voices.

Platforms could also analyze users’ activities for clues and may dig through users’ interactions to analyze “the language level and style” of both the user and their friends, the official guidance said. Or they could detect that a suspected child user’s posting seems to align with “school schedules.”

These signals are not expected to perfectly detect users’ ages, but platforms simply need to show they took “reasonable steps” to block banned users, Australia’s law says. Officials have recommended that platforms use a “layered” approach to overcome attempts at circumvention, the BBC reported.

Everybody accepts that age checks won’t be perfect

When the ban takes effect in December, many kids will likely go undetected, and some adult users will inevitably be falsely flagged as being underage.

A study commissioned by Australia’s regulator found that all methods for detecting kids—including “formal verification using government documents, parental approval, or technologies to determine age based on facial structure, gestures,” or behaviors—were “technically possible.” But there is no “single ubiquitous solution that would suit all use cases, nor did we find solutions that were guaranteed to be effective in all deployments,” the BBC reported.

Perhaps most glaringly, face scans have a notably higher error rate when attempting to distinguish between a 16- and 17-year-old, the study showed.

Many platforms are concerned about enforcement risks, despite the regulator noting that compliance won’t be perfect—directly acknowledging in the FAQ that “no solution is likely to be 100 percent effective all of the time.” To shield adult users from any unintended censorship, the law requires platforms to provide a simple way for users to challenge underage account bans.

Meta’s policy director for Australia and New Zealand, Mia Garlick, told AFP that removing underage accounts will pose “significant new engineering and age assurance challenges.” Nevertheless, Meta plans to comply with the law and remove all users under 16 once the law kicks in later this year.

Australia’s law is supposed to reduce harms by keeping harmful content out of reach and reducing social media “pressures.” But experts have warned that kids can still access harmful content on platforms not impacted by the ban, and there’s no clear evidence that the ban will reduce kids’ screentime.

Instead, critics worry the ban will push kids to darker corners of the Internet while removing an important tool that allows some users, like kids with disabilities, to connect with others. Some advocates have pushed the government to consider exemptions for kids with disabilities. But Australia’s regulator backs the law as a necessary “delay” of all minors’ social media use, insisting that under the new regulations, “no under-16s have to feel like they’re ‘missing out’” since none of their peers will have social media.

Rachel Lord, an Australian spokesperson for YouTube, told AFP that “the legislation will not only be extremely difficult to enforce, it also does not fulfil its promise of making kids safer online.” YouTube is among the ban’s loudest critics.

Australia has proposed reviewing the law’s impacts after two years. In the meantime, other countries could adopt similar legislation, as concerns over child safety have only heightened. Age checks laws have become more popular, and artificial intelligence features that have alarmed parents and lawmakers are increasingly embedded in social media.

Read full article

Comments



Read the whole story
fxer
17 hours ago
reply
Bend, Oregon
Share this story
Delete

If things in America weren’t stupid enough, Texas is suing Tylenol maker

1 Share

While the underlying cause or causes of autism spectrum disorder remain elusive and appear likely to be a complex interplay of genetic and environmental factors, President Trump and his anti-vaccine health secretary Robert F. Kennedy Jr.—neither of whom have any scientific or medical background whatsoever—have decided to pin the blame on Tylenol, a common pain reliever and fever reducer that has no proven link to autism.

And now, Texas Attorney General Ken Paxton is suing the maker of Tylenol, Kenvue and Johnson & Johnson, who previously sold Tylenol, claiming that they have been “deceptively marketing Tylenol” knowing that it “leads to a significantly increased risk of autism and other disorders.”

To back that claim, Paxton relies on the “considerable body of evidence… recently highlighted by the Trump Administration.”

Of course, there is no “considerable” evidence for this claim, only tenuous associations and conflicting studies. Trump and Kennedy’s justification for blaming Tylenol was revealed in a rambling, incoherent press conference last month, in which Trump spoke of a “rumor” about Tylenol and his “opinion” on the matter. Still, he firmly warned against its use, saying well over a dozen times: “don’t take Tylenol.”

“Don’t take Tylenol. There’s no downside. Don’t take it. You’ll be uncomfortable. It won’t be as easy maybe, but don’t take it if you’re pregnant. Don’t take Tylenol and don’t give it to the baby after the baby is born,” he said.

“Scientifically unfounded”

As Ars has reported previously, there are some studies that have found an association between use of Tylenol (aka acetaminophen or paracetamol) and a higher risk of autism. But, many of the studies finding such an association have significant flaws. Other studies have found no link. That includes a highly regarded Swedish study that compared autism risk among siblings with different acetaminophen exposures during pregnancy, but otherwise similar genetic and environmental risks. Acetaminophen didn’t make a difference, suggesting other genetic and/or environmental factors might explain any associations. Further, even if there is a real association (aka a correlation) between acetaminophen use and autism risk, that does not mean the pain reliever is the cause of autism.

Trump is also grievously wrong when he says there is “no downside” for avoiding Tylenol in pregnancy. Acetaminophen is used to reduce fever, and fever during pregnancy is known to increase the risk of autism as well as the risk of serious problems like miscarriage, birth defects, and premature birth and health conditions in the mother. Acetaminophen is the safest pain reliever for use during pregnancy.

After Trump’s bonkers press conference, the Food and Drug Administration sent a notice to physicians saying: “To be clear, while an association between acetaminophen and autism has been described in many studies, a causal relationship has not been established and there are contrary studies in the scientific literature. … acetaminophen is the safest over-the-counter alternative in pregnancy among analgesics [pain relievers] and antipyretics [fever reducers].”

In a statement, Kenvue responded to Paxton’s lawsuit, calling it “scientifically unfounded.”

“We are deeply concerned by the perpetuation of misinformation on the safety of acetaminophen and the potential impact that could have on the health of American women and children,” the drug maker said.

“We will vigorously defend ourselves against these claims and respond per the legal process. We stand firmly with the global medical community that acknowledges the safety of acetaminophen and believe we will continue to be successful in litigation as these claims lack legal merit and scientific support.”

Read full article

Comments



Read the whole story
fxer
17 hours ago
reply
Bend, Oregon
Share this story
Delete

10M people watched a YouTuber shim a lock; the lock company sued him. Bad idea.

1 Share

“Opening locks” might not sound like scintillating social media content, but Trevor McNally has turned lock-busting into online gold. A former US Marine Staff Sergeant, McNally today has more than 7 million followers and has amassed more than 2 billion views just by showing how easy it is to open many common locks by slapping, picking, or shimming them.

This does not always endear him to the companies that make the locks.

On March 3, 2025, a Florida lock company called Proven Industries released a social media promo video just begging for the McNally treatment. The video was called, somewhat improbably, “YOU GUYS KEEP SAYING YOU CAN EASILY BREAK OFF OUR LATCH PIN LOCK.” In it, an enthusiastic man in a ball cap says he will “prove a lot of you haters wrong.” He then goes hard at Proven’s $130 model 651 trailer hitch lock with a sledgehammer, bolt cutters, and a crowbar.

Naturally, the lock hangs tough.

An Instagram user brought the lock to McNally’s attention by commenting, “Let’s introduce it to the @mcnallyofficial poke.” Someone from Proven responded, saying that McNally only likes “the cheap locks lol because they are easy and fast.” Proven locks were said to be made of sterner stuff.

But on April 3, McNally posted a saucy little video to social media platforms. In it, he watches the Proven promo video while swinging his legs and drinking a Juicy Juice. He then hops down from his seat, goes over to a Proven trailer hitch lock, and opens it in a matter of seconds using nothing but a shim cut from a can of Liquid Death. He says nothing during the entire video, which has been viewed nearly 10 million times on YouTube alone.

Despite practically begging people to attempt this, Proven Industries owner Ron Lee contacted McNally on Instagram. “Just wanted to say thanks and be prepared!” he wrote. McNally took this as a threat.

(Oddly enough, Proven’s own homepage features a video in which the company trashes competing locks and shows just how easy it is to defeat them. And its news pages contain articles and videos on “The Hidden Flaws of Master Locks” and other brands. Why it got so upset about McNally’s video is unclear.)

The next day, Lee texted McNally’s wife. The message itself was apparently Lee’s attempt to de-escalate things; he says he thought the number belonged to McNally, and the message itself was unobjectionable. But after the “be prepared!” notice of the day before, and given the fact that Lee already knew how to contact him on Instagram, McNally saw the text as a way “to intimidate me and my family.” That feeling was cemented when McNally found out that Lee was a triple felon—and that in one case, Lee had hired someone “to throw a brick through the window of his ex-wife.”

Concerned about losing business, Lee kept trying to shut McNally down. Proven posted a “response video” on April 6 and engaged with numerous social media commenters, telling them that things were “going to get really personal” for McNally. Proven employees alleged publicly that McNally was deceiving people about all the prep work he had done to make a “perfectly cut out” shim. Without extensive experience, long prep work, and precise measurements, it was said, Proven’s locks were in little danger of being opened by rogue actors trying to steal your RV.

“Sucks to see how many people take everything they see online for face value,” one Proven employee wrote. “Sounds like a bunch of liberals lol.”

Proven also had its lawyers file “multiple” DMCA takedown notices against the McNally video, claiming that its use of Proven’s promo video was copyright infringement.

McNally didn’t bow to the pressure, though, instead uploading several more videos showing him opening Proven locks. In one of them, he takes aim at Proven’s claims about his prep work by retrieving a new lock from an Amazon delivery kiosk, taking it outside—and popping it in seconds using a shim he cuts right on camera, with no measurements, from an aluminum can.

On May 1, Proven filed a federal lawsuit against McNally in the Middle District of Florida, charging him with a huge array of offenses: (1) copyright infringement, (2) defamation by implication, (3) false advertising, (4) violating the Florida Deceptive and Unfair Trade Practices Act, (5) tortious interference with business relationships, (6) unjust enrichment, (7) civil conspiracy, and (8) trade libel. Remarkably, the claims stemmed from a video that all sides admit was accurate and in which McNally himself said nothing.

Screenshot of a social media exchange. In retrospect, this was probably not a great idea.

Don’t mock me, bro

How can you defame someone without even speaking? Proven claimed “defamation by implication,” arguing that the whole setup of McNally’s videos was unfair to the company and its product. McNally does not show his prep work, which (Proven argued) conveys to the public the false idea that Proven’s locks are easy to bypass. While the shimming does work, Proven argued that it would be difficult for an untrained user to perform.

But what Proven really, really didn’t like was being mocked. McNally’s decision to drink—and shake!—a juice box on video comes up in court papers a mind-boggling number of times. Here’s a sample:

McNally appears swinging his legs and sipping from an apple juice box, conveying to the purchasing public that bypassing Plaintiff’s lock is simple, trivial, and even comical…

…showing McNally drinking from, and shaking, a juice box, all while swinging his legs, and displaying the Proven Video on a mobile device…

The tone, posture, and use of the juice box prop and childish leg swinging that McNally orchestrated in the McNally Video was intentional to diminish the perceived seriousness of Proven Industries…

The use of juvenile imagery, such as sipping from a juice box while casually applying the shim, reinforces the misleading impression that the lock is inherently insecure and marketed deceptively…

The video then abruptly shifts to Defendant in a childlike persona, sipping from a juice box and casually applying a shim to the lock…

In the end, Proven argued that the McNally video was “for commercial entertainment and mockery,” produced for the purpose of “humiliating Plaintiff.” McNally, it was said, “will not stop until he destroys Proven’s reputation.” Justice was needed. Expensive, litigious justice.

But the proverbially level-headed horde of Internet users does not always love it when companies file thermonuclear lawsuits against critics. Sometimes, in fact, the level-headed horde disregards everything taught by that fount of judicial knowledge, The People’s Court, and they take the law into their own hands.

Proven was soon the target of McNally fans. The company says it was “forced to disable comments on posts and product videos due to an influx of mocking and misleading replies furthering the false narrative that McNally conveyed to the viewers.” The company’s customer service department received such an “influx of bogus customer service tickets… that it is experiencing difficulty responding to legitimate tickets.”

Screenshot of a social media post from Proven Industries. Proven was quite proud of its lawsuit&#8230; at first.

Someone posted Lee’s personal phone number to the comment section of a McNally video, which soon led to “a continuous stream of harassing phone calls and text messages from unknown numbers at all hours of the day and night,” which included “profanity, threats, and racially charged language.”

Lest this seem like mere high spirits and hijinks, Lee’s partner and his mother both “received harassing messages through Facebook Messenger,” while other messages targeted Lee’s son, saying things like “I would kill your f—ing n—– child” and calling him a “racemixing pussy.”

This is clearly terrible behavior; it also has no obvious connection to McNally, who did not direct or condone the harassment. As for Lee’s phone number, McNally said that he had nothing to do with posting it and wrote that “it is my understanding that the phone number at issue is publicly available on the Better Business Bureau website and can be obtained through a simple Google search.”

And this, with both sides palpably angry at each other, is how things stood on June 13 at 9:09 am, when the case got a hearing in front of the Honorable Mary Scriven, an extremely feisty federal judge in Tampa. Proven had demanded a preliminary injunction that would stop McNally from sharing his videos while the case progressed, but Proven had issues right from the opening gavel:

LAWYER 1: Austin Nowacki on behalf of Proven industries.
THE COURT: I’m sorry. What is your name?
LAWYER 1: Austin Nowacki.
THE COURT: I thought you said Austin No Idea.
LAWYER 2: That’s Austin Nowacki.
THE COURT: All right.

When Proven’s lead lawyer introduced a colleague who would lead that morning’s arguments, the judge snapped, “Okay. Then you have a seat and let her speak.”

Things went on this way for some time, as the judge wondered, “Did the plaintiff bring a lock and a beer can?” (The plaintiff did not.) She appeared to be quite disappointed when it was clear there would be no live shimming demonstration in the courtroom.

Then it was on to the actual arguments. Proven argued that the 15 seconds of its 90-second promo video used by McNally were not fair use, that McNally had defamed the company by implication, and that shimming its locks was actually quite difficult. Under questioning, however, one of Proven’s employees admitted that he had been able to duplicate McNally’s technique, leading to the question from McNally’s lawyer: “When you did it yourself, did it occur to you for one moment that maybe the best thing to do, instead of file a lawsuit, was to fix [the lock]?”

At the end of several hours of wrangling, the judge stepped in, saying that she “declines to grant the preliminary injunction motion.” For her to do so, Proven would have to show that it was likely to win at trial, among other things; it had not.

As for the big copyright infringement claim, of which Proven had made so much hay, the judge reached a pretty obvious finding: You’re allowed to quote snippets of copyrighted videos in order to critique them.

“The purpose and character of the use to which Mr. McNally put the alleged infringed work is transformative, artistic, and a critique,” said the judge. “He is in his own way challenging and critiquing Proven’s video by the use of his own video.”

As for the amount used, it was “substantial enough but no more than is necessary to make the point that he is trying to critique Proven’s video, and I think that’s fair game and a nominative fair use circumstance.”

While Proven might convince her otherwise after a full trial, “the copyright claim fails as a basis for a demand for preliminary injunctive relief.”

As for “tortious interference” and “defamation by implication,” the judge was similarly unimpressed.

“The fact that you might have a repeat customer who is dissuaded to buy your product due to a criticism of the product is not the type of business relationship the tortious interference with business relationship concept is intended to apply,” she said.

In the end, the judge said she would see the case through to its end, if that was really what everyone wanted, but “I will pray that you all come to a resolution of the case that doesn’t require all of this. This is a capitalist market and people say what they say. As long as it’s not false, they say what they say.”

She gave Proven until July 7 to amend its complaint if it wished.

On July 7, the company dismissed the lawsuit against McNally instead.

Proven also made a highly unusual request: Would the judge please seal almost the entire court record—including the request to seal?

Court records are presumptively public, but Proven complained about a “pattern of intimidation and harassment by individuals influenced by Defendant McNally’s content.” According to the company, a key witness had already backed out of the case, saying, “Is there a way to leave my name and my companies name out of this due to concerns of potential BLOW BACK from McNally or others like him?” Another witness, who did submit a declaration, wondered, “Is this going to be public? My concern is that there may be some backlash from the other side towards my company.”

McNally’s lawyer laid into this seal request, pointing out that the company had shown no concern over these issues until it lost its bid for a preliminary injunction. Indeed, “Proven boasted to its social media followers about how it sued McNally and about how confident it was that it would prevail. Proven even encouraged people to search for the lawsuit.” Now, however, the company “suddenly discover[ed] a need for secrecy.”

The judge has not yet ruled on the request to seal.

Another way

The strange thing about the whole situation is that Proven actually knew how to respond constructively to the first McNally video. Its own response video opened with a bit of humor (the presenter drinks a can of Liquid Death), acknowledged the issue (“we’ve had a little bit of controversy in the last couple days”), and made clear that Proven could handle criticism (“we aren’t afraid of a little bit of feedback”).

The video went on to show how their locks work and provided some context on shimming attacks and their likelihood of real-world use. It ended by showing how users concerned about shimming attacks could choose more expensive but more secure lock cores that should resist the technique.

Quick, professional, non-defensive—a great way to handle controversy.

But it was all blown apart by the company’s angry social media statements, which were unprofessional and defensive, and the litigation, which was spectacularly ill-conceived as a matter of both law and policy. In the end, the case became a classic example of the Streisand Effect, in which the attempt to censor information can instead call attention to it.

Judging from the number of times the lawsuit talks about 1) ridicule and 2) harassment, it seems like the case quickly became a personal one for Proven’s owner and employees, who felt either mocked or threatened. That’s understandable, but being mocked is not illegal and should never have led to a lawsuit or a copyright claim. As for online harassment, it remains a serious and unresolved issue, but launching a personal vendetta—and on pretty flimsy legal grounds—against McNally himself was patently unwise. (Doubly so given that McNally had a huge following and had already responded to DMCA takedowns by creating further videos on the subject; this wasn’t someone who would simply be intimidated by a lawsuit.)

In the end, Proven’s lawsuit likely cost the company serious time and cash—and generated little but bad publicity.

Read full article

Comments



Read the whole story
fxer
1 day ago
reply
Bend, Oregon
Share this story
Delete

Microsoft Teams Will Start Tracking Office Attendance

2 Shares
An anonymous reader quotes a report from Tom's Guide: Microsoft Teams is about to deal a heavy blow to those who like to work from home for peace and quiet. In a new feature update rolling out December 2025, the platform will track a worker's location using the office Wi-Fi, to see whether you're actually there or not. From a boss' perspective, this would eliminate any of that confusion as to where your team actually is. But for those people who have found their own sanctuary of peaceful productivity by working from home, consider this a warning that Teams is about to tattle on you. According to the Microsoft 365 roadmap: "When users connect to their organization's Wi-Fi, Teams will automatically set their work location to reflect the building they are working in." The location of that worker will apparently update automatically upon connecting. It's set to launch on Windows and macOS, with rollout starting at the end of this year. "This feature will be off by default," notes Microsoft. But "tenant admins will decide whether to enable it and require end-users to opt-in."

Read more of this story at Slashdot.

Read the whole story
fxer
2 days ago
reply
Bend, Oregon
Share this story
Delete

A platform-jumping prince

3 Shares

"Which is your favorite/definitive version of the original Prince of Persia game?"

I get this question surprisingly often, considering it's been 35 years. I figured it deserves a blog post.

Apple II

The Apple II version was the original. It's the only version I programmed myself; Prince of Persia's gameplay, graphics, animation and music were all created on the Apple II. I spent three years sweating over every byte (from 1986 to 1989), so it's close to my heart in a way no other version can be. That said...

DOS/Windows

The 1990 PC version, developed in parallel with the Apple II and shipped a few months later, took advantage of the PC's improved graphics and sound capabilities to deliver the Prince of Persia most players remember (in CGA, EGA, or VGA). My dad, Francis Mechner, re-orchestrated his music (previously limited by the Apple II's tinny built-in speaker) for MIDI synthesizers. The Broderbund in-house team, led by programmer Lance Groody, with Leila Joslyn on art, Tom Rettig on sound, and me as director, stayed faithful to the Apple game while upping the quality in every dimension. The digitized spike and slicer sound effects that traumatized many an elementary-school gamer originated with the PC version. If someone asked me the best way to play old-school PoP online today, I'd likely recommend the DOS version.

In 1990, C-family programming languages were the future, 6502 machine language the past. For good reasons, nearly all subsequent ports of PoP took the PC version as their starting point, rather than the Apple II.

Amiga

The Amiga port was developed by Dan Gorlin (of Choplifter fame), in parallel with the PC version, using the graphics and sound assets developed by the Broderbund team.

Danny was one of my game-author heroes. Playing Choplifter, as a 17-year-old college freshman in 1982, blew me away and set me on the creative path that would lead to Karateka. I was star-struck that he agreed to port PoP to Amiga. He did an impeccable job, working alone at home, using the state-of-the-art development system he'd built for his games Airheart and Typhoon Thompson.

In a detail perhaps mainly interesting to lawyers, Amiga was one of three PoP versions (Apple II and Macintosh were the others) that I was contractually responsible for delivering to Broderbund, rather than their doing the development. This meant me driving to Danny's house for meetings instead of to Broderbund, and that I was on the hook in case the project fell behind schedule or something went wrong. Fortunately, with Danny, all was smooth sailing.

Commodore 64

One port that didn't get greenlit was the Commodore 64. Like the Apple II, the C64 had its heyday in the mid-1980s. By 1990, Broderbund (and most U.S. retailers) considered the C64 and Apple II outdated platforms; sales numbers were dwindling by the month. Broderbund couldn't escape publishing PoP on Apple, since it was the lead platform I created the game on, but they had little interest in a C64 version. It would have been a tough port in any case. To fit PoP into 64K of memory, with the Commodore's technical limitations, needed an ace 6502 programmer.

In a twist I'd never have predicted, an unofficial, fan-made C64 port was finally done in 2011, over 20 years later, and a Commodore Plus/4 port just last year. I hope my Apple II source code was helpful.

Macintosh

In 1984, Apple unveiled the Macintosh computer (with a now-legendary Super Bowl ad). Still in college, and flush with Karateka royalties, I took advantage of the student discount to purchase a 128K Mac — keeping my Apple IIe for games. (A computer with no lowercase, and enough RAM to hold four pages of text, isn't ideal for writing term papers.) I loved my Mac, and faithfully upgraded my system every time they did: Mac Plus, SE, II, IIci, LC. By 1990, I was proudly Mac-only.

But the games market was overwhelmingly PC. Broderbund estimated Mac's games market share as 5% of DOS/Windows. Since I believed in the Mac more than they did, it made sense for me to take on the port, as I'd done with Amiga. I subcontracted it to Presage Software, a group of ex-Broderbund programmers I'd known since Karateka days.

Fun fact: the previous occupant of Presage's San Rafael office was George Lucas's Industrial Light & Magic.

Presage had an excellent, seasoned lead Mac programmer in Scott Shumway; but whereas Danny met his Amiga milestones promptly, Scott's Mac milestones receded like the horizon as they approached. With each new Mac model release — black-and-white, then color, then a different-sized screen — Presage had to redo the bit-mapped PoP graphics for the new configuration. While Prince of Persia's Apple, Amiga and PC versions languished on store shelves (the game wasn't a hit in its first two years), the Mac release date slipped from 1990 to 1991, then to 1992.

Fun fact #2: the young graphic artist who up-rezzed the Mac sprites, Mike Kennedy, went on to found the comics imprint Magnetic Press. We met again in 2024, when Magnetic published my graphic novel Monte Cristo.

Ironically, the Mac delays turned out to be a blessing in disguise. By the time the port was finally finished, almost two years late, Broderbund marketing had noticed that despite PoP's lackluster U.S. sales, its overseas and console versions were doing surprisingly well. Maybe the game had untapped potential?

Broderbund took the gamble of combining PoP's Mac release with a PC re-release in a bigger, hourglass-shaped "candy box" designed by the San Francisco firm Wong & Yeo. The dual Mac-PC release in the new box turned the prince's fortunes around. PoP not only became the #1-selling Mac game, it went from ice-cold to hot on PC as well. To 1992 Mac owners who'd been using their machines mainly for work, a game like PoP was a welcome diversion.

The Mac port was terrific. A sign of its quality is that we adopted its revamped prince (sporting a vest, turban and shoes) for the sequel, Prince of Persia 2: The Shadow and The Flame.

But I still think the original Apple and PC graphics play best. The CRT blur and fat pixels smoothed over animated glitches, enhancing the illusion of life. Higher resolution leaves less to the imagination. (The same can be said of photography and cinema.)

Other ports

Between 1990 and 1993, more computer and console ports of PoP than I can list — Nintendo NES, Game Boy, SEGA Game Gear, Genesis, Master System, Amstrad CPC, Atari ST, NEC PC-9801, FM Towns, Sam Coupé — were developed by teams in Japan, Europe, and elsewhere. Usually, by the time someone handed me a controller to playtest a build, it was too late for my feedback to matter, so I rarely played beyond the first level or two. I don't remember enough specifics of those versions to compare them; I'll leave that to players who know them better.

There is one unforgettable exception.

Super Nintendo

In March 1992, I moved to Paris for a year (to learn French and 16mm filmmaking). Soon after my arrival, a colleague at Activision invited me to visit their office. They showed me the Super Nintendo version of PoP, developed by Arsys and published by NCS in Japan. Activision was lobbying Broderbund for the rights to publish it in Europe and the U.S. It wasn't my call, but they hoped I'd put in a word.

I wrote in my journal that day:

"Wow! It was like a brand new game. For the first time I felt what it's really like to play Prince of Persia, when you're not the author and don't already know by rote what's lurking around every corner."

Arsys had done more than a straight port; they'd expanded the game from 12 levels to 20, adding new enemies, traps, setpieces, and new music. I didn't play all the way through — a half-hour in Activision's office only scratched the surface — but I'll never forget the delighted thrill of being surprised playing my own game. You can see and play it in your browser here.

Elaborate production values and doubled playtime helped make SNES PoP a huge hit. I especially loved the fantastic box artwork by Katsuya Terada.

A recent feature article in Time Extension revealed behind-the-scenes details about the SNES development that I hadn't known — including that game producer Keiichi Onogi traveled to the U.S. to visit Broderbund in 1991, hoping to get my feedback. (I missed his visit.) The article is a fascinating time capsule and testament to how special that port was.

...And onwards

The SNES, so different from the original Apple/DOS version, gave me my first taste of a feeling I would grow used to in decades to come: playing and enjoying new Prince of Persia games that were made by others. With the exception of The Sands of Time (2003), where I was part of a Ubisoft Montreal team, the more recent modern PoP games don't have my fingerprints on them.

I suspect that for many reading this post, your answer to "Which is your favorite PoP?" will be the same as mine: Whichever version we played, for hours on end, at a formative age when playing and finishing a game mattered intensely. The real value is in the ingenuity and imagination you brought to the effort, and in your own memories tied to that time.

Thanks for reading this post. If you'd like a deeper dive into the story behind Prince of Persia's creation, I've published two books on the subject: my old journals (1985-1993), and my new graphic novel Replay. You can check them out here. Archival materials about PoP (including the Apple II source code) can be found in this website's Library.

Read the whole story
fxer
3 days ago
reply
Bend, Oregon
acdha
5 days ago
reply
Washington, DC
Share this story
Delete
Next Page of Stories