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If you’re in the market for a new mesh router that’s smart-home ready and has a minimalist appearance, the Google Nest Wifi Pro is currently down to $121.14 (originally $199.99). At a nearly 40% discount, this system offers comprehensive, high-speed coverage for anyone dealing with dead spots or spotty wifi. 

Google Nest Wifi Pro

$121.14
at Walmart

$199.99
Save $78.85

$121.14
at Walmart

$199.99
Save $78.85

The Nest WiFi Pro supports tri-band Wi-Fi 6E,  providing a speedy connection and good range that’s sufficient for streaming and gaming. It also has a built-in Thread radio and Matter support, ensuring compatibility with smart-home devices across brands. According to this PCMag review, setup is easy, especially for those who are already in the Google ecosystem. It excels in apartments and single-story homes, and for people with homes up to 3,500 square feet, it provides consistent coverage. It’s compact and modern in appearance, which may be important to you if your router is placed in a visible space. 

It supports both wired and wireless security with WPA3 encryption, but it doesn’t come with anti-malware software. PCMag notes that there are built-in parental controls that let you apply Restricted Access rules to some devices with Google’s SafeSearch filtering tech.

That said, it has limited wired connectivity with just two networking ports, neither of which is rated for higher than 1 Gbps. If your internet plan is greater than that or you need lots of local wired transfers, this may not be the ideal choice. It also has fewer advanced settings than other routers with full web interfaces, and while it is fast, it’s not the fastest in its class compared to competitors like the Eero Pro 6E.

If you don’t have a very large home or need a system with multi-gig capability, the Nest Wifi Pro is an easy-to-use, auto-optimized mesh router with a high capacity that will perform well for most homes.

Microsoft has set a 30% profit margin goal for its Xbox gaming division, Bloomberg reported Thursday, well above the video game industry’s average of 17% to 22%. The target, implemented in fall 2023 by CFO Amy Hood, represents a sharp departure from Xbox’s previous approach of allowing developers to focus on making quality games without specific financial constraints. Xbox historically maintained profit margins between 10% and 20% and reported a 12% margin for the first nine months of Microsoft’s 2022 fiscal year.

The division has responded by canceling several projects that had been in development for more than seven years, including Everwild, Perfect Dark and Project Blackbird. It has also eliminated thousands of jobs and raised prices. In 2024, Xbox began releasing most of its games on rival Nintendo and Sony platforms. The heightened scrutiny comes as Microsoft prioritizes investment in generative AI while overseeing a gaming division that has struggled despite spending $76.5 billion on acquisitions.

Read more of this story at Slashdot.

Maxi Boch isn’t done with Baby Steps. Boch has enjoyed a productive career in game development and she knows how it feels to be creatively finished with a project. She experienced it at various points with Rock Band, Dance Central, Fantasia: Music Evolved and Ape Out, but on Baby Steps’ launch day, done was not the vibe.

“I’ve been in the industry for a long time; I shipped broken strumbars for Rock Band,” Boch told Engadget. “I know that things change over time in this world, and it’s not to say that Baby Steps is not done. It’s done. But whether I’m done with Baby Steps, this is a different story.”

To make a long one short: Boch’s collaborators, Bennett Foddy and Gabe Cuzzillo, were ready and excited to ship the game before she was, and so they did. Baby Steps hit PC and PlayStation 5 on September 23, 2025 (following one strategic delay to avoid the Hollow Knight: Silksong release window).

From the player’s side, Baby Steps feels like a finely honed experience. It’s a walking simulator that follows Nate, a manchild in a gray onesie, as he attempts to scale a mountain and symbolically escape his parents’ basement. The player controls Nate’s legs individually, lifting each knee and carefully placing one foot in front of the other, learning how to walk in the very literal sense. Baby Steps succeeds because of its mechanical precision, but it excels because of its irreverent tone, magically surreal setting and AAA levels of polish. The mountain is a mix of childhood memories and adult anxieties represented by giant chess pieces, rude graffiti, and a crew of drinking, smoking, anthropomorphic donkeys who wander the cliffs with their dicks swinging free. Improvised dialogue between Nate and the NPCs turns each cutscene into a comedy sketch, but his journey also includes shocking revelations of existential numbness.

In Baby Steps, falling is just as much of a mechanic as walking. You will fall — dramatically, drastically, down crevasses that took hours to climb — and Nate will bounce and slide and eventually just lay there, mumbling to himself while his onesie fills with mud. And then you’ll pick him back up and start walking again. You’ll settle his steps into a soothing cadence. You’ll marvel at the way his sweat slowly saturates the material at the base of his spine, just above his bulbous butt. You’ll try to skip a cutscene and realize that in order to do so, you need to play a minigame with the X prompt. You’ll learn how to run. And somewhere along the way, you’ll remember what it feels like to just enjoy play.

Devolver Digital

As a former marching band member, I appreciate the sense of rhythm that’s built into Baby Steps, spurred by the animal sounds and natural-world musical cues that are tied to Nate’s footfall in specific areas. This is Boch’s area of expertise, and also the main reason she doesn’t feel finished with the game. Boch and her collaborators ended up using a slapdash mosaic of audio middleware and low-level software for Baby Steps, and a series of late-stage issues infused all of the songs in the game with incorrect samples. On launch day, the music and audio cues weren’t reacting as intended when Nate stepped, stumbled and fell. 

On September 23, the day that Baby Steps came out, Boch and I talked for an hour about its development process. Our conversation gently circled the topic of perseverance, the game’s core theme, but we only directly acknowledged it at minute 59. It’s not something you need to scream or repeat — tenacity is the obvious message in a game about climbing a mountain on wobbly feet — but it was fascinating to learn why Boch in particular was inspired to build a game about endurance.

Making Baby Steps

Boch, Foddy and Cuzzillo started working on Baby Steps right after they released Ape Out and cemented their names in the annals of frenetic, bloody and slightly silly indie history. Foddy was already known as the creator of QWOP, GIRP and Getting Over It, and Boch as the rhythmic and hardware mastermind behind the largest AAA music games of the mid-2000s. The trio worked out of Boch and Foddy’s shared office at the NYU Game Center, where they were instructors and Cuzzillo was finishing up a graduate degree with Ape Out as his final project. They began prototyping Baby Steps around March 2019.

“At that point, I also started manifesting more symptoms of my chronic illness, and so I was in the midst of a period of an attempt at really intense reconditioning, which ultimately failed,” Boch said. “But when that period was over, I joined up with the crew again.”

Boch lives with a trifecta of chronic illnesses: Ehlers-Danlos Syndrome, Postural Orthostatic Tachycardia Syndrome and Mast Cell Activation Syndrome. EDS is a connective tissue disorder that affects the entire body, and it can cause hypermobility, fatigue, vision issues, fragile skin and an increased risk of vascular ruptures. People with POTS experience an abnormally large increase in heart rate when changing posture, and MCAS is a disorder that releases excessive amounts of histamine and similar chemicals in the body, causing random and potentially life-threatening allergic reactions. It’s common for people with one of these diagnoses to also receive the others.

“It’s been an incredible challenge,” Boch said. “I think, easily, the hardest thing I’ve had to deal with in my life. I think there’s something very singular about each one of us, the three core members of this crew, and part of that is our ability to work fluidly across disciplines and the like. But another part of it is just a level of stick-to-it-iveness that my body has handily rejected, and so I’m in a fight with it all the time.”

Devolver Digital

Boch has an arsenal of specialized tools to help her create games, including ergonomic (and very expensive) keyboards and a pair of glasses that act as a mouse. 

“I have found that most of what game development is about and is oriented around is kind of hostile to those of us with poor fine-motor skills, and it’s an odd thing to be experiencing alongside the making of a thing that is stridently difficult,” Boch said. “There’s odd moments in it, where I have been going through physical therapy processes to retrain my actual walking, alongside working on this thing that is deconstructing walking. A very odd subset of feelings.”

Boch said the hardest thing for her to contend with is the moment-to-moment unpredictability of her health. But by the fall of 2019, she was back in the office with Cuzzillo and Foddy, iterating on the ideas that would eventually become Baby Steps. Cuzzillo and Foddy were feeling slightly discouraged at this point: They were four or five ideas deep, messing around with a competitive, real-time strategy game or a SimCity type of experience, but nothing was quite right. Boch encouraged them to return to their ridiculous, mechanically-driven roots.

“I think it started to become a lot clearer in everyone’s mind when it started to take on aspects of Bennett’s work,” Boch said. “The first handful of years of Baby Steps’ development, we were all playing various sorts of roles. The work of VO direction, recording and narrative development was something we were all working on together. Some of the foundational narrative premise things are concepts that I brought to the table as ways to try and prop up some world around this character. Lots of tools building and infrastructural work and all of the foundational stuff that makes it possible for a team that’s so tiny to make a thing that’s so strong.”

The Baby Steps crew shared a house in upstate New York during the first winter of the pandemic in 2020. They hiked together and worked on the game at one big folding table, enjoying the mountain air with their partners and each other. There were no strict roles on the game development side, with Boch, Cuzzillo and Foddy contributing to all aspects at once, including voice work.

“Over time, there are aspects of the narrative development that became increasingly more personal to my collaborators,” Boch said. “And they started to feel more comfortable in a director-less environment in terms of coaxing naturalistic performances out of themselves, and so that work became more disjointed.”

By the time they were recording voices and finding characters through improvisation in the sound booth, Boch happened to be in the early stages of transitioning. Vocal training and voice acting are a tricky mix, it turns out.

“I kind of recognized what it was going to take to be doing voiceover performance myself in the midst of my early transition, and I made the call that it was not the right activity for me,” Boch said. “So my characters were cut — it was like one or two — and I endeavored to strike up some novel collaborations on the audio side.”

For the past year and half in particular, Boch has been focused on all things audio in Baby Steps, as well as overseeing big-picture production tasks. She brought on a collaborator from the world of hardcore techno music, Jack Schlesinger, and he primarily handled system architecture details while Boch dealt with creative aspects. DJ Ashe Kilbourne and harpist Emily Hopkins rounded out the list of audio contributors. When she was able, Boch took an improvised sound kit into the wild and collected nature noises, and the team stitched together a reactive audio system using middleware and leftover bits of software from the Harmonix days. 

When Baby Steps’ dynamic audio kicks in, and the boops, chirps and thunks start layering on top of one another as Nate waddles along, it adds a delicious sense of hypnosis to the game. Unfortunately, the audio systems fell apart in the final weeks before launch. The VO was fine, but many of the sounds and beats weren’t populating in the right places at the proper times, and Boch’s vision wasn’t being clearly communicated day-one.

“The foundations of game audio tooling are terrible,” Boch said. She continued, “The world of game audio, from my perspective, is a bunch of people who are sitting on top of a bunch of work they’ve done to write drivers to talk to consoles, and a bunch of work they’ve done to forge relationships with console manufacturers so that their audio technology will be licensed by the two major engines. But they’re both trash. I will not endorse either one, and I will not say that either one is capable of doing the kind of work that I need done.”

Since launch, the Baby Steps audio team has released patches addressing the sampling issues and adjusting dynamic audio cues across the game. An imminent update will introduce animals singing along with the songs, outdoor and indoor reverb simulations across all sounds, and other fixes. Boch has additional updates and surprises planned, including a Baby Steps Fi Beats livestream to showcase the game’s music on YouTube. By November, the audio team will be focused on composing.

Baby Steps is only going to get more immersive as the audio improvements roll out. And if you listen closely, you’ll be able to hear Boch voicing a few small roles throughout the game.

“I play, like, a baby and a hypothetical gay partner for Nate and a bunch of other random characters,” Boch said. “There’s some cosmic sadness on my part, that the timing worked out in exactly the ways that it did. But I don’t know, it’s the cards you’re dealt. It’s important to do the thing that’s true to you.”

One glaring truth that shook out during the Baby Steps development process was the supremely close and infectious bond between Cuzzillo and Foddy. The game’s dialogue and cutscenes are composed of off-the-cuff conversations and rambling inside jokes between Cuzzillo and Foddy, and each of these moments is delightful in a chaotic kind of way. Like a classic comedy duo, these developers share an undeniable resonance. They’re even born on the same day and they have older brothers with the same birthday, two facts that Boch finds adorable.

“I’m not a horoscope person at all, but they have a kind of cosmic level of synchronicity that they both acknowledge, but also are a little bit like, ‘What, this?’” Boch said. “They have plenty that they disagree about and plenty that they bicker about, but there’s something about their orientations toward the world that’s perplexing and generative. They are immensely talented folks.”

Taking Baby Steps

In the end, Cuzzillo and Foddy felt finished with Baby Steps before Boch. She didn’t want to hold their joy hostage, so the audio team made it work and they shipped the game on September 23, 2025, published by Devolver Digital.

“That kind of dream-deferred shit is emotional torture, and so I had no interest in putting them through that, they had no interest in going through that,” Boch said. “It makes sense to me to be landing in the place that we are.”

Devolver Digital

I caught up with Boch three weeks after Baby Steps’ release date to see if she was feeling more done, now that the launch-day dust had settled. She said it was a hard question.

“There is so much more that I am interested in exploring, and so much more that I have set up in terms of pins to knock down,” she said. “I think this is a struggle that highlights the inherent tension of trying to make art at this boundary between a fine art practice and a commercial art practice. I think that for the sake of the work, and for the sake of me and my team as artists, the tech I have built deserves to continue to be refined in a different context, one wherein sound is more paramount. That’s where we’re headed.”

This is a tease of what’s next for Boch, even though she’s still finishing up Baby Steps. She’s planning on leaving NYU, spurred by the unpredictability of her health, but she’s not done making games. Her next one will be more personal.

“It’s important to me to share what I’m doing with people,” Boch said in September. “I think that there is not enough in the world of games that puts audio at its very center. I think that my personal ambitions and future ambitions are definitely leaning more in that direction by the day. I had a long time of needing to get some space from interactive audio as The Thing. Where my winds are blowing is in that direction.”

Baby Steps exists in its current form because Boch and her teammates were able to adapt and endure. They were honest about what was working, what wasn’t and what could, and they leaned into the aspects that felt the most natural to them. Boch in particular set aside her ego, listened to her body, and took things day by day. You know, baby steps.

“The process of transition is one that involves an enormous amount of self-reflection and a growing sense of self knowledge,” Boch said. “Ultimately, that process for me was kind of orthogonal to the storytelling of Baby Steps. There’s a lot that comes from lived experience, and from commiserating and sharing that lived experience between Bennett and Gabe, and you can see that very clearly in the work. There’s also just ways in which that process was illuminating to me in terms of inherent differences. There’s an aspect of it that came alongside the necessity of slowing down, and then the subsequent necessity of staying inside that hit with my chronic illness and then Covid. There was a way in which I was more with myself at that moment than I’ve ever been.”

This article originally appeared on Engadget at https://www.engadget.com/baby-steps-isnt-done-with-maxi-boch-140000613.html?src=rss

We’ve got a new international trailer for Predator: Badlands, the latest installment in a popular franchise that’s been around since 1987. It’s directed by Dan Trachtenberg, who is very familiar with the franchise, having also directed 2022’s highly acclaimed standalone Predator movie Prey.

In April, Twentieth Century Studios released the first teaser, which involved multiple predators fighting or threatening one another, Elle Fanning looking very strange and cool as an android, and glimpses of new monsters and the alien world the movie focuses on. And the film was featured prominently at San Diego Comic Con this summer. But it hasn’t quite wormed its way into the cultural zeitgeist for fall releases. Perhaps this latest trailer will boost its profile.

This is a standalone film in the franchise, with a particular focus on the culture of the Predator species; in fact, the same conlanger who created the Na’Vi language for James Cameron’s Avatar franchise also created a written and verbal language for the Predators. (We hear a bit of the dialogue in the new trailer.) And this time around, the primary Predator is actually the film’s protagonist rather than an adversary. Per the official premise: “Set in the future on a deadly remote planet, Predator: Badlands follows a young Predator outcast (Dimitrius Schuster-Koloamatangi) who finds an unlikely ally in Thia (Elle Fanning) as he embarks on a treacherous journey in search of the ultimate adversary.”

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Porsche’s new boss was a sceptic of battery motors for luxury vehicles long before he was picked to lead the revival of the petrol engine at the German sports car group.

“The technology isn’t ready,” Michael Leiters told the Financial Times late last year while still in his old job as chief executive of British supercar manufacturer McLaren. Electric vehicles lacked the emotional thrill of noisy engines and were quicker to lose their value, he said.

Leiters will take over at Porsche in January at a critical juncture for the Stuttgart-based company, as it tempers its electric ambitions and ploughs new investment into petrol engine models in an attempt to turn its fortunes around.

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Tesla said it “achieved record vehicle deliveries globally” for the third quarter of 2025 with a total of 497,099 vehicles delivered. It also reported a record-breaking revenue of $28.1 billion, which is 12 percent higher than the same quarter in 2024. Tesla’s net income, however, slid by 37 percent year-over-year, due to several factors, namely lower EV prices, an increase in spending on AI and other R&D projects, and of course, tariffs. Vaibhav Taneja, the automaker’s finance chief, said during the earnings call that tariffs on imported car parts and raw materials cost the company more than $400 million in the third quarter. Taneja added that he expects research and development spending to continue to grow. 

During the call, Tesla CEO Elon Musk said that he expects the company to deploy its first robotaxis with no drivers behind the wheel by the end of this year, starting with some parts of Austin. If you’ll recall, Tesla launched its first robotaxi rides in Austin, Texas back in June. There have been several reports of the robotaxis running into issues since then, including an instance wherein one drove into a parked car. Musk said Tesla was “obviously being very cautious about the deployment,” but that he expects his company to be operating fully driverless vehicles in eight to ten new states before 2025 ends. 

Musk revealed, as well, that Tesla’s homegrown AI5 artificial intelligence chip will be manufactured both by Samsung in Texas and by TSMC in Arizona. Tesla is apparently aiming to manufacture more than it needs for its electric vehicles and upcoming Optimus robots so that it can use the excess units in its data centers. He clarified that Tesla isn’t going to stop using NVIDIA chips, but that it will continue using them in combination with AI5.

This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/teslas-profits-plunge-despite-record-revenue-and-deliveries-133004231.html?src=rss

Meta has removed a deepfake AI video of Irish presidential candidate Catherine Connolly, which featured a false depiction of the politician saying that she’s withdrawing from the election. According to The Irish Times, the AI-generated video was shared nearly 30,000 times on Facebook just days before Ireland’s election on October 24 prior to it being removed from the website. Connolly called the video “a disgraceful attempt to mislead voters and undermine [Ireland’s] democracy” and assured voters that she was “absolutely still a candidate for President of Ireland.”

The video was posted by an account which had named itself RTÉ News AI, which is not affiliated with the actual Irish public service broadcaster Raidió Teilifís Éireann. It copied the likenesses not just of Connolly, but also of legitimate RTÉ journalist Sharon Ní Bheoláin and correspondent Paul Cunningham. “It is with great regret that I announce the withdrawal of my candidacy and the ending of my campaign,” the AI version of Connolly said in the fake video. Ní Bheoláin was shown reporting about the announcement and confirming the candidate’s withdrawal from the race. The AI version of Cunningham then announced that the election was cancelled and will no longer take place, with Connolly’s opponent Heather Humphreys automatically winning. Connolly, an independent candidate, is leading the latest polls with 44 points. 

Meta removed the RTÉ News AI account completely after being contacted by the Irish Independent. The company told The Irish Times that it removed the video and account for violating its community standards, particularly its policy prohibiting content that impersonates or falsely represents people. Irish media regulator Coimisiún na Meán said it was aware of the video and had asked Meta about the immediate measures it took in response to the incident. Meta has been struggling to keep deepfake and maliciously edited videos featuring celebrities and politicians under control for years now. The company’s Oversight Board warned it earlier this year that it wasn’t doing enough to enforce its own rules and urged it to train content reviewers on “indicators” of AI-manipulated content. 

This article originally appeared on Engadget at https://www.engadget.com/ai/meta-removes-ai-deepfake-video-of-irish-presidential-candidate-130059996.html?src=rss