In the wake of U.S. District Judge Yvonne Gonzalez Rogers’ decision in Epic Games’ litigation against Apple, I commented on NPC: Next Portable Console that I expected Microsoft to enter the fray with its own web store soon. As reported by Tom Warren at The Verge, it looks like that’s exactly what Microsoft intends to do. Commenting on Judge Gonzalez Rogers’ contempt order in the context of Epic’s recent motion to return Fortnite to the App Store, Warren notes:
It’s a key ruling that has already allowed Fortnite to return to the App Store in the US, complete with the ability for Epic Games to link out to its own payment system inside the game. Microsoft has wanted to offer a similar experience for its Xbox mobile store prior to the ruling, but it says its solution “has been stymied by Apple.”
Ultimately, Microsoft wants its customers to be able to purchase and play its games from inside the Xbox app:
Microsoft started rolling out the ability to purchase games and DLC inside the Xbox mobile app last month, but it had to remove the remote play option to adhere to Apple’s App Store policies. You can’t currently buy an Xbox game in the Xbox mobile app on iOS and then stream it inside that same app. You have to manually navigate to the Xbox Cloud Gaming mobile website on a browser to get access to cloud gaming.
Developers continue to add options to link out to the web to purchase content, but as Microsoft’s court filing shows, the biggest players on the App Store are weighing the cost of setting up their own storefronts against the risk that Judge Gonzalez Rogers’ decision will be reversed on appeal.
Today, second-quarter 2025 earnings are out and Apple reported record revenue of $95.4 billion, a 5% year-over-year gain. The diluted earnings per share was $1.65 an 8% year-over-year gain.
Today Apple is reporting strong quarterly results, including double-digit growth in Services. We were happy to welcome iPhone 16e to our lineup, and to introduce powerful new Macs and iPads that take advantage of the extraordinary capabilities of Apple silicon. And we were proud to announce that we’ve cut our carbon emissions by 60 percent over the past decade.
These results, which beat Wall Street expectations, may strike some as odd given the overhang of tariffs on goods entering the U.S., but it’s the threat and delays that have caused consumers to accelerate purchases, pulling sales into the last quarter that might have been deferred otherwise. It’s a little like COVID, which caused a similar tech purchasing spree. However, sales pulled into the last quarter are sales that won’t be made later, especially if the U.S. government follows through and imposes tariffs on Apple products.
Another threat to future earnings is the decision by Judge Yvonne Gonzalez Rodgers. That decision has the potential to upend the dynamics of the App Store, but it’s going to take a while before any effects are felt in earnings because, as the Court found, few developers currently offer links to goods outside the App Store.
So, for now, Apple’s earnings are good and its stock price is stable, but the threat of tariffs and the disillusionment of developers are very real storm clouds on Apple’s horizon that very well may have a negative impact on its future earnings. Come back in three months to see what happens.
For a long time, the go-to method for quickly framing a screenshot taken on an Apple device was Federico’s excellent Apple Frames shortcut. Iterating on it each year, he even added an API for expanded customization. It’s still a terrific way to create a device-framed screenshot in a pinch, but due to the limitations of Shortcuts, you can’t manually adjust the layout of multiple screenshots or their output sizes.
Within the last year, not just one, but two well-made screenshot-framing apps have come on the scene. The first was Shareshot for iPhone, iPad, Vision Pro, and, more recently, Mac. John reviewed Shareshot in August of last year and came away impressed, but with a few reservations. In February, Dark Noise developer Charlie Chapman released his take on this new kind of app with Framous for macOS. At launch, the app showed promise but lacked a lot of features that I and many others desired. Version 1.2, available now, is a stacked release that adds a vast number of requested capabilities and customizations. Let’s take a look.
The Lost Crown was released at the beginning of last year. Developed by Ubisoft Montpellier in France, the game was released to critical acclaim and won an Innovation in Accessibility Award at The Game Awards in 2024, but Ubisoft was unhappy with the game’s sales. The comeback of the celebrated series sold around 300,000 copies in its opening weeks, totaling around $15 million in revenue. In today’s “blockbuster or bust” gaming world, that wasn’t enough. Ubisoft released the Mask of Darkness story DLC in the fall but disbanded the team behind the game.
However, Ubisoft wasn’t finished trying to recoup its investment in The Lost Crown. The company called on its Da Nang studio to port the game to other platforms, starting with the Mac last December. The same group also adapted the game for the iPhone and iPad.
Today, The Prince of Persia: The Lost Crown is available everywhere. It’s on the Xbox Series X and S, Xbox One, PS4 and PS5, Switch, PC, Android, and other platforms, with Android being the latest addition alongside the iPhone and iPad.
If you’re a console or PC gamer, it would have been hard to miss The Lost Crown’s release in early 2024. The game follows Sargon, a warrior in an imagined version of ancient Persia, who is tasked with trekking to Mount Qaf to save Prince Ghassan. Along the way, there are puzzles to solve and a fun combination of platforming and fluid combat. It’s a shame the game didn’t fare better because it’s an absolute gem.
I’ve played at least the opening level of The Lost Crown on an M1 MacBook Air, M4 Max MacBook Pro, iPhone 16 Pro Max, M4 iPad Pro, and Sony PS5. Ultimately, the game ran well on all five devices, but there were differences. The PS5 was the smoothest of all, and the game looked phenomenal on my OLED TV.
As you’d probably expect, the game runs very well on an M4 Max MacBook Pro and M4 iPad Pro, although both got quite warm, and I could clearly hear the MacBook Pro’s fans when I removed my headphones. In both cases, I noticed a little hitch in the frame rate from time to time when transitioning from one area of the map to another, but it wasn’t a big deal in either case. The Lost Crown’s gorgeous artwork and sound design really shine on both devices, too.
The worst experiences were on the iPhone and M1 MacBook Air, for different reasons. The iPhone 16 Pro Max handled the game well, and it looked great, but the game is a lot more fun on a bigger screen. I noticed more frame rate hitches on the M1 MacBook Air than on any other device, but I didn’t really expect the game to be playable, so it was a pleasant surprise to find that it worked.
Dialogue scenes work better on the iPhone than combat where everything is tiny.
Both the iPhone and iPad versions of the game have been adapted for touch. There are on-screen touch controls, but I’d highly recommend using a controller instead. The onscreen controls are well done, but The Lost Crown’s combat feels much, much better with a controller. If you’re looking for a good controller for iPhone or iPad, check out our Setups page for a few recommendations.
An example of the mobile version’s touch controls.
The mobile versions of The Lost Crown have added automatic parrying and healing potion use, as well as a new option to slow down time during combat, all of which are designed to make the game more touchscreen-friendly. I’m glad those options are there, but again, you really should use a controller with this game. It’s also worth noting that none of the Apple platform versions of the Lost Crown include the DLC, and the Mac version is capped at 60 fps; that doesn’t bother me, but I know it’s an issue for others. The Lost Crown also supports cloud saves if you have an Ubisoft Connect account, but the saves only work Mac-to-Mac or among iOS and iPadOS devices, which stinks.
Finally, we need to talk about the princely price Ubisoft is charging for The Lost Crown on the Mac. The game is $40, which is less than the $60 launch price over a year ago, but now, you can pick it up for as low as $15–$25 on other platforms, depending on whether it comes with the DLC. Given that difference, it’s hard to recommend the Mac version of Prince of Persia: The Lost Crown unless you have no other way to play it.
Playing on iPhone with a controller.
The iPhone and iPad versions are much more reasonable. First of all, you can download and play the tutorial level of the game for free to see if The Last Crown is for you, which I appreciate. Second, until May 5, the full game is available for $9.99 – the best deal available anywhere. There’s no guarantee you’ll ever have the option to play the DLC on either device, but $10 is fair for anyone who prefers to play games on their iPhone or an iPad. After May 5, the price is set to rise to $14.99, which is in line with console versions of the game that don’t come with the DLC.
So in the final analysis, there’s not much to commend the Mac version of The Prince of Persia: The Lost Crown if you have any other way of playing it because it’s more than double the price of PC and console versions. The iPhone and iPad versions are a closer call, especially while the game is on sale for $10. The Lost Crown looks great on both and plays well (though not perfectly), but any iPhone’s screen is a little small for a game like The Lost Crown. That said, if your preference is for portability or you don’t have the option of a PC or console, The Prince of Persia: The Lost Crown is worth downloading on your iPhone or iPad to try the free tutorial level.
Game Tracker is a new videogame tracking app for iPhone, iPad, and Mac from Simone Montalto, who is probably best known to MacStories readers for developing the excellent Book Tracker. In fact, Montalto has created an entire suite of tracking apps that also includes Movie Tracker, Music Tracker, and Habit Tracker. That experience with various tracking apps shows with Game Tracker, which does a fantastic job of tailoring to the particularities of videogames and leveraging metadata to allow users to make the app their own.
Sotheby’s is auctioning the estate of renowned designer Karl Lagerfeld. The auction house, which is auctioning the estate’s assets in multiple lots, includes several collections of classic iPods and custom iPods, like the ultra-blinged-out one above. The estate’s collection also includes these first-generation iPod Nanos that Parker Ortolani posted on Mastodon:
Lagerfeld famously had an “iPod nanny” to digitise his collection for the iPods and to add new music to new devices. This is how he ended up with over 300 of them – he treated them like cassette tapes.
I’m impressed with Lagerfeld’s commitment to the iPod long after all but the Touch was discontinued. There’s a lot to be said for single-purpose devices like the iPod. I’d love to see Apple bring the iPod back one day, even if it were just a limited run. But if they do, I hope they get weird with it and take inspiration from some of these great custom iPods from Lagerfeld’s collection.
Our aim here isn’t just to launch a bunch of different stores in different places, but to build a single, cross-platform store in which, within the era of multi-platform games, if you buy a game or digital items in one place, you have the ability to own them everywhere.
As part of the store expansion, The Verge’s Lauren Feiner reports that Epic will cover Apple’s E.U. Core Technology Fee charged on free games for the first 12 months. Epic will also offer monthly free games, and eventually, weekly freebies. The new games aren’t available just yet, but should be soon.
It’s good to see Epic expanding its offerings on iOS and Android. Alternative marketplaces have grown slowly in the E.U., but with Epic willing to reduce the financial risk of Apple’s Core Technology Fee, we should start seeing Epic’s store expand more rapidly.
Shazam has released the Shazam Fast Forward 2025, a group of artists that the music recognition service expects to break out in 2025. As explained on its dedicated Shazam Fast Forward 2025 website:
These are Shazam’s Predictions for breakthrough artists in 2025. 50 artists from trending genres revealed over 5 days.
Featuring emerging artists who, based on Shazam data and reviewed by our editors, are poised to have a breakthrough year. It’s a remarkably global and diverse selection, hailing from 26 countries and spanning sounds from Indie-Rock to UK Drill.
Today’s highlighted genre is Dance, which features 10 artists from around the world:
The artists are laid out in a card interface. Clicking on each card reveals the artist’s bio. There’s also a play button to preview their music via Apple Music. Tomorrow, Shazam will reveal the breakout Latin artists followed by Shazam’s picks for emerging Country/Rock, Pop, and Hip-Hop/R&B stars.
iPhone App of the Year winner Kino. Source: Apple.
Apple has revealed its annual App Store Awards winners, recognizing the standout apps and games of 2024. This year, the company picked a collection of apps and games from 17 developers across 12 categories, including new categories for the Vision Pro App and Game of the Year.
Apple CEO Tim Cook had this to say about this year’s winning developers:
We are thrilled to honor this impressive group of developers who are harnessing the power of Apple devices and technology to deliver experiences that enrich the lives of users and have a profound impact on their communities. The remarkable achievements of this year’s winners demonstrate the incredible ingenuity that can be unlocked through apps.
This year’s App Store Award winners are:
iPad App of the Year winner Moises. Source: Apple.
Apps
iPhone App of the Year: Kino, from Lux Optics, Inc.
iPad App of the Year:Moises, from Moises Systems, Inc.
I had a chance to meet with the developers of three winning apps: Thrasher, Oko, and Moises. I wasn’t familiar with any of these apps before my meetings, but every one of them struck a chord with me, and I can see why Apple included them in their awards.
Thrasher takes advantage of the Vision Pro’s many sensors to create a uniquely immersive visual and musical experience. Oko uses the iPhone’s cameras to help low-vision and blind users navigate busy cities safely and independently. Moises leverages AI to break down music in a way that helps musicians practice and improve their skills. They’re all very different apps, but each pushes Apple’s devices in its own way to elevate their users’ daily lives whether it’s improving their skills, helping them through their daily lives, or entertaining them during a moment of downtime.
Congratulations to all of this year’s App Store Award winners. It’s always great to see developers’ hard work and contributions to Apple’s platforms recognized.
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