Feel free to define lesser known how you like. Here's my list. Most of these have fewer than 100,000 subscribers. Some of them have fewer than 10,000 subs.

Al Brady (32k subs)

Has a nice mix of sweet and savoury food. Has a lot of videos below ten minutes - there's a rapid pacing here that avoids the problems of TikTok / YT Shorts cooking. Enough time to explain what he's doing, no useless padding.

Baking on a Budget (40k subs)

A reasonably new channel (only 33 videos as I post this). He has a method for pricing the recipes, and we can always argue about whether that makes sense or not, but at least it's consistent across his videos so viewers get an idea of relative costs. The recipes are simple. They're aimed at providing tasty filling food for cheap. The production values are low - no fancy lighting, no fancy camera, the kitchen table looks a bit rickety.

BoSFinesse (6k subs)

He's from Bristol (South West UK) and has the regional accent to prove it. He visits and reviews street food and cafés. I love videos like this - show-casing normal eateries. It's rough and ready - he sometimes includes swearing. And he's usually positive, or occasionally very mildly not positive. But I like that. He does a mix of shorts and long form - the long form does tend to be a bit calmer and explanatory.

Bread and Food (400 subs)

Features food, mostly street food or bread, from Iran. I like the "show don't tell" aspect of these videos. There are loads of street food videos and I watch quite a few. Lots of videos are presented by people that I don't enjoy watching.

YumTopia (5.5k subs)

Another street food channel, again from Iran. This is the video that I really like - street food often looks like it has been rapidly cooked, but there are examples of slow cooked food. https://www.youtube.com/watch?v=HDJowrQQisg

The Staff Canteen (152k)

At over 100k subs this probably doesn't belong here, but I think this fits here because many of their videos get fewer than 1000 views. Views are picking up recently. It's a great channel if you're interested in fine dining in the UK. There are a huge number of interviews with some very very good chefs here, and often they demonstrate one of their dishes.

Pete's Pans (9.5k subs)

He researches regional dishes from France, Spain, and Portugal and he claims to present traditional "authentic" versions of various dishes. I've only just started watching, and I'm not sure if I'll end up finding that he's not for me.

A couple months ago I made this post asking for nonfiction books to read. I read several recs from there, here are my reviews!

Kingbird Highway: The Story of a Natural Obsession That Got a Little Out of Hand - what a fun book! I read mostly spec fic and this felt a lot like an epic quest story. It was also interesting (and sad) to see the background effects of climate change with birds constantly moving farther northward. Recommended if you want some light reading and to get extremely excited about birds, vicariously

The Ascent of Money - A really interesting history text that also explains a lot of financial market concepts. The author is center-right and I disagree with some of his opinions on particular developments being good or bad, but there's a ton of information here and I think it's a great book to have better financial literacy, but I'd still categorize it as "satisfying curiosity" and not "everyone should read this."

The Perfectionists - A bit disappointing tbh, it started out strong but then it started being a bit esoteric in what it covered. I watched Longitude after it was mentioned here, and discovering that movie was the best part of this book so I recommend watching that and maybe not reading this.

Sleepwalkers: How Europe went to war in 1914 - My favorite recommendation from the post! It's very long and a bit dense, and there's no way I would've gotten through it if I hadn't been both reading a physical copy & listening to the audiobook at the same time. There are too many names to do just audiobook, but having both was a great experience. I wrote some notes about this to hopefully make your life easier if you read this too, and you should, I highly recommend it!!!

I also read a couple books recommended by HN in various threads:

• The War That Killed Achilles: The True Story of Homer's Iliad and the Trojan War - tbh I have no interest in reading The Iliad itself, but this is a fantastic secondary source and I'm glad to feel somewhat familiar with the text after reading it
• Achilles in Vietnam: Combat Trauma and the Undoing of Character - another secondary source about the Iliad, although this one is a bit more distant from the text. Enjoyed quite a bit & it's very interesting, but it's emotionally difficult to get through.
• Two Wheels Good: THe History and Mystery of the Bicycle - this was not fantastic and had maybe two chapters total that were actually the history of the bicycle, the rest was "random anecdotes from my life or vaguely-bicycle-related topics that I personally find interesting." Some sections were interesting, mostly I felt lied to by the title.
• The Trouble with Physics: The Rise of String Theory, the Fall of a Science and What Comes Next - I had read The Elegant Universe in high school, and this book is in some part a response to that one. I found The Trouble with Physics a weird compromise between not being too technical but still providing detail about the state of the field of physics, and it didn't work for me too well, but I was a math major and took several physics courses in undergrad so maybe that's just how it is to read a popular science book in a field you have some background in. I didn't necessarily want equations, but some actual math terms would've been nice instead of just saying "haha it has nice math properties." Anyway, if you're interested in the state of the field of modern physics it's maybe worth reading but also you could just watch this YT video instead which my friend linked to me after I told him I was reading this.
• Chip War: The Fight for the World's Most Critical Technology - this was the book that actually inspired me to make the post here, everyone should read this. Semiconductor manufacturing is one of the most important supply chains in the world today, and I didn't know anything about it prior to reading this book.

I want to ramble about Alastair Reynolds' Revelation Space series/universe. I will avoid spoilers.

So far, I have read:

"The Prefect" 2007
"Revelation Space" 2000
"Chasm City" 2001
"The Great Wall of Mars" (Novella) 2000
"Glacial" (Novella) 2001 (I haven't finished this yet.)

I’m an occasional listener to “The Sword and Laser,” a book club/podcast where they read a book each month and discuss it, alternating between sci-fi and fantasy. I usually don't read the books, just enjoy the conversations, but if the early discussions sound interesting, I will read it before I get to the spoilery episodes.

One such case was when they read ‘The Prefect’ in 2021. I had heard of Alastair Reynolds and Revelation Space and had considered reading him before. If I remember correctly, they said it was a good way to dip your toe in the universe with a story that takes place in it but isn't really connected to the main series, so it doesn't spoil much.

I liked ‘The Prefect’ but didn't love it. It was set in this huge, complicated universe but had this small noir detective-type character we were following. It felt like seeing a narrow flashlight beam, aiming into an opaque mist of stuff that I couldn't quite make out.
I liked many of the little pieces floating around the universe, but I didn't quite trust that it was real and would have internal consistency.

I saw “Pushing Ice” (an Alastair Reynolds book that is unrelated to Revelation Space) recommended somewhere late last year and decided to try it. I loved it, even though the ending left so much unanswered that it was disappointing. I can see how it may make sense to do that for some stories. Still, I have this distrust of the author's intent sometimes. If it feels like they are including mysterious background info without any thought of how it all connects, it bothers me. Even if the story or characters are good, it is distracting. I'm afraid of getting a "Lost" or "Game of Thrones" type ending where I don't feel like all the threads paid off or had any real purpose. To be clear, "Pushing Ice" was nothing like those endings. I feel like it earned its story. It just didn't fill in the universe as much as I wanted. I still didn't fully trust Reynolds as an author.

A few months ago, I decided to try the first proper book in the series, “Revelation Space”. I was surprised to see that I already owned it on Kindle. The first chapter was very familiar. I had bought it in 2013! As I read, I remembered I had gotten bored back then and left the book after a chapter or 2 to read something else. The beginning was a little boring. Again, it's set in a world I don't know and I'm not sure if I care about. In this book though, the perspective changes often. Multiple points of view seem to help me triangulate the world. It takes half the book, but I eventually fully buy-in, and then the world seems incredibly full. References to unknown factions, historical events, religions, movements, etc. They all feel like real plausible things with their own potential histories. Instead of the misty, non-tangible fluff, they seemed like when I read "The Prefect" or the first part of this book.

I finished “Revelation Space” completely satisfied and excited to dive into the series. I did a little research and found there are a lot of options for reading order. At this point I’m fairly certain I want to read every book in the series, so I am not too concerned with reading order, I just want to find a fun way to keep the things fresh as I explore it. I decided to read “Chasm City” next as it seems like the next thing in terms of publication date.

"Chasm City" was great! It followed the same pattern for me, with the beginning and the main character being the most boring parts of the book. But by the end, I felt like I knew the universe better and saw a bunch of interesting, fun stuff along the way.

I then read “The Great Wall” a quick novella that was awesome! It tells an origin story for something that has been mentioned but left ambiguous in all the other books. So satisfying.

I started reading another novella, “Glacial” today. So far, I'm really curious, but not sure what it's about.

The Great Wall reminded me of a book I read probably twenty years ago, “Hellstroms Hive” by Frank Herbert. I can't remember the details, and I think I may reread it now to take a break and make sure I won't burn out on Revelation Space. After that, I think I’ll jump right back in with “Redemption Ark” the next main novel in the series, which I believe follows the story of the novella I'm reading now.

Unless someone else has a better suggestion for what to read next in the revelation space universe? I've already bought the “Galactic North” collection to read those two novellas. But Im not sure if I should read any of the others until after I read further in the main novel series.

Any other opinions on revelation space?

I daily drive Pop!_OS, which uses the GNOME desktop environment. I know that DEs are a hotly contested space among Linux users, and my use of GNOME wasn’t so much a choice as it was a default: it’s what came with my distro.

I like GNOME. I don’t really understand the hate it often gets, but I also don’t really have the legacy understanding of Linux that a lot of people do, and it seems like a lot of distaste lies there. I’m as casual a user as they come — Linux for me is like a Chromebook: it “just works” in that I pretty much need it to get me online and manage some documents. (I do also play games on it, for which Steam and Proton have been a huge boon.)

I also have a Steam Deck, and it uses KDE’s Plasma on the desktop side, so I got to see what that was like. I also like KDE. It’s very different from GNOME, but I can see the appeal. It feels more like Windows but also has a lot of little nice touches and additions. Also, no ads.

This got me thinking: what if I tried using KDE instead of GNOME on my laptop?

I assumed that this would be a big deal. Like, I would have to completely gut my distribution, or reinstall it fresh. Multiple hours of work. Lots of preparation. Looking up myriad terminal commands I don’t understand and hoping they do what they’re supposed to, because if they don’t I’m really screwed — as soon as something goes wrong “under the hood” I’m dead in the water when it comes to fixing it.

But I was looking on System76’s support site and they made it seem super simple. A single terminal command to install the whole DE?

It can’t be that easy, right?

I am astonished to say that it WAS.

I ran the command, had to select between gdm3 and sddm (a choice which I didn’t understand at all so I searched around a bit before just going with the default: gdm3), and then rebooted.

I can now select between GNOME and KDE on the login screen, and both work flawlessly. It was so easy.

I don’t know who to credit for this. Did System76 do a great job of making this easy on their distro? Did the KDE team work hard to make their DE effortlessly plug-and-play? Is this just a general product of the way Linux handles its different components?

I don’t know but I’m willing to spread the love around to anyone and everyone who contributes to Linux and all of its facets. It’s wild to me that I can so easily reskin my entire operating system in the same way that I used to do with Winamp back in the day. I keep waiting for something to go wrong, but after a few days of this, I’ve realized that everything still “just works,” automagically.

A big thanks here to anyone who has a hand in open-source software and making computing better for people like me, who have (mostly) no idea what they’re doing.

I have a KZ ZSN Pro IEM and it's been going strong for 4+ years.

I also have a cheap Bluetooth QCY IEM that I use for podcasts and when I don't want wires tangling me.

Whenever I change from the Bluetooth QCY to the wired KZ I am in awe. The KZ ZSN Pro is a blast to listen to. Specially metal. The definition, the sound of the bass drums, everything is clear and powerful.

So I decided to try some entry level open back headphones and bought the SHP9500 that was cheap on Aliexpress recently. I thought I would find it even better since a lot of people sang it's praise for the price, but I am underwhelmed.

I find my KZ to have way more definition and power.

Also I need to up the volume of my smartphone quite a bit compared to the IEMs. It is near max volume.

Of course they are different beasts and the IEMs are literally inside my head. I don't really know what I expected.

I'm sure beyerdinamic or other more expensive brands might be better, but I don't feel like going down that path.

I'm going to keep the SHP9500 for a week more to see if I like it for different situations, but for now I am not amused.

I watched the 2003 miniseries which I thought was decent enough. It certainly piqued my interest, so I went into the show itself with an open mind and kind of excited that I had a nice, long sci-fi series to get into.. but.. I'm now solidly underway with season 1, a lot of it falls totally flat. I just finished episode 5 and while it's not the worst show I've ever watched, it certainly isn't great either and I have to say I don't understand why this show is praised. It feels really dated.

There are some truly awful scenes where it feels like I'm being preached to, like "remember to go in for your breast cancer screening!" and "prisoners aren't slaves!" and the scene from this episode where the president appears on the Galactica just to tell the commander "ackshually 45000 people are more important than just 1!" as though it's some deep philosophy, and then he changes his mind off of that, but like, his character really isn't dumb enough to not have already considered the morality of the situation. He should have perfectly well realized that they'd expended half of their fuel reserve searching for the downed pilot, and that's more than they can afford. He is not stupid, but the writing certainly can be.

There are also a ton of cliches and cheap story beats like fake-outs, cliff-hangers, characters that could solve all their problems if they simply communicated, dundundun dunnn moments with fabricated tension, not to mention the amount of halfway meaningless filler. It's a shame because the lore and overarching plot is interesting, but when every episode has so much pointless conflict in them that always gets resolved 10 minutes later, it starts to really drag. The episodes are self-contained and I get that, but I mean most of it is to the point that it's borderline a soap opera.

And it's not even filmed or directed well or anything else to make up for it. The desaturated colours are depressing as fuck, there is no cinematography to speak of, the special effects are (understandably) very cheap, everything is truly ugly which while I understand that's the point, it just detracts even more. The lighting is also inconsistent between some scenes, and the fight choreography is honestly laughable. You also have shoddy camera work and obnoxious, never ending close-ups of every actor's face - I have seen all of their pores by now, thank you very much. And omg why are they so obsessed with wide shots of the ships and then snap zooming not once, but twice, every time!!

Also, variations of the word "frak" is just so grating but I'm nitpicking at this point lol

I apologize to any fans of the show because this turned into a bit of a rant, but goddamn.. I'm kind of grasping at straws to find things I actually like about BSG. Maybe it's because it's a network production? Perhaps I'm too young to watch and truly appreciate it/its era of American network TV? Like the only of these kinds of shows we had in my country that I watched when they were current was things like Friends, Monk, Desperate Housewives etc., so I missed out on all of these supposedly great shows back then (I was only 11 years old when BSG started airing). I really love some of the other things from the 00's that I've watched much later on though, but those were cable shows like The Wire, so it's not just because it's from the 00's.

Anyway, all of the above reasons (and more) are why I usually stay far away from network shows with 20-episode seasons, but I thought BSG was going to be different because it's my impression that it has a really good reputation? Like I said in the beginning, the miniseries was decent so I'm not sure what changed between it and season 1? I think I'm gonna demote it to a background show unless the next few episodes pick up a bit. Should I keep going? Does it get better after season 1?

I noticed that Tildes has had no previous discussion of Andrew Hickey's wonderful music podcast A History of Rock Music in 500 Songs. So I thought I'd write a little about it, in case it might bring as much joy to someone here as it has brought me. It's easily my favourite podcast, and it might actually be my favourite work on music history in any medium. It's really that good.

The podcast started something like six years ago, and like its name suggests, it presents a history of rock music. But not just the "four white guys and some guitars" rock music of the 1970s and beyond, but a far more in-depth exploration of where the genre came from and how it has evolved. This is not one of those podcasts where a host or hosts have chosen a topic, done some light resarch and then talk about what comes to their mind. Instead, each episode is thoroughly researched, pre-written and edited. It is a high quality audio lecture delivered by an excellent and witty storyteller who knows what he is talking about.

The first episode was on "Flying Home" by the Benny Goodman Sextet, a jazz and jump blues track released in 1939, and therefore naturally not really a rock song, but something that works as a good starting point in the wider discussion of the genre's evolution. From there, episode by episode, Hickey has told us about the (or rather "a") history of rock music chronologically, taking us through the 40s and 50s, and currently heading towards the end of the 60s. He has indicated that just as 1939 was a somewhat arbitrary starting point, his 500-song history will end with a song that was released in 1999. Looking at his current pace, it may be a while until we get there.

The latest episode is song #174, "I Heard it Through the Grapevine", first released in 1967. It's part one of a two-part narration, with the current episode concentrating on the song's early history and its writers Norman Whitfield and Barrett Strong, while the upcoming episode two will look at Marvin Gaye's version and career at that point.

Hickey has in fact recently started to split some songs into multiple episodes, and he did it also with the previous song, song #173, Bob Dylan's "All Along the Watchtower", first released in 1967. That one had Part 1 that concentrated on Dylan's version, and then Part 2 that covered Jimi Hendrix's version. Although, when I say that those episodes concentrate on Dylan's and Hendrix's versions of the song, that's not exactly true. It would be more accurate to say that Part 1 concentrates on Dylan's career in the late 60s, as well some related subjects and artists from the era, while Part 2 looked at Hendrix's career at the time, as well as subjects and artists related to him around that time.

And this is actually an important point to make. While the episodes certainly tell you a lot about the song that they are discussing, they are not solely about the song in question, and they never really aim to give you a subjective interpretation of the song or anything like that. Instead, you are given plenty of historical facts, you hear a lot of interesting stories, and you find out how the song and the people who were involved with it fit into a larger narrative of rock music. And you also get to hear excerpts of some really good music along the way. Hickey is very much an expert in the topic, a great storyteller, and seems like someone who knows how to do his research.

The podcast's early episodes were shorter, about half an hour or so, while some of the more recent episodes have become much longer, some reaching over four hours, which is the reason why Hickey has started to split some episodes into multiple parts. In addition to the main podcast, there are also Patreon bonus episodes which are not part of the main narrative, but which I can highly recommend. They function as companion pieces to the main story, and typically last between 10 to 30 minutes; for instance, the bonus episode for the first "I Heard it Through the Grapevine" episode was on the song "Bend Me, Shape Me" by Amen Corner. And so, although he is officially just at song #174, Hickey has probably covered well over three hundred songs so far.

The podcasts are free of ads and fully community supported. You should be able to find the podcast on all the main podcast providers, and it has a dedicated website at 500songs.com. If you don't know where to start, the double episode on "All Along the Watchtower" that I mentioned earlier could be a good way to check if the podcast is for you. Or, if you have some favourite artists or songs from the 40s, 50s or 60s, check out the tags on the website to see if he has made episodes on them. Or you can of course just start from the beginning, like I did.

Last year, Hickey was also a guest on Rick Rubin's podcast, and that interview could also be a good introduction to Hickey and his work.

I almost need a "thumb sideways" button but I can't give this game a thumbs up.

Why should you listen to me?

For background, I beta tested Homeworld for Relic back in '98-99. I've played every single PC Homeworld game. I've sunk hundreds of hours into playing vanilla Homeworld, Complex, and Every. Single. Star Trek mod that anyone has ever made for Homeworld and Homeworld: Remastered.

That's to say: I adore love Homeworld/Homeworld 2. Over 25 years of PC gaming, they may be my all-time favorite games period!

Of course, I bought the "Fleet Command" edition. In truth, I did it to encourage the developers to keep pumping out more Homeworld.

Alas, the only thing I want right now is a complete and amazing mod toolkit so that this game can quickly become the substitute and successor for the original.

A little history: Homeworld (and Remastered) thrived with its mod community. The original game was not designed for modding. Yet so many intrepid individuals out there struggled their way through cracking the binary format(s?) of the game. And, at least, as I understand it, some of the game behavior is scripted in Lua, a less common but publicly available programming language. Just go look at the Workshop for Homeworld: Remastered. The number of different total conversion mods out there is staggering. The love put into so many of those mods is utterly mind-blowing!

In a nutshell, HW:3 plays a lot like Homeworld (the original) but, if anything, dumbed-down
significantly from the original but with 2024 visuals--except for the cut-scenes that oddly look rendered using vintage 2000 technology. The game mechanics lack the depth of any of the HW sequels. The campaign is linear and, at times, glitchy (I'm looking at you, asteroid mission and you, the one cut-scene where some of the lines repeat causing me to wonder if I'm suffering auditory hallucinations or if their QA missed something like that).

The gameplay is not particularly innovative or deep. The default pace of combat itself tends to be faster than previous Homeworlds. Though, in single player, you can change the game speed. However, the default speed can be overwhelming compared to previous Homeworld games, which can make multiplayer frustrating.

For fans, while it should not be surprising It's not Homeworld: Complex (or EVO), I expected to see more of the depth, introduced by HW:C and HW:2, For instance, there are no subsystems on ships; you can't target engines or weapons. Ships either blow up or they don't. There's no defense field frigates and no cloak generators.

My hope is that the mods (Star Trek or The Expanse, anyone?) will make this game shine. But right now? Unless you're a true super-hardcore Homeworld fan, who needs their Homeworld story fix, you should hold off.

On the plus side: it doesn't crash as often as a NASCAR driver like Helldivers 2 or the original Homeworld, for that matter.

Ultimately, I'm disappointed that Homeworld 3 plays like a dumbed-down version of Homeworld 1. I suppose this shouldn't be surprising, what with game studios increasingly desperate to get that larger market share which means appealing to a broader audience. But that means that if you long for the depth of Homeworld 2 or Complex, you're waiting for mods.

The modding tools aren't out yet.

And, so, thumbs down.

click here for mood music for this post

Sometime recently I got it into my head that I wanted to go back and replay all of the so-called "Igavania" games in the Castlevania series - the three on Gameboy Advance, the three on Nintendo DS, and, of course, Castlevania: Symphony of the Night on PSX. I played through most of these back when I was a teenager and liked them, but haven't touched them since. Metroidvania games are a dime-a-dozen these days but I haven't found anything else that scratches the itch of exploration-meets-RPG-elements-meets-gothic-aesthetics.

Well except Bloodstained: Ritual of the Night, I guess. That game was pretty good.

I decided to begin with the GBA trilogy since Circle of the Moon is the first Igavania I ever played and the one I have not played in the longest. I pieced through the whole trilogy in release order over a few weeks; here are some stray thoughts from the experience:

Castlevania: Circle of the Moon

• The graphics in this game have aged beautifully. It's the only of the GBA & DS games that - to my knowledge - doesn't heavily re-use sprites from Symphony of the Nights, and as a result it has an aesthetic cohesion a step above any of the following games. Circle of the Moon is infamous for being way too dark on the original, non-backlit GBA screen (I had to use a wormlight back in the day to be able to see it), but with that limitation irrelevant on modern hardware it has a clean, moody aesthetic that's just solid.
• Overall, the game feels very much like "classic Castlevania stuff, remixed." That's certainly true of the music, which is primarily (very good) remixes of classic Castlevania tunes with just a few (very good) original compositions. This applies to the gameplay too, which is classic (you only get a whip, the upgrades are very standard stuff) but with a big new twist thrown in:
• The DSS system. Throughout the game you can collect 20 cards, divided into two categories, and by equpiping two at once you can utilize your magic meter to activate one of 100 DSS effects. Some are straightforward stat boosts, some offer reprieve like healing or invulnerability, and others offer really fun magic, weapon, and transformation effects. It's a joy to try out the combinations every time you get a new card, and they help give the game a lot of space for exploring your personal play style.
• Did I mention that the whip feels really good? The whip feels really good. The sound effect and animation are really satisfying.
• Circle of the Moon has some rough quirks that keep it from being a 10 out of 10, though. DSS cards, for instance, are locked behind random drops by enemies, some with absurdly low drop rates. If you just play through the game normally, without consulting a guide on specific drops or farming cards, there's a decent chance you'll pick up <50% of the cards before you finish the game. I get that you don't want to give the keys of the kingdom to the player right away, but why on earth would you build an awesome, fun game mechanic, and then set it up so players won't see most of it without extremely un-fun farming and grinding? Thankfully a "Magician" mode that gives you access to all of them straight away opens up after you finish the game once, but not everyone will make it that far or want to go back for a second playthrough.
• The difficulty is also allllll over the place. As a teen I got stuck forever at the twin-headed dragons, and going back as an adult ... yeah, I got stuck again. I had to look up strategies, go hunt down a specific sub-weapon (the cross, which is very overpowered in this game), grind a few more levels, and steal away to an alcove of the battle arena to a specific spot where the dragons can't touch you to abuse the DSS healing power. The dragons are the most egregious example but they're far from the only one; there are several points where the game switches from hard-but-fair to ha-ha-eat-shit-stupid. It seems like the designers fully expected the players to use and abuse DSS, especially the healing abilities, because there's no way someone played through this and thought "yeah that's a smooth difficulty curve."
• Special shout out to the optional battle arena. Yes, it's optional, but the difficulty of this 17 room gauntlet is truly hilarious. I was only able to beat it - near the end of the game, at a high level, with the best equipment available - by abusing save states and playing the last half of it in slow motion (the wonders of emulation). And it still took me over an hour!
• There are also some design decisions that are just strange. Your character, Nathan Graves, begins with an excruciatingly slow walk speed and a unwieldy jump that's almost vertical. Within the first 15 minutes of the game you pick up a character upgrade to be able to run - i.e. move at a normal speed - but you have to double tap a direction on the d-pad to activate it. So now you have to spend the next 6-8 hours of your playthrough double-tapping a direction any time you want to move just to move at a normal speed. Why? Very strange.
• There's also a whole area of block pushing puzzles. They're not too difficult, but is this really what Castlevania needed? 20 minutes of slowly pushing boxes?
• I've read that Circle of the Moon was made by a different team, with a different director, than the rest of the "Igavanias." You definitely get that sense when playing it, that it's just a bit different, and it really endeared me to the game. It has its issues, but most of those can be smoothed out with modern backlit screens, save states, and online wiki guides. Overall it was a joy to revisit, probably an 8 or 9 out of 10 in my book.
• I also highly recommend Jeremy Parish's retrospective look at Circle of the Moon

Castlevania: Harmony of Dissonance

• Castlevania: Harmony of Dissonance is what you get when you learn mostly the wrong lessons from the feedback the previous game received. I played this one back in the day and but lost interest and never finished it. I now see why.
• I'll start with the good. The character movement feels better; we finally have a normal run speed and the shoulder buttons can be used for left and right dashes that are very satisfying to use. Together they give this game a much faster pace than Circle of the Moon. The jump is weirdly floaty but you get used to it.
• The graphics have also seen a big improvement in a technical sense. The sprites are larger and more impressive - especially on bosses - though this is also the beginning of heavily re-using sprites from Symphony of the Night. You'll definitely recognize some old favorites if you played that game.
• Honestly, though, that's where the improvements end.
• The art direction has taken a big step back. Konami heard that Circle of the Moon was too dark and now as a result we've got Harmony of Dissonance, a game so insanely bright and chock full of garish psychedelic color choices that not only did it completely remove the moodiness of the first game, it led me, for the first time in my life, to download and install a romhack. Maybe on the original, unlit GBA screen these choices looked good, but on modern displays it feels like Castlevania by way of a Big Top Circus. And then if that wasn't enough the game adds an extra bright outline around your character at all times. Good grief.
• The music has also taken a humongous step back. Supposedly more of the GBA's processing power was used up by the graphics so the sound had to be deprioritized. But even putting aside the big step down in fidelity most of these compositions - save the main theme and one or two others - are not memorable, hummable, or fun to listen to. They're just ... there. There, with bad sound quality.
• All of this would be excusable if the gameplay were tremendous, but again we've learned the wrong lessons and gone backwards.
• DSS has been removed, and there's nothing nearly as interesting to take its place.
• ...but they decided to leave in block pushing. WHY?!
• The rocky difficulty of Circle of the Moon is gone, and now the game is far too easy. I beat almost every boss in this game on my first try, which is definitely not true of either of the other two GBA Castlevania games. The fun movement options have a side effect of making the game even easier, since you can quickly dart around the screen dodging things.
• The level design is poor, with endless, unmemorable hallways and generally boring layouts. Plus the entire first half of the game is basically linear
• Then the cherry on top is that halfway through the game reveals that there are two parallel castles, and it sends you on an excruciating fetch quest across both of them. So you get two identical castles of boring level design, middling music, recycled bosses, and the most tedious backtracking I've done in years.
• There are so many aspects of the game design that just feel sort of busted. Once you're 10 levels above an enemy they only grant you 1 EXP for each kill, so there is truly no upside to all of the tedious backtracking you're forced to do. There are shops in the game, but they all have weird requirements you have to meet to spawn them, and even once you do there's barely anything interesting to buy.
• This game is a chore, and is the only one I would not recommend. It's not "bad," necessarily - I'd give it a 5/10 - but I had to consult guides so many times to figure out where in which castle I needed to go, and I was downright relieved when it was over.

Castlevania: Aria of Sorrow

• It feels like this is where the team at Konami finally found their groove. Aria of Sorrow is a very good game.
• The graphics are still brighter than Circle of the Moon's moody look, but the color choices are dialed back to a sensible, tasteful level. No more wild acid circus backgrounds, and no more bright outlines around characters!
• The music has taken a big step up, with tons of memorable tunes.
• The character control has finally found a nice middle ground between Circle of the Moon's stiffness and Harmony of Dissonance's hyperfast floatiness. Instead of left and right dashes letting you zip around the map there's just a backdash, which is a sensible compromise that allows for lots of maneuverability in combat.
• The level design is a huge, huge step up from Harmony of Dissonance, and is probably better than Circle of the Moon's. Aria of Sorrow does a great job at giving compelling reasons to backtrack with interesting ability unlocks and thoughtfully placed warp zones and area connections.
• The difficulty curve is pretty smooth throughout, except maybe the boss fight with Death - but I found that one an interesting challenge, rather than a brick wall. This is still an easier game than Circle of the Moon, but not a total pushover.
• We've finally got a system to rival DSS: souls that you can gather from enemies and then equip for all sorts of passive and active effects. It's still luck based, but you'll get enough of a variety of souls through normal play for it to not be too bothersome. There are lots of interesting souls, but I missed the "combination" aspect of DSS, of experimenting between combining different cards and seeing what they do together. Here we've just got basically three slots for three types of souls - passives, abilities, and attacks. This is a totally fine way to do it, but it means that one or two of those slots are always just going to be the same one or two souls that give you whatever stat boost you need and whatever ability you rely on the most.
• There are a few more interesting abilities that tie into the exploration as well. When you start the game you can't sink into water and explore, you merely float at the top. Before you even get that ability, though, you get the ability to walk on top of water as if it's a hard surface, opening up interesting level design gimmicks. Later on you can both sink or stand on top depending on what you have equipped.
• The downside is this does mean too much time in menus switching between the same 3 or 4 souls over and over again - at least until you get flight abilities that let you skip a lot of the navigational tedium. One wonders why they couldn't have made things like on top of water / in water contextual abilities (maybe you land on the water, but then press down to sink into it?) instead of requiring players to unequip the ability they want to use 95% of the time, equip a water navigation soul for one room, then open the menu again to switch back.
• At least we don't have any huge block puzzle rooms any more! The environmental puzzles that do exist are far more interesting.
• Instead of the whip of the previous two games there are several classes of weapons the main character, Soma, can equip, including swords, axes, and even a handgun (which seemed pretty useless in my time with it). The variety is neat, but I have to say none of the weapons felt as good to use as the satisfying whip of Circle of the Moon, with its supremely meaty sound effects. I didn't expect to, but I found myself missing the straightforward, satisfyng combat of Circle of the Moon.
• And that's sort of my feeling on the game as a whole. It is a very good game, at least as good as Circle of the Moon, and it doesn't have nearly as many strange friction points as CoTM. It's an 8 or 9 out of 10, for sure. But for me, specifically, something about Aria of Sorrow sort of came and went for me, like it was much smoother than CoTM but didn't leave me with as many memorable moments. I'm not sure how to describe it, so I'll chalk it up to personal insanity.

Oh also all three of these games have a story. Does anyone care about the stories in Castlevania games? I skim the character dialogue while quickly clicking through it and that's pretty much it.

I've now moved on to the DS games, and am loving revisiting Dawn of Sorrow so far - my favorite from back in my teenage years. I'm very interested to revisit Portrait of Ruin and Order of Ecclesia, which I don't remember as clearly, and Symphony of the Night, which I remember loving...and then loathing the inverted castle. Still, it's been >10 years, so who knows how things will hit these days.

Has anyone else played (or replayed) these Castlevania games recently? What were your thoughts?

This sci-fi book starts out as a first contact novel. Aliens show up and say "Your planet is dying--we're here to rescue you! Come join our galactic federation!"

Here's the twist: the protagonist emphatically refuses. The world is sick, but humanity is healing it. Successfully. They have been for decades. And they refuse to leave Earth and go explore the stars until the job is done.

Thus begins this story's major conflict. The aliens have visited a few other planets with signs of advanced civilization, and in every case they've arrived too late--the other civilizations have extincted themselves by the time they arrive. The aliens are emphatic that technological societies cannot thrive on a planet's surface; in every other case, either the planet or the civilization dies. The humans are unfazed. Repairing an ecosystem is possible, they say. We've proven it. Are proving it. Yes, there's a hurricane bearing down on us, but the storms get a little less intense every year.

This is a story about meeting people utterly unlike you and finding common ground with them. It's about imagining a better future and working doggedly toward it.

Eco-focused stories usually have a back-to-the-land, pastoral vibe; they want to get in touch with nature by reducing our use of technology as much as possible. That's not this book at all. Our heroes use neural interfaces and networked decision-making algorithms to manage the restoration of the ecology. They write algorithms that weight the vote in favor of community-defined ethical preferences. Technology isn't the enemy--corporations are, which is why the corps were exiled decades ago. Networks and algorithms can be powerfully good when they're used to benefit the many instead of the few.

This book has so much heart and so much beautiful imagery. It is gloriously weird in lots of ways I'm not going to spoil. It's a hopeful book that's giving me ideas I'm starting work on now. You can find it here or in your local library.

I wrote a blog post for basically my first time ever. It's a first draft, but whatever. I never share my thoughts because I lack confidence, but I want to work on that. I welcome criticism of the way I've presented my thoughts, but my main priority is just discussing Starfield here! I want to hear what y'all think, mainly about the world of Starfield.

I was starry eyed when I first launched Starfield, but it ultimately left me feeling spaced out. After spending around 25 hours with the game I've realized that I wanted something different from Starfield, and that the game just doesn't keep my mind engaged and imagination running. I feel some guilt saying that. It took a buttload of human working hours to bring Starfield to fruition after all, and I don't want to dismiss that work. It's a very pretty game, with a lot of mechanics, characters, and stories. On paper, it's an ideal game for me. It's a first person adventure through the stars meeting strangers and ogling at alien planets packed in with loot and rpg elements. That's my kind of treadmill to be running on. The type of game loop I enjoy. Ultimately though, it did not fill the space in my head that I wanted it to.

Starting with the core game play, it's what I had the least expectations for. I am no Bethesda mega fan, but I've dabbled in their games. Their combat, stealth, traversal and so on have always registered as just serviceable to me. That's not really even a criticism as I've never gotten the impression that Bethesda's intention was to draw fans on those elements. They want to provide a simple set of tools to interact with their worlds. The tools they've provided here in Starfield feel fine. They all work. Gun play feels fine, traversal feels fine, stealth feels fine. It's the way those tools interact with their environments, characters, and narration that typically attract me, but don't here. Even their newest game play addition in space ship combat echoes their standard approach. It feels simple but solid. No extravagance like a Star Fox 64 barrel roll, but there's enough going on to feel good. Like the rest of the tool set, it's serviceable enough to let the player interact with their world. The world is what has left me cold.

Bethesda introduces us to Starfield's world in a baffling place, a place almost opposite to space, a mine. Sure, they planet isn't Earth, but it might as well be Earth. It's dark, dirty, rocky and far from a feast for the eyes. It's no surprise that mines are in the game as Bethesda has always included similar spaces in their games. Such environments are perfect for stuffing loot and combat encounters into, but imagine if Skyrim had began in a cave instead of out in its beautiful landscape. Starfield could've opened in space on a ship or on a number of visually alien worlds, and I think it's a misstep to begin the player in the most unappealing of its environments. Unfortunately, I think it's telling of a large part of the way you will be seeing Starfield's world. From a lot of interior spaces. It's often easy to forget that I'm playing a sci-fi game set in an open world space setting.

Starfield's world looks like what I imagine it would look like if human space colonization were to actually happen. In that regard, I think they were incredibly successful. It's the realization of this image that I think held Starfield back. Just like a lot of our own real universe, it is often empty and dull. Many landscapes of the planets and moons of Starfield, while sometimes pretty, are more often unremarkable. Procedural generation is an incredible tool that can easily lead to unimaginative results. I'm never able to escape the thought that what I'm looking at was probably computer generated. After visiting around 15 planets, I began to feel as though I'd seen it all before, just in different colors. Often fauna and foliage looked strange but lacked a certain spark of hand crafted creativity. I was never struck by their beauty nor their horror but only their only seemingly random assortment of attributes. On planets with human inhabitants their lacked personality in their work and living spaces with exceptions being the hand crafted major settlements. Buildings and structures felt modular and mass produced by the same manufacturer. All of this is probably an accurate depiction of a real future where we branched out into space, but it doesn't make for a fun video game to see and soak in. Major cities like New Atlantis and Akira City lent much more life to Starfield's world with obvious heart put into their creation. You can see their influences from the sci-fi genre in their construction. Instead of aiming for a large and marketable open world, it's a smaller handcrafted galaxy I wish we would have gotten. Somewhere with its own politics and drama taking place on landscapes with intent and personality. A larger existing universe could be hinted at with follow ups in sequels. Bethesda is bursting at the seems with creative talent, but there was simply too much space to make aesthetically daring from every angle. Instead that talent was stretched an inch thin and a mile wild.

The inhabitants of Starfield are offensively inoffensive and so dry they'll leave you parched. They're boring, full stop. They lack nuance and detail in their personalities. They begin and end at their core archetypes. The meaning of their existence is only to facilitate the player and be impressed by you. In my 25 hours of play, I didn't find my self endeared to any character except for a sweet old grandma exploring space, but I only liked her because I like that trope. Characters are very formal and professional which I believe was Bethesda's intent. After all, the context of most every interaction has you acting in an official capacity for one of the factions. You're a representative for the professional work these factions are doing, like being a volunteer cop for the United Colonies or Freestar Collective's Rangers or an explorer-researcher for the stuffy Constellation. It makes sense that conversations would be formal, professional, and often to the point. Ultimately that just doesn't make for compelling conversation. I engage with fiction, especially genre fiction, for its strong sense of personality. The characters I found in Starfield feel like they're just going through the motions of their 9 to 5 job. Their framing as a talking head when having conversations with them only highlights their stiffness.

I believe Starfield is a well-done realization of Bethesda's intent. It's a very corporate and made by committee vision, but it's well executed. It seems they wanted to create a world that resembles a legitimate future where humans leave Earth and colonize the stars. The result is barren unremarkable planets, sterile labs, boring mining and manufacturing facilities, mass produce modular homes, and plenty of empty space. I think they're right, this is what a settled galaxy looks like, but it just doesn't make for a satisfying video game.

edit: fixed spelling from "feel" to "fill"

I'm in the UK so I'm watching the version on the BBC, on iPlayer. Please, no spoilers as I'm only a couple of episodes into series 2.

The concept is great. It's a really good crossover mix between reality TV style of Big Brother (chatting about each other, making alliances), The Crystal Maze (group puzzle solving) and on top of that, it's playing detective.

If you haven't seen it, I can highly recommend it. To anyone that has seen other international versions, are they better than the BBC version and worth a watch? I usually find US versions of things way too OTT. I refer to the styles of things like Kitchen Nightmares.

I think I first came across "The Ones Who Walk Away From Omelas" by Ursula K LeGuin a few years ago. I read something else in conversation with it, but somehow had missed the original. Hugo Award winning and Locus award nominated, I thought folks might be interested in discussing it and its descendants.

LeGuin's original in pdf format

Omelas is a utopia in the middle of a festival. And as the narrator explains the city to you, they understand that you may not believe it is even possible.

Othe authors have written stories in conversation with this,

NK Jemisin's The Ones Who Stay And Fight is directly engaging with it.

The Golden Enclaves by Naomi Novik (the 3rd Scholomance book) engages with this idea too.

So I had read all of the above works and been mulling over the topic of Omelas, and then found this story today

Why Don't We Just Kill the Kid In the Omelas Hole

In which people, uh, start killing the kid in the Omelas hole. Sorry, not a lot of room not to spoil that given the title. I'll let you read the story for where that goes.

Risk of spoilers for the above works from here:
I think there is a lot about our society here. LeGuin herself said the story, "has a long and happy career of being used by teachers to upset students and make them argue fiercely about morality." Because what is the right answer? Novik, via El in the Scholomance series says to burn it down. Jemisin says there is a better way. I don't believe LeGuin is arguing that the ones who walk away are "right" in that they leave having benefited from Omelas and the child still suffers.

But I thought folks who hadn't read one or more of these might enjoy them, and I find they make me think and often won't stop letting me think.

ETA: ST:SNW did an entire episode using Omelas as an inspiration. I haven't seen it so I can't speak to it but wanted to add it here for reference.

A different thread reminded me of this unique for me and frustrating but enlightening experience.

This war of mine is a survival game where you have to manage food, building equipment, scavenging, security, stealth, possibly weapons and the morale of your companions for an unknown period of time until the siege is lifted. The art is beautiful but simple. The pace is slow. The emotions are profound. At the end of the game there are different stories for how your companions lives progress depending on how well or poorly you handled the circumstances of the game. It is very easy to die.

It is the only war game I have seen where you are a civilian.

When I was reading a Psmith novel, I couldn't help but notice that Psmith had a certain similarity with Douglas Addams character Dirk Gently. I can't say for sure if it has any validity, or if it is just make-believe patterns in random chaos. But regardless, these are my observations.

Svlad Cjelli. Popularly known as Dirk, though, again, ‘popular’ was hardly right.
Notorious, certainly; sought after, endlessly speculated about, those too were true. But popular? Only in the sense that a serious accident on the motorway might be popular -- everyone slows down to have a good look, but no one will get too close to the flames. Infamous was more like it. Svlad Cjelli, infamously known as Dirk.

—Dirk Gently’s Holistic Detective Agency by Douglas Addams

Thus were Dirk Gently introduced. But who is this Psmith fellow anyways? He is the titular character in a series of novels by P. G. Wodehouse, a great humorist who happens to be Douglas Adams favorite author. Douglas Addams writing, I’ve noticed, share the same whimsical mastery of language:

Deep in the rain forest it was doing what it usually does in rain forests, which was raining: hence the name.

and

Richard stood transfixed for a moment or two, wiped his forehead again, and gently replaced the phone as if it were an injured hamster.

—Dirk Gently’s Holistic Detective Agency by Douglas Addams

While both characters have changed their name to something much more fancyful, their motivation contrasts greatly. Psmith wanted a fancier name, simple as that; Dirk Gently, on the other hand, changed his name repeatedly to avoid being held accountable for a lifetime of blatant hustling and has finally ended up with Dirk Gently:

'My dear Svlad.'
'Dirk, please, if you would,' said Dirk, grasping his hand warmly, 'I prefer it. It has more of a sort of Scottish dagger feel to it, I think. Dirk Gently is the name under which I now trade. There are certain events in the past, I'm afraid, from which I would wish to disassociate myself.
—Dirk Gently’s Holistic Detective Agency by Douglas Addams

Enter Psmith:

A small maid-of-all-work appeared in answer to the bell, and stood transfixed as the visitor, producing a monocle, placed it in his right eye and inspected her through it.
“A warm afternoon,” he said cordially.
“Yes, sir.”
“But pleasant,” urged the young man. “Tell me, is Mrs. Jackson at home?”
“No, sir.”
“Not at home?”
“No, sir.”
The young man sighed.
“Ah well,” he said, “we must always remember that these disappointments are sent to us for some good purpose. No doubt they make us more spiritual. Will you inform her that I called? The name is Psmith. P-smith.”
“Peasmith, sir?”
“No, no. P-s-m-i-t-h. I should explain to you that I started life without the initial letter, and my father always clung ruggedly to the plain Smith. But it seemed to me that there were so many Smiths in the world that a little variety might well be introduced. Smythe I look on as a cowardly evasion, nor do I approve of the too prevalent custom of tacking another name on in front by means of a hyphen. So I decided to adopt the Psmith. The p, I should add for your guidance, is silent, as in phthisis, psychic, and ptarmigan. You follow me?”
“Y-yes, sir.”
“You don’t think,” he said anxiously, “that I did wrong in pursuing this course?”
“N-no, sir.”
“Splendid!” said the young man, flicking a speck of dust from his coat-sleeve. “Splendid! Splendid!”

— Leave it to Psmith by P. G. Wodehouse

As mentioned, Dirk Gently is a hustler. One of those enterprising characters who will push themselves tirelessly and unrelenting in order to aquire cash or commodities without labour. Earlier, he had cast himself as a psychic, something which backfired with terrible hybris. When we finally encounter him, he has ended up as a detective, seemingly specializing in searching for, but not actually finding, the lost cats of old ladies:

'Yes,' continued Dirk into the phone, 'but as I have endeavoured to explain to you, Mrs Sauskind, over the seven years of our acquaintance, I incline to the quantum mechanical view in this matter. My theory is that your cat is not lost, but that his waveform has temporarily collapsed and must be restored. Schrödinger. Planck. And so on.'
—Dirk Gently’s Holistic Detective Agency by Douglas Addams

Psmith, by contrast, is no hustler, but fall squarely into the trickster archetype. Think Loki, who tricks the blind Hodr into killing Balder. Think the Joker, whose terror is its own reasoning. Psmith, by his own admission, is bored. He may steal umbrellas and impersonate poets in order to woe a certain girl, but one suspect that the girl is merely a pretext for the means.

Both characters share the same flamboyant ignorance of the fuckedupness of their antics. Compare Dirk Gentlys quantum cat theory to Psmiths approach to being accused of umbrella thievery:

“Mr. Walderwick was in here a moment ago, sir,” said the attendant.

“Yes?” said Psmith, mildly interested. “An energetic, bustling soul, Comrade Walderwick. Always somewhere. Now here, now there.”

“Asking about his umbrella, he was,” pursued the attendant with a touch of coldness.

“Indeed? Asking about his umbrella, eh?”

“Made a great fuss about it, sir, he did.”

“And rightly,” said Psmith with approval. “The good man loves his umbrella.”

“Of course I had to tell him that you had took it, sir.”

“I would not have it otherwise,” assented Psmith heartily. “I like this spirit of candour. There must be no reservations, no subterfuges between you and Comrade Walderwick. Let all be open and above-board.”

“He seemed very put out, sir. He went off to find you.”

“I am always glad of a chat with Comrade Walderwick,” said Psmith. “Always.”

— Leave it to Psmith by P. G. Wodehouse

When the girl feel some reservations upon learning that the umbrella he so gallantly lend her was stolen gods, he casually brush it off:

“Merely practical Socialism. Other people are content to talk about the Redistribution of Property. I go out and do it.”

Psmiths outre clash of upperclass lifestyle and socialist glamour is mirrored in Dirk Gentlys clash between the private detective business and holistic new-age mumble-jumble:

'I'm very glad you asked me that, Mrs Rawlinson. The term 'holistic' refers to my conviction that what we are concerned with here is the fundamental interconnectedness of all things. I do not concern myself with such petty things as fingerprint powder, telltale pieces of pocket fluff and inane footprints. I see the solution to each problem as being detectable in the pattern and web of the whole. The connections between causes and effects are often much more subtle and complex than we with our rough and ready understanding of the physical world might naturally suppose, Mrs Rawlinson.
'Let me give you an example. If you go to an acupuncturist with toothache he sticks a needle instead into your thigh. Do you know why he does that, Mrs Rawlinson?'
'No, neither do I, Mrs Rawlinson, but we intend to find out. A pleasure talking to you, Mrs Rawlinson. Goodbye.'

Psmiths socialism bend is merely a humble joke. The quirky disrespect for property laws and insistance on calling other men "Camrade" is highly amusing, surely, but also a bit on the nose, lazy creativity which everyone else knowing nothing about socialism would come up with. On the other hand, with Dirk Gently, the holistic approach to detective work is mirrored in the novel themes and plotting. In contrast to the way Hitchhikers Guide to the Galaxy gleefully throws around outlandish scifi mindfuckery with absolutly no relevance to the plot, Dirk Gently's Holistic Detective Agency is a beautifully orchestrayed mystery where "everything is connected". (for another tightly plotted mystery novel in the fantastic genre, I can recommend Who Censored Roger Rabbit)

Another difference is that Dirk Gently is much more complex and deep, his casual money grapping contrasted with a moral compass of sorts. Both are clowns, but we get to see one of them after the show, devoid of pancake makeup.