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,Among them, is a new tool called Concert Kit that could help bands and artists fight back against ticket scalping bots. 

The new feature relies on the revamped World ID, the orb-based verification system that scans users eyeballs and faces to create a “proof of human” signature that lives on users’ mobile devices. “It’s basically like a little human passport for the internet that lets you prove on apps and websites that you are a real and unique human without revealing anything about yourself,” Tools for Humanity Chief Product Officer Tiago Sada tells Engadget. 

Now, as more apps and services are starting to support World ID, that “human passport” can unlock some new abilities. Coupled with Concert Kit, it allows artists to designate a specific pool of tickets for “verified” humans only. The concept is a bit like how pre-sales currently work, with artists (or their teams) setting aside a specific number of tickets for people who have set up a World ID. Those folks can then use their World ID to get ticket codes for Ticketmaster, Eventbrite, AXS or other major ticketing platforms. 

Because World ID is limited to actual, “verified,” humans the system won’t be susceptible to the same tactics that have enabled bots to ruin the ticket-buying process for so many, Tools for Humanity says. Artists are also in control of what level of verification they want to require from their fans. (The new World ID app will also allow people to set up an account with a selfie check if they don’t have ready access to an orb.) 

Just how much of a dent Concert Kit will be able to make in the massive scalping bot problem that plagues the concert industry is less clear. So far, Bruno Mars is slated to use the solution on his upcoming world tour — no word on just how many of his tickets will be reserved for World ID-verified humans, though — and Concert Kit is available to other artists starting today.

Concert Kit is one of several new integrations and updates to World ID that Tools for Humanity announced at an event in San Francisco Friday. Tinder, which earlier this year started testing World ID as an age verification solution in Japan, will be rolling out support worldwide. In the US, Tinder’s integration won’t be for age verification, though. Instead, it will indicate whether there is an actual “verified” human behind a given profile.

Tinder profiles that verify with World ID will get a badge as an extra signal of authenticity.

On the enterprise side, Zoom and DocuSign are also adding support for World ID to help businesses verify that there is an actual person (and not a deepfake or bot) joining their video calls or signing important documents. Tools for Humanity is also introducing a standalone app for World ID that separates its identity verification tools from its existing crypto wallet app.

The updates are Tools for Humanity’s latest attempt to make their orb-based verification system, which has been widely mocked, more mainstream and perhaps a little less dystopian. (Elsewhere, orbs have begun appearing in some new places like a San Francisco Gap.) 

On their part, Tools for Humanity seems aware that a lot of people aren’t ready to scan their faces at a bunch of orbs controlled by Altman just to “prove” they are humans. I asked Sada, Tools for Humanity’s Chief Product Officer, what he would say to people who think that the company is solving for the wrong problem: that really it should be up to ticketing platforms and dating apps and other services to strengthen their security and bot-fighting tools, rather than rely on their users to “prove” their humanness. 

He said it was a “completely understandable question” and compared it to some people’s initial discomfort with things like Apple’s TouchID or FaceID. “Not everyone has to do it upfront, and that’s important,” he said. “It’s optional. If you want to have a World ID, you get access to that enhanced experience.”

This article originally appeared on Engadget at https://www.engadget.com/ai/sam-altmans-human-verification-company-thinks-its-eye-scanning-orbs-could-solve-ticket-scalping-171500555.html?src=rss 

Panic, the company behind the tiny and excellent Playdate console, is taking a stand on generative AI. The company has published an AI disclosure that says as of this month, the Playdate Catalog “will no longer accept titles that use ‘Generative AI’ for art, audio, music, text, or dialog.” Panic does allow for developers to use AI assistance for coding, but also says that “we will flag any title as such and specify the extent that it was used (for example, “Lua debugging”) so the customer can decide whether to support it or not.”

This comes a day after Panic announced that Playdate season three was happening and would arrive later this year. For those who don’t recall, the Playdate includes a “season” worth of games when you buy it, 24 titles in total with two revealed every week. Season two came out last year with 12 games — but, as Game Developer notes, one of those games used generative AI for writing and coding. On Bluesky, someone asked Panic if it would disclose what games in season three used AI, and the company confirmed that it was a requirement for season three that developers not use AI for art, music, writing or coding.

Specifically, Panic says you can’t use large language models like ChatGPT or Google Gemini, AI image generators like Stable Diffusion or audio generators like MuseNet and Suno. Previously-approved games with generative AI will be allowed to stay on the catalog with a disclosure that indicates what exactly AI was used for. The company says these guidelines are “under constant discussion and is subject to change at any time.”

I recall seeing AI disclosures on games in the Playdate Catalog in the past, but it makes sense to be up-front and clear on exactly what Panic allows and what it will reject. That said, it’s fairly easy to sideload games onto a Playdate, so anyone who wants to use generative AI to make a game isn’t entirely out of luck — though distribution and discovery for Playdate owners will obviously be harder.

This article originally appeared on Engadget at https://www.engadget.com/gaming/panic-says-the-playdate-catalog-wont-accept-games-made-with-generative-ai-160615022.html?src=rss 

In hindsight, I suppose it was only a matter of time after Anthropic made Claude capable of generating charts and diagrams that the company would then begin offering a more robust image editor. Now, a little more than a month after that release, Anthropic has announced Claude Design, a new research preview that allows subscribers to use Claude to generate designs, prototypes, slides and more.  

“Claude Design gives designers room to explore widely and everyone else a way to produce visual work,” Anthropic says of its newest product. As with its previous forays into image generation, the company isn’t calling this, well, an image generator. Instead, Anthropic describes Opus 4.7, the system powering the app, as its most capable vision model to date. In other words, you won’t be using Claude Design to whip up a picture of a cat in space eating a lasagna.  

As you might expect, every project in Claude Design starts with a prompt. From there, Anthropic notes users can refine Claude’s outputs through conversation, inline comments and direct edits. Like Adobe’s recently announced AI assistant, Claude will also generate custom sliders that correspond to specific elements in a design, which the user can push and pull to modify those elements. For instance, in the screenshot below, you can see how Claude has tweaked the interface to allow the user to adjust the glow and density of arcs it used to illustrate a connected network.

Claude Design will generate custom sliders you can use to adjust specific visual elements.

Anthropic has also built an onboarding process that allows Claude to build an internal visual language after reading your organization’s codebase and existing design documents. “Every project after that uses your colors, typography, and comments automatically,” according to the company. Outside of text prompts, there’s also support for image and document uploads, and Anthropic has even included a web capture tool so enterprise customers can snapshot elements from their company’s website. There’s also built-in sharing, and you can export a design directly to Claude Code. In the coming weeks, Anthropic has promised to make it easier to build integrations with its new app. 

Claude Design arrives in the same week that both Adobe and Canva released their own visual AI assistants. If Anthropic is preparing to eat Canva’s lunch, it’s doing so in a strange way given that you can export your Claude Design projects to Canva. If you want to try the new app for yourself, it’s available as part of Anthropic’s Pro, Max, Team and Enterprise subscriptions, with usage running up against your usage limits.

This article originally appeared on Engadget at https://www.engadget.com/ai/anthropic-now-has-a-design-assistant-too-150000903.html?src=rss 

The rules of Exit 8, both the cult indie game and the recent film adaptation, are simple: You’re stuck in a subway station that loops around endlessly. If you notice any anomalies on your current loop, you turn around. If everything is the same, you keep going forward. Each successful guess takes you to a new entrance where the loop recurs, until you reach the end of the labyrinth, Exit 8 itself. 

It’s a setup that perfectly suits a first-person video game, where you can fully control where your character looks and moves. And it’s also something director Genki Kawamura deftly replicates in the film through long tracking shots and sweeping camera movements. Even without a controller, or a keyboard and mouse, the viewer remains immersed, looking and listening for any minor changes. Within just a few minutes, the film makes it clear it’s not just another thoughtless video game adaptation like The Mario Galaxy Movie — it’s an attempt to translate the experience of the game to an entirely new medium.

That’s a daunting challenge for most artists, but Kawamura is no stranger to jumping between formats. He’s known for producing popular anime films from the likes of Makoto Shinkai and Mamoru Hosoda, including Your Name and Belle. He’s also made a name for himself as a best-selling author, with books including the novelization of Exit 8.

Kawamura’s perspective for the film came from a conversation with Nintendo’s legendary game designer Shigeru Miyamoto, who had mentioned that the greatest games are both fun for the players and people watching them. “So what I tried to do in the film is to really place the audience in the shoes of the player in certain shots… almost like they were watching a live stream of a video game in other scenes,” he said in an interview with Engadget (via a translator). “That’s kind of structurally the through-line of the film.”

The Exit 8 adaptation balances that sense of immersion with a more traditional narrative structure, something the game lacked entirely. As the film begins, we’re introduced to a young man standing in a crowded train. A drunken businessman shouts at a mother to quiet crying baby down. Instead of telling the belligerent salaryman to fuck off, the young man plugs in his earbuds and tries to ignore the situation, just like everyone else. He eventually steps off, while the tearful mother suffers through the verbal assault.

It’s a scene that anyone who’s lived in a crowded city can relate to — the moments where you know you should try to help a stranger, but fear, cowardice or embarrassment hold you back. 

Exit 8

Shortly after receiving a call from his ex-girlfriend, who reveals that she’s pregnant, the young man stumbles into the Exit 8 loop. At first, it’s just a normal subway station, with large poster ads, a photo booth and random maintenance doors. But he quickly notices that the room repeats itself. Thanks to a helpful set of instructions on the wall, he learns that his only way out is to start tracking anomalies, like slight changes in text, or the way a robotic businessman walks past him. And yes, things get freaky quickly. 

Kawamura points to his experience working in animation as a major influence for Exit 8. In particular, the works of Satoshi Kon and Katsuhiro Otomo influenced how he externalized what characters were thinking and feeling, as well as how he depicted the interaction of dream and real worlds. 

“ When we were filming, I told my DP [director of photography] that the main character of this film is the corridor,” he said. “And all of our human characters, they have no names, so therefore they’re NPCs in this corridor, which is the main character. So I wanted the corridor to almost evoke this feeling in the audience that it has a will of its own. And this yellow Exit 8 sign is almost like this divine God-like being.”

Kawamura says he personally views it as the corridor challenging humans who have a guilty conscience, but you can easily read in other meanings. More importantly, Exit 8 isn’t merely a faithful recreation of the source material — it adds enough to make a case for existing a separate medium, a challenge many video game adaptations fumble.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/exit-8-is-cinema-for-the-livestreaming-era-151112907.html?src=rss