New York sues Valve over Counter-Strike loot boxes

New York sues Valve over Counter-Strike loot boxes

Valve is a darling among PC gamers. Steam as a platform is beloved, the Steam Deck created the handheld gaming PC boom. But there’s a darker side of the company, especially when it comes to game monetization. The state of New York says that the way Valve sells loot boxes in games like Counter-Strike is illegal gambling. And the state wants to prove it in court. Attorney General Letitia James brought the suit ( PDF link ) against the PC gaming giant yesterday, alleging that Valve has created a market for randomized virtual items that operates as an illegal casino, including secondary markets that give those items tangible, real value, and that they pose an especially potent threat to children. The 47-page filing lays out the company’s history of digital distribution, its network of digital item sales and how they can be traded and even converted into real currency, and how it allegedly designed the process of opening loot boxes to operate “similar to the spin of a slot machine.” New York claims that 96 percent of Counter-Strike digital items are effectively worth less than the keys purchased to randomly unlock them, making the entire process a digital casino. To demonstrate, it offers up “case openings” on YouTube, where the real-world value of items is displayed as streamers scream in glee. One linked from the filing has 1.5 million views, and a sponsor link to an affiliate site where loot boxes can be bought and sold with regular digital payments. In laying out how the virtual video game items have real-world, tangible value, the suit says that “Valve designed and built its games and the Steam platform to enable users to sell the virtual items they have won.” Players can trade items through Steam directly via the community market or on third-party sites that organize player-to-player trades, often facilitating cash transfers. Built-in Steam tools, like the Trade URL, allow for easy integration on third-party services. “Unlike the Steam Community Market, which caps transaction amounts,” New York argues, “third-party sites enable users to sell rare virtual items from Counter-Strike, Team Fortress 2, and Dota 2 for tens of thousands of dollars.” This is manifestly true, as high-value Counter-Strike skin sales frequently make headlines . The market for Counter-Strike skins alone is estimated to be worth multiple billions of dollars, even though selling virtual items for real cash is a violation of the Steam user agreement. New York alleges that Valve has selectively enforced these rules, prosecuting the most blatant “skin casinos” while allowing cash sales to go unchallenged. The lawsuit includes this screenshot from a streamer unlocking a Counter-Strike skin with a real-world value on screen. State of New York Steam itself does not allow for transfers of actual cash…but Steam Wallet credit, which can be purchased with real money and used to buy games or hardware like the Steam Deck, is pretty darn close. As the suit says, “These funds have the equivalent purchasing power on the Steam platform as cash.” New York argues that since players can use this credit to buy games, which do have set values, Steam store credit operates the same as actual currency for the purposes of gambling. It even gives an example of an investigator who sold a Counter-Strike knife skin, bought a Steam Deck handheld with the store credit, and then sold the Steam Deck in a store (presumably a pawn shop or game store) to buy other electronics. New York argues that through ready availability and deliberate gambling mechanics, Valve’s games offer the same risks and perceived rewards as casino gambling, facilitating gambling addiction in the same way. This is especially true for children and teens, the suit says, and “teenagers and children compromise a significant segment of Valve’s users.” The state hopes to “permanently enjoin” Valve from violating New York law, make restitution to consumers, and “disgorge all monies resulting from the illegal practices,” and pay a fine of three times the amount it earned from the allegedly illegal practices. Equating loot box and gacha game design with gambling has been a hot-button issue for years, though actual prosecution has been rare. Because the items won are virtual and, at least technically, have no direct monetary value, most games get away with it. Austria, the Netherlands, and Belgium have especially harsh laws and interpretations of existing laws that view loot boxes and similar mechanics and gambling, while some countries restrict them from being sold to minors . Various state bills and one national bill in the United States intended to ban or otherwise regulate loot box sales, but none have actually been passed. The suit makes a strong and convincing opening statement. But even in a relatively liberal state, the New York Attorney General has her work cut out for her. Attempted civil and criminal prosecutions of video game monetization have generally been very difficult, and Steam (and, indeed, Counter-Strike skins) basically prints money for Valve. An army of spawn-camping lawyers could spend years finding ways to define just about anything Valve does as, if not totally legal, then probably not explicitly illegal.

Sources: PayPal isn't in talks to sell itself, to Stripe or anyone, and has been preparing for months for a potential activist campaign or unwanted takeover bid (Rohan Goswami/Semafor)

Sources: PayPal isn't in talks to sell itself, to Stripe or anyone, and has been preparing for months for a potential activist campaign or unwanted takeover bid (Rohan Goswami/Semafor)

Rohan Goswami / Semafor : Sources: PayPal isn't in talks to sell itself, to Stripe or anyone, and has been preparing for months for a potential activist campaign or unwanted takeover bid —  The Scoop  —  PayPal isn't currently in talks to sell itself — to Stripe or anyone else — and has been working for months …

Outlook will auto-launch Copilot in Edge, just to piss you off

Outlook will auto-launch Copilot in Edge, just to piss you off

Ugh. UGH. Apparently, Mirosoft is personally offended that most people aren’t using Copilot—despite how much Windows begs and forces it —and has thus resolved to shove it into yet another space where it isn’t welcome. A new “feature” in an upcoming build of Outlook will automatically launch the Copilot side pane in the Edge browser whenever you click a link. This is, according to the official Microsoft 365 roadmap , “to provide contextual insights and actionable suggestion chips based on email and destination content.” It’s not specifically to piss me the hell off, but I’m choosing to read that between the lines anyway. The “feature” is scheduled to begin rolling out in May. The roadmap text is short, with no mention of whether users will be able to disable this behavior. As The Register points out , this could easily cause Copilot to feed sensitive or confidential information into the “AI,” an issue that recently got Microsoft in hot water . The company is absolutely desperate to get users using Copilot, shoving it everywhere from Edge to the taskbar to freakin’ Notepad , even though basically no one is using it . Microsoft CEO Satya Nadella recently said that the “AI” industry needs to earn “social permission” to consume the massive amounts of energy it’s using, including straight-up burning jet fuel to power data centers. I would humbly suggest that if Microsoft truly desires permission to cram “AI” into every aspect of every single piece of software it makes and sells to users, it might try an innovative technique: FRIGGIN’ ASK THEM .

Interview: World of Warcraft Lead Composer On Making Of Midnight’s Human-Made Music

Interview: World of Warcraft Lead Composer On Making Of Midnight’s Human-Made Music

World of Warcraft: Midnight launches next week, but early access begins later this evening. Ahead of the MMORPG’s anticipated expansion, we sat down with World of Warcraft’s lead composer, Leo Kaliski, to learn about the making of Midnight’s music and how the team is flexing its creative muscle with new instrumentation. Finally, Kaliski counts himself lucky to make human music in a world obsessed with generative AI. In your journey from composer’s assistant to lead composer, I'm curious how you’ve come to understand the musical identity of World of Warcraft. What does it sound like to you? Some of my understanding comes from being a fan of the game; I've played World of Warcraft since vanilla. It's a pretty broad and diverse musical identity. I worked on Diablo for a few years [...], and it has a much narrower musical identity. It's very dark [with] the 12-string guitar, the synths, and the reverse [effects]. There's a very clear musical language for Diablo. Warcraft is very broad. The list of things that aren't WoW is almost shorter than what is WoW. We don't use sawtooth dance synths. Stuff like that isn’t really WoW. But a couple of years ago, the answer would probably have been, “We don't really use guitar.” But then we did a Goblin Jazz patch that had a bunch of guitar on it, and coming up in Midnight, there's a bunch of distorted guitar in some of the zones, which wasn’t a thing before now. World of Warcraft’s sound is largely dictated by the game’s art. What is the game asking us to do? It's about being in the background. We are there to support the gameplay and the story [...] without overstepping the boundaries, without making it about us — unless it's like a big cinematic moment. It's about being in the background, but trying to find cool ways to do it. Light and dark are major themes in Midnight. How did you channel that overarching theme, and what was its role as you composed music for the expansion’s new zones? The Light-versus-Void [theme] was a top priority when we first started working on the expansion. Those were some of the very early themes we worked on. The Light has a very specific theme, whereas the Void came more about from [looking at] Xal’atath’s army, The Devouring Host. We wrote those themes separately and then combined them into a battle track that has the two weaving into each other. Something great about World of Warcraft is even when there is an overarching story of Xal’atath’s attack, [...] you go into a zone, and there’s still a local story going on. [Characters] have their own local problems they're dealing with, and you're helping them because everyone being on the same footing helps you win this bigger fight versus the Void. Were there any challenges in incorporating new instrumentation styles, like the aforementioned distorted guitars, into what is traditionally a very orchestral sound identity? You're right. World of Warcraft is traditionally orchestral. The reason the distorted guitar felt right here is that we're using it for the new zone, Voidstorm. It's in the void, and it has all these very angry, aggressive beasts. [The zone] has this theme of predation: the strong eating the weak to get stronger. And I remember being on a zone tour with Voidstorm’s lead, and they said they were trying to make the zone feel as metal as possible. And I was like, “That sure sounds like distorted guitars to me.” So it started as an experiment [...] and the challenge became, “How do you get it to blend into the background? How do you make it less distracting for players?” We’ve made sure it has a good amount of reverb and that we’re not using it too often. We’re going back to the home of the Blood Elves, first created two decades ago, in Midnight. Is that legacy reflected in your new work? The first priority was preserving those original themes as much as possible. There's a lot of love for the original Blood Elf music, and we didn't want to erase that with completely new music. So There are a few pieces of music in Midnight that directly quote the original material with a new coat of paint. It’s higher fidelity because we can record higher-quality stuff now than we did back then. But then there's music that's more of an evolution, where we use the same instrumentation — Blood Elves are all about the solo cello and the harp — but we’re not directly quoting original themes. It still feels related and in the same pocket. There are pieces where it's solo violin instead of solo cello, so it still feels similar, but it's a little brighter and less melancholy. And that’s because the zone has changed. It's not the same zone as it was back then, and they’re not the same culture. They’ve progressed as people. The scar down the middle [of the zone] is gone. The Ghostlands are gone. [Quel’Thalas] is much greener and more vibrant. It made sense to honor the original themes while also making them brighter and bigger. Which instruments did you reach for when composing music for Harandar? The new zone seems untamed and steeped in mystery. That one had quite a bit of exploration to start with. [The Haranir] are an all-new culture, an all-new race. But they’re also not totally alien and foreign to WoW. They feel similar to [elves and trolls], in a way. So it wouldn't have made sense to do something that was a complete departure from that. Early on, there was a lot of discussion with Chris Metzen and other story people [to learn] what the Haranir are about. [...] They're very defensive and can be aggressive and primal. They don't like outsiders. But once you earn their trust, they're very kind people. We tried to find a way to incorporate those elements. Looking at the art, there are big mushrooms and bioluminescent areas. I did a first pass at exploring the music, and it was coming along. Some of it felt right: the bowed textures, the percussion, and pluck sounds. It still wasn't quite right, so I handed it off to one of our composers, Adam Burgess, who has always been good at non-orchestral music. He keyed in on this vocal [style], which is super cool, and it’s not one we’ve really used a lot in World of Warcraft. It features chants and pockets [of] vocal interjections. Less of a singing a melody. It feels more primal, [...] almost like using a voice as an instrument rather than someone performing. And it was exactly what the zone needed to make it feel alive and to make the [Haranir] culture feel well represented. You can almost imagine the voices [in the track] are them. [...] That's one of the secret sauces of World of Warcraft: we're not a one-person team. As the lead, I'm not dictating what something should sound like. It's about giving the right assignment to the right person and letting them express themselves. Nine composers contributed to this expansion, each with their own voice. That kind of melting pot is what makes the soundtrack so special. Tech companies are hellbent on disrupting every industry with the rise of generative AI. How has this moment in time affected your experience as a seasoned composer working in video games? I feel lucky that AI in music still feels quite a way off. Sometimes you look at AI photos, and if you don't look closely, you might not know it's AI. Music is not there yet. Usually, you hear it, and you instantly know something is not right about it, or the fidelity isn’t there. So in some ways, it's not as top of mind as it probably is for other artists. I think we here at Blizzard feel very lucky and happy that we're not using generative AI. We're just writing what we think is cool, and are happy to do that. That's my stance.

Grab the Bose QuietComfort Ultra for 35% off! Comfy noise canceling

Grab the Bose QuietComfort Ultra for 35% off! Comfy noise canceling

It’s time to ditch your aging headphones and level up with a pair that sounds great and wears comfortably. The Bose QuietComfort Ultra are on sale for 35% off on Amazon, which means you can score them for just $278.99 right now . That’s almost as cheap as its all-time lowest price, and the only catch is the color: limited-edition Deep Plum. If you don’t mind the color—which is gorgeous, if I do say so myself—then these QuietComfort Ultra headphones will give you everything you need. They’re built with fantastic noise cancellation tech in three different modes: Quiet Mode for full active cancellation, Aware Mode for passthrough audio so you can still hear what’s happening around you, and Immersion Mode as a blend of the two. One of the best things about these headphones is that they have a massive 24-hour battery life, so you can listen to them for days before needing to recharge. Recharging itself is quick and convenient using a simple USB-C cable—15 minutes of plug-in time gets you an extra 2.5 hours of playback. Combine that with CustomTune for personalized audio settings, comfy over-ear cans, and touch controls on each earcup, and you have a top-tier listening experience. What are you waiting for? Treat yourself to the Bose QuietComfort Ultra noise-canceling headphones in one of the most gorgeous shades I’ve ever seen. Normally $429, it’s a steal for just $278.99! Save 35% on these lovely Bose noise-canceling headphones Buy now at Amazon

Google rolls out Nano Banana 2, aka Gemini 3.1 Flash Image, with advanced world knowledge and precision text rendering and translation, across its products (Naina Raisinghani/The Keyword)

Google rolls out Nano Banana 2, aka Gemini 3.1 Flash Image, with advanced world knowledge and precision text rendering and translation, across its products (Naina Raisinghani/The Keyword)

Naina Raisinghani / The Keyword : Google rolls out Nano Banana 2, aka Gemini 3.1 Flash Image, with advanced world knowledge and precision text rendering and translation, across its products —  Our latest image generation model offers advanced world knowledge, production-ready specs, subject consistency and more, all at Flash speed.