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.

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 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 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.

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.

I guess this is just a thing I like to do lol. I got an OLED Steam Deck and have been playing around with it for about a week, so I wanted to share what all I got.

TL;DR: OLED is the definitive version of this product. If you're at all interested, whether or not budget is a concern this model is worth looking at, especially if you can actually get your hands on one to try for a bit. Words aren't quite what they need to be to get across how it looks and feels.

The long of it:

Valve wasn't kidding about stuff like a little performance improvement and better battery life. It feels like someone took the LCD deck and made a checklist of every single thing that could be improved, and then did it. The result is just about the best refresh of a product I've ever seen.

The screen is the most obvious upgrade and it really is great to look at. It is a big jump to go from an LCD at 60hz, to OLED at 90hz with HDR available. As great as VibrantDeck is, no amount of color fuckery can really reproduce what is happening when you have these features. For games that support HDR, it can feel like you've actually made an upgrade, because of how differently it can handle things like bright flashes of light and particle effects on top of the color differences. The refresh rate is tied to the frame limiter by default, so when you drop the frame limit the refresh rate tends to stay double whatever that is. 40fps/80hz feels better than 40/40 to me, like stuttering just isn't as bothersome.

Be aware it's on developers to implement HDR, which means sometimes you run into a game with a shitty implementation. FFVII R comes to mind. Just know that if you run across a game where this feature seems to make the game look terrible, it's not the device doing it.

The improvements to the battery do mean something like a ~40% increase. Games like Armored Core VI and Elden Ring tended to last about 1.5-2 hours on the LCD model, on OLED it's more like 2.5-3, and this is the sweet spot imo. Rare that I'm gonna sit down and play for that long in the first place, so having this much power available means being able to play here and there with much less concern. Games that already played well in a low power state just get that much more time. One thing to know if you're coming from an LCD - it doesn't save your power profiles. Input profiles yes (if you saved them), but power settings need to be redone game-to-game.

The device itself is a little lighter, and it feels like it sits in my hands a little better. The difference is minute, but noticeable, and nice. All of the buttons feel good, the sticks have slightly more resistance to them, and the trackpads are much nicer to use. In particular, the way you click the trackpads is more forgiving by default, so while it is a little easier to mis-click it feels more like using a "real" trackpad. The deck in general is the only device I find doesn't really aggravate my carpal tunnel, and the OLED model keeps that up.

On the software side there isn't really a difference - SteamOS is more or less exactly the same with a few OLED-specific settings. Most of your info gets saved and loaded up when you log in. Cloud saves are one piece of course, but too, any controller profiles you saved will come back, and the SD card can just be freely transferred/there isn't really any setup to it. From boot to play I mostly just waited on the game to download - setting up the device was as simple as waiting for it to do an update, then log in, and that's it. It doesn't pester you to register for anything/no ads.

Things like sleep/wake and transitioning to desktop mode are faster and more consistent. Pretty regularly, my LCD model would fail to sleep/wake correctly - I'd put it to sleep and upon waking it, it would reboot. Inconsistent but often enough to get annoyed with. With the OLED model, i notice this doesn't happen as often. It still does, but much less frequently. The improvements to the trackpads means I use desktop mode more often, it feels much nicer to navigate. All of the stuff I had before was simple to install and restore - emudeck, decky, cryoutilities all installed without any issues and worked fine after I moved over all my stuff from the first deck. Haven't hit any issues with decky plugins either.

Even the carrying case got a pass. It's been redesigned a little, with an extra velcro fastener bit and tighter mold inside, black instead of white.

Transferring my information was about as easy as you could do. There are several options - I mostly used KDE connect, but there's also Warpinator, and a deck plugin called DeckMTP that can let you do a direct USB connection. Literally just copy/paste, once I installed all the stuff I had before I could just drop in the old device's things and be good to go. One thing to be aware of, is that for games which don't support Steam Cloud, you need to copy their save data over. That's gonna mostly be in a folder in /steamapps called CompatData. Takes a little doing but it's not hard to figure out. The hardest thing to set up was STALKER Anomaly, and all that was was about a five step process of clicking things in Wine. By the way, if you make a custom controller profile for a non-steam game, when you add that game to the library make sure it has the same name as before and your controller profile will be saved!

Overall I'm impressed to the point I intend to hold off buying any more PC hardware until a Deck 2 appears. If that product gets the same kind of attention this one did there's no doubt in my mind it will be fantastic. Considering too, the ability to dock and use peripherals, I think I'd feel safe recommending an OLED steam deck as a replacement for a gaming machine + non-work computer to just about anybody. $399 as a base price for PC Gaming is fucking awesome, and $549 for this improved model, at least I feel is very much worth it. $150 for an OLED screen, more storage, bigger battery is not bad. The deck is a hugely popular product, which means you get the added benefit of folks constantly tinkering and messing with stuff to make it work, on top of the odd developer specifically targeting it (such as in Cyberpunk, or how Bannerlord reworked its control scheme). Those kinds of communities exist around other devices, but not nearly to the same extent, and they'll die fast as those products come and go.

So that's what I got. I hope this was informative and helpful. If you have any questions I'm happy to answer as best I can. I'm super happy with the deck as a product, it feels a lot like getting to see what it looks like when someone goes the distance and throws their full weight behind this kind of product.

Edit: I don't know how well this will come through looking on different screens, but here are a few screenshots from AC VI and Morrowind that made use of HDR. Even if it doesn't come through - if you've never owned a deck and were considering one, yeah stuff can look this good on it! It's amazing.

Before I visited Suzuka, I found reading people's experiences (mainly on reddit) to be helpful, so I thought I'd post my own thoughts from driving down this past weekend.

I came from Tokyo, driving to Suzuka and parking in one of their official lots, and I stayed at a small resort about 50 minutes by car away from the track. The race tickets, and parking ticket were bought from the official "mobilityland" website, and it was 14,000 yen for a parking pass for the weekend, and I paid I think about 9000 yen to get there, and 6500 yen on the way back in tolls. For two people it worked out to be cheaper then the trains (and more fun to drive it!). They had some cheaper parking options as well in an unpaved lot, but I get the feeling the official parking passes sell out super quick, so you should take what you can get. There was a lot of unofficial lots nearby selling day parking, but I think you'd have to arrive very early to use them since most of them were full by the time I strolled up to the official lots around 9-10am. Speaking of which, if you buy the official parking ticket, you get an exact assigned space to use for the whole weekend, so no roving up and down the lots looking for a space. Also some people were sleeping in their cars as well so that's an option if you want to save on a hotel..

Crowds (cars and people) were managed really well. I was dreading leaving the parking lot at the end of the race, but I got out before it was crowded at all, and was able to make a beeline for the highways.

About the stands, my tickets were in Q1, at the final corners closest to the track. Aside from seeing Logan's accident in qualifying they weren't the best seats. The monitor was absolutely worthless, it was so small and so far away that without binoculars you couldn't tell the position of anyone on the track, or what lap they were on. There was also a pole blocking the middle of the monitor as well which was very distracting. Washrooms were quite far from these stands as well, although underneath the neighboring Q2 stands there was a water bottle filling machine which was pretty nice. Speakers were playing only the Japanese audio, and they have a FM radio station with the same Japanese commentary. I had hoped to get live timings on my phone, but there was basically no internet due to the huge number of people.

If anyone has questions, please ask. Overall I had a great time, although after the exciting Singapore race prior to Suzuka, this was pretty boring by comparison. Max held the lead at the first corner, and he just extended the lead over the whole race. Seeing Perez get retired and then suddenly show up again was really weird/ confusing, also it was good to see Sainz fighting with the Mercs.

I've been playing through Remnant 2 and having a great time with it. I think they've hit on a great mix of combat and challenge. Plus I was pleasantly surprised to find that the writing, especially for the lore, was quite engaging (the intro doesn't set a high bar tbh). Still in progress for the game, so no spoilers please, but what do you think?

I don't intend this to be a sales pitch or anything, I just wanted to share my impression of the Bambu Labs P1P 3D printer in case anyone on here was curious and maybe considering buying one themselves.

I have owned a few Prusa FDM printers over the years but recently tried the Bambu Labs P1P after seeing tons of rave reviews, especially in terms of how fast it prints. Anyone that has done any 3d prints knows that print time is among the least enjoyable aspects of the hobby: lots of waiting.

Right out the gate, the P1P is a solid device with impressive construction given its relatively low price tag (I got it for $600 USD). And this thing easily rivals high performance machines in it's same "category", like the Prusa mk 3 and 4. And those are typically more expensive; the P1P comes 99.5% assembled at that price but a Prusa machine fully assembled is around 60% more expensive.

Most of the "assembly" is just removing packaging, like zip ties, that kept the unit safe and secure during transit. Then you connect the power cable, screen, spool holder, and filament tube. And that's it. The whole thing took maybe 10 minutes.

Getting the WiFi to connect is impossible for me at the moment, but I don't mind copying sliced gcode to the included microsd for printing. Sure, sending the gcode over WiFi would be super cool, but my Prusa doesn't do that so it's not like I've lost something. I'm hoping to eventually figure it out but that's not a deal breaker for me. I'm guessing I just need to temporarily move the printer next to the WiFi router but I haven't made time for it because I'm enjoying just printing off the card.

With the included 0.4mm nozzle (a standard size), it prints typically 2 to 3 times faster. Something that takes 23 hours might take 11. Something that takes 3 hours might take 1. For larger and more complex prints, you can get stuff done so much faster. For smaller and simpler prints, you no longer need to plan batches either first thing in the morning or overnight, you can just start them whenever. Whatever you printed before, you can print 2 to 3 times as many in one go in the same amount of time.

I don't have the AMS system but hope to get that at some point. If it has the same high quality build and performance as the P1P then I'm certain it will bring me simple multi-filament printing. And although I'm not nearly rich enough to afford more than 1 AMS, you can technically connect up to to 4 at once. Each unit holds up to 4 filament spools, so 4x4 means you could theoretically use 16 different filaments in a single print. The colors you could have! But each unit is like $350. Ouch.

I only have 2 real gripes with it so far. First, it purges way too much filament at the start of a print. I get why it does that, it absolutely ensures that your filament is always properly primed to assist in printing that critical first layer correctly, but it feels very wasteful to have a seemingly-excessive amount of filament thrown away with each print.

Second gripe is that the default spool holder is awful to access. You are likely to put the back of the machine facing a wall and that's where the spool holder will end up facing: the wall. You need to ensure the printer is a little more than two spool's width away from the wall - at the very least - so you can slide your spools on and off. Thankfully the bed doesn't move back and forth like with traditional fdm printers, thanks to the corexy technology, so you can more easily plan out where to put it and how much space it will need.

I haven't messed around with them yet but I just got additional hotends for it that I will be testing soon. The pack I got contains 0.2mm for prints that require very fine detail, 0.6mm for prints where detail is slightly less important than speed, and 0.8mm for when you want to go fast and don't care how much detail you get. Because they use a proprietary construction of hotend, you must use theirs, but the upside is that it's fairly fast and simple to switch them out. Most hotends, you just replace the tip, the actual nozzle. But because filament can gunk up the threads, you need to run it hot to unscrew the nozzle, which is very dangerous. With the P1P, you just pull off the magnetic faceplate, undo a few screws, swap the hotend, put the screws back, and pop the faceplate back on. In just a few minutes, you're done. And no need to turn on the hotend either; just unload your filament prior, let it cool down, and swap away. A much safer and more pleasant experience.

Overall, I'm in love with 3d printing all over again. It's the same feeling I got all those years ago when I did my very first 3d print. And sure, the Prusa is still great when you want high quality detailed prints. Going slow and steady wins that particular race still. But I get quality that is 90+% comparable to what the prusa gives me in exchange for literally 2x to 3x print speeds. That's an easy trade for me. And the slicer software estimates that some of my larger and less detailed prints could print in right 2/3 the time using the 0.6mm nozzle instead of the default 0.4mm. That translates to roughly 7 hours on my Prusa (0.4), 3.5 hours in my P1P (0.4), and 2 hours on my P1P (0.6). Given how much easier it is to swap out nozzles on the P1P, I can see myself actually doing that not frequently for certain prints that, like in my example, see substantial benefit.

I'm very excited to see how this machine holds up in the long run!

To set the stage, I've always been a fan of non-nonsense reliable phones. My cellular usage started with a Nokia brick, moved on to a few Motorolo flip phones, then entered the Blackberry world as soon as data service become available in my area. With the demise of RIM, I went o a Moto X, made a misstep in to the Samsung world, then to a Pixel, a Pixel 3XL, and now a Pixel 7 Pro.

I only made the jump to the 7 Pro due to the 3XL starting to show it's age. The charging part wouldn't always connect, the battery would barely make it through the day, and the case was starting to fall apart. Of within three days of removing the case I dropped the phone, cracking the glass back....

The 7 Pro is awful to hold, without a case. I was waiting a week for the Spigen Liquid Air case to show up, and during the time I hated using the phone. The camera bulge felt awkward and sharp, the surfaces were slippery and the phone would slide around. The rounded edges of the screen would produce phantom taps, just all around a bad experience. Now that I've added the case though, it feels a whole lot better.

The user experience has been fairly good, thought not without some annoying bugs. I did the migration from my old Pixel to my new one, and while it did a reasonably job, preserving the launcher layout etc, the app installation process was strange. Google Play tried to install all the apps, but was stalled. I had to tap on each app to manually install them, they were just sitting there "Pending...", whether I was on battery or charger, WiFi or mobile. Once everything installed, and I added my accounts, it was fine, and now apps auto-update.

Notifications are acting a bit funny with Reddit is Fun, although that won't be an issue for much longer :-(. If I get notified of Mod Mail and a Message in RiF, tapping the notification message does nothing. This worked fine on the 3XL. I've also had one spontaneous reboot, and one night where the phone was plugged in, but decided not to charge. Lots of people complained about heat issues, which was a problem for me on the 3XL, but only in extreme cases. After sitting out in full sun with the 7 Pro, I'd say it is about the same, possibly a bit better regarding it's overheating. Many people also reported that the phone would feel warm/hot in their hands for the first few days as it "learned" your behavior. Never experienced that. Battery life and (lack of) heat levels have remained the same.

I received my Steam Deck on June 6th and have used it literally every day since then. Here are some assorted thoughts that might be of value to people either waiting on theirs or on the fence about ordering:

The Good

• I had no idea until I got it that there's an official Deck test game: Aperture Desk Job. It's essentially a cute test/tutorial for the Deck's controls, set in the Portal universe. Takes about half an hour, but it's a fun onboarding for the device.
• On the past two Saturdays, I have woken up and played Vampire Survivors with one hand while I held my morning coffee in the other. This is the way.
• The control remapping options are absolutely incredible. It is a very robust system. Even simple fixes (like putting A on a back paddle so I can play Vampire Survivors one-handed) can make a world of difference.
• I haven't run many heavy games on it, but I started up Bugsnax, and it was keeping a solid 60 FPS and looked great.
• Emulation on the device is a dream. I haven't done anything past OG PlayStation games yet, but the power of the device, the robust control customization, and the ease of installing emulators (adding Flatpaks in desktop mode) make this absolutely ideal for revisiting older consoles. I've spent probably 80% of my time on the device in PSOne games.
• Battery life is fine, but I don't really use it. I bought a long power cord and spend most of the time with it plugged in on my couch since it has passthrough. I thought the cord sticking out the top of the device would bother me, but it hasn't really been an issue.
• Game selection is increasing steadily (1700+ verified games currently). If you're buying it to play specific games you might be disappointed, as there's still a lot that doesn't work. If you're buying it for games in general though, there is plenty to keep you occupied.
• The grips are MUCH more comfortable for bigger hands than standard Switch joycons. Those would always cramp my hands, but the Deck feels natural and comfortable.
• The middle of the device gets warm to the touch during gameplay, especially on more demanding stuff, but the grips remain cool and you won't feel the heat at all unless you specifically move your hands to the back middle of the device.

The Bad

• The paddles on the back are a little awkward, and I accidentally click them more than I like. In most games they're not mapped to anything so it's fine, but in emulators I use them for save states. I had to set them to respond to long presses only so my accidental clicks didn't mess things up.
• The software is... still getting there. I get navigation issues on store and profile pages frequently, along with frequent UI lag. It's a bit unpolished at the moment.
• Don't know if it's specific to my hardware or a software bug, but sometimes it won't log me in to my Friends list and the only fix is a reboot.
• I wish the control sticks had deeper indents for your thumbs. They're pretty flat, and my thumbs tend to slip off on stick-focused games (most noticeable on my right (aiming) thumb during 20 Minutes Till Dawn).
• Bluetooth headphones have to be manually reconnected in the Settings menu each time. No idea why this is, but it's a bit of an inconvenience.
• Mid-game suspending is still clunky. I don't really do it, as I don't trust that it'll save like it should. It also still counts playtime while suspended but seems to have a rollback feature? I put the device to sleep with a game open that I'd played for 20 minutes and came back to it saying I'd played it for 3 hours. The playtime ended up dropping back down to 20 minutes, but only after I restarted the device.

The Ugly

• There isn't any ugly. I absolutely love this device. Despite my nitpicks above, I think it's nothing short of splendid. I'm more excited about this than I've been about anything in videogaming in a long time.

If anyone has any questions, ask away! Also if any other people here have their Steam Decks and want to chime in with their experiences (@Autoxidation), go for it!

I'm a longtime Linux user, and I haven't used Windows in a while aside from just launching games from Steam on my living room computer, but my new work laptop is Microsoft's flagship Surface Pro 4 so I figured it'd be the best experience you can have on a Windows machine.

I got the laptop in yesterday, and here's the summary of my experience:

• I am required by IT to use Chrome. To install Chrome, I had to click through no fewer than three "Are you sure you don't want to use Microsoft's more secure, faster browser?" banners to do so.

• When I plug in my external monitor, by default, the two monitors were mirrored; when I went into display settings, it didn't show the external monitor until I closed and reopened the settings menu.

• I have an Apple Magic Touchpad 2, and I had some issues getting it set up on Ubuntu 20.04 when I initially got it. These problems are now solved on the latest version of Ubuntu, but I was expecting a nice contrast in a good plug-and-play experience on Windows. Instead, I had to install sketchy drivers from some random GitHub page to get it to work properly.

• I've had some minor annoyances with my audio interface (a Zoom R-22) not being set as the default when I want it to be on Ubuntu, and I was really looking forward to getting a smooth video calling experience with my nice mic and interface on Windows. Lo and behold, the R-22 audio input - the whole reason I have it - doesn't work at all, at least in the Zoom video calling app.

• On Ubuntu, I use QV4L2 to configure the framing, zoom, exposure, etc of my camera. It's a bit clunky, and I was looking forward to having a smooth experience with this on the premier business OS. Unfortunately, the camera on this laptop has extremely aggressive aperture priority mode enabled, and there is no first-party app to configure it! The documentation tells me to go to Settings -> Devices -> Camera but there is no such menu item. So, I just look either washed-out or ultra-dark in every video call.

• After running Windows Update and rebooting, I was greeted with a full-screen and quite annoying to exit tutorial for Microsoft Teams - an app I did not install, because my company uses Slack.

This in addition to some setup papercuts, but I think those were probably due to my corporate IT's process rather than Windows itself.

Is this common? Do people who use Windows just... put up with this kind of thing? Or am I having an exceptionally bad experience for some reason?

I thought I'd take the time to post about a series I've been looking forward to for over a year now.

Hidden is a fantastic crime drama set in Wales, and a third series was announced early last year. The Welsh version, Craith, aired late last year. This week, the bi-lingual version airs on BBC One Wales and BBC Four. In my opinion it's the perfect crime drama: set in the mountains of North Wales, with a great soundtrack and unconventional storyline. Some shows focus only on the investigation and the victim, who probably just admits to the crime at the end. Not so here.

Sian Reese-Willams, who plays DCI Cadi John, explained what the series is about back in 2018:

It’s not a classic detective drama in that it deals with the whodunit and the police catching the bad man. It’s much more of a personal drama. It takes time to delve into the lives of everybody that gets caught up in the crime - the detectives, the victims, the family of the victims and even the bad guy. You’re trying to understand him.

It really plays with the idea of nature versus nature and almost tries to twist you into sympathising against your better judgement; it’s exciting and thought provoking. The characters are really interesting and it covers a lot of human emotion.

Here's another interview ahead of the second series.

Series two picks up around nine months after series one ends. We find Cadi trying to deal with the grief of losing her father, while trying to keep her head in her work.

It’s a difficult time for her - just as one begins to come through the initial shock of losing someone and start to try and deal with it, that’s the time that everyone around you starts to forget and move on. She’s also faced with dealing with the estranged daughter of the victim of the case, and the parallels she sees between the two of them are difficult for her to navigate professionally.

The first two series are on iPlayer now, and if you speak Welsh (or like subtitles) the third series is already on S4C Clic under the title Craith. Hidden is on BBC One Wales this Wednesday at 9pm, and BBC Four this Saturday at the same time.

I've seen a few posts about the Framework Laptop on Tildes and since I received mine, I thought I'd do a write up for it.

I've been using the Framework laptop for a few weeks now and it's been great so far. I was originally skeptical but I decided that I would take a shot at it as I've been growing increasingly unhappy with the design decisions that Apple has been making with MacOS.

I ordered the DIY kit, which was nice since I already had an NVMe SSD I could use with it, so I ended up saving about $150. It only took about 20 minutes to get the RAM, SSD and wifi card installed.

Specs:

• Intel i7-1165G7
• 32 GB of RAM
• Intel WiFi 6E card

Total cost: $1,422.03.

Unfortunately my first laptop arrived with a dead display. The Framework support team was pretty helpful and quickly sent out a new one, which works perfectly.

After toying around with Linux Mint and a few other distros, I ended up installing the Windows 11 beta. Getting the drivers installed was easy, since Framework offers a single download that runs one script to install all necessary drivers in unattended mode. Just hit one button and restart - all the drivers are installed. I wish all manufacturers offered something similar.

Overall construction is great. For something as modular as this, it feels extremely solid and well built. While the build quality isn't equal to something like a MacBook, I'd say it's on par with a Dell XPS or similar high end machine.

The screen is nice and bright, with accurate colors. I've always been a fan of 3:2 screens on laptops and moving from a MacBook Pro with a 16-inch 16:9 display to the 13.5-inch 3:2 display on the Framework doesn't feel like losing too much real estate. Having the taller display is great for sites like Tildes, where it can fit almost the same amount of content as a much larger screen.

The keyboard and trackpad are both great. The keys remind me of the older pre-2015 style MacBook keyboards before they switched to the butterfly mechanism. They are bouncy and responsive, with a nice feedback that doesn't feel too harsh like the butterfly keyboards do. The trackpad is pretty good and it uses the Windows Precision drivers, so it supports swiping and pinching if you like that. It does sound a bit louder than my MacBook Pro's trackpad.

The speakers are a bit disappointing. The max loudness is pretty anemic. Even in a normal acoustic environment (A/C running in a house), you have to actively listen to hear. Coming from a MacBook Pro 16-inch, I would say that the speakers are the biggest downgrade.

The main draw of the Framework is the expandability and upgradability.

The Framework modules are a fantastic idea and I love them. While they don't save you from having to carry around adapters, it is really nice to have those adapters slot in to your machine and feel more integrated. I purchased 2 USB-C, 2 full-sized USB, a DisplayPort, and an HDMI adapter. Being able to just slot in a USB A port and swap it for a display out one on the rare occasion that I need it has been great. I love being able to adapt the ports on my laptop to a situation without having to have dongles coming out of the side of my laptop.

The adapters are tiny and easily fit in any backpack or carrying case. I'm really curious to see what new adapters they offer in the future and what crazy niche ones third parties come up with. I'd love to see a cellular modem jammed into one of these things. Or maybe one that can hide a dongle for my wireless keyboard and mouse?

Battery life is...fine. It's an all day machine, but you'll definitely need to charge it every day if you're using it a good deal. The battery is on the smaller side, but it gets me through a normal work day so that's good enough. But when the battery goes bad (as all Lithium-Ion batteries do), it's an easy fix.

In terms of upgradability, getting into the laptop is dead simple. There's five screws on the bottom and then entire top deck (keyboard and trackpad) comes off. Everything is easily accessible and sensibly laid out. It's also all labeled with QR codes that take you to specific guides on how to install/upgrade those components. I think the educational component is great. It really shows people who would have never thought to upgrade their RAM or storage how easy it can be.

That's the big selling point for me. If I decide in a year or two that I need more than 1TB of storage, I can just buy a larger drive and stick it in there. Or if my display dies, I can get a one for a lot less than the cost of replacing the laptop. Or if the keyboard or trackpad dies, then I can easily replace just that component. On my MacBook Pro, replacing the keyboard is an $800+ repair, since it involves replacing the entire top case, which includes the motherboard and other expensive components.

For years we've been hearing from manufacturers that they can't make a laptop thin, light and upgradable. This laptop proves them wrong.

My biggest concern is the long term viability of the company. It's nice that they made an upgradable laptop, but if they aren't around in a year or two to keep selling replacement parts, then it doesn't matter much.

Overall, I'm pretty impressed with the Framework and I plan on keeping it and making it my daily driver.

EDIT: I forgot to mention my absolute favorite feature, one that I've missed ever since Apple went all USB-C on their laptops: It has a light on the side to tell you if it is currently charging or fully charged!

I recently started an excellent series on Wondrium that is a PBS documentary from 1988: Joseph Campbell's The Power of Myth and I figured this series would be of interest to the Tildes crowd. In this series, Joseph Campbell sits down for a discussion with Bill Moyers discussing the way mythology has influenced our lives from the day-to-day to religion, and how these common motifs present themselves throughout our history and culture. In addition, there is a lot of examples and comparisons of these tropes within the Star Wars original trilogy that is discussed.

It is a very eye-opening and thought-provoking series that I would really love to have a discussion about if others here find it interesting as well.

Transcripts of the individual episodes can be found on this site:

https://billmoyers.com/content/ep-1-joseph-campbell-and-the-power-of-myth-the-hero%E2%80%99s-adventure-audio/

I personally prefer listening/watching as there are a lot of visual examples that are used during the discussion that helps make the topic more clear.

About ten years ago, Sony promised they'd change how we play games. With the launch of the Playstation Vita, they showed us a world in which one could start playing a game at home on your big powerful console, and then you could take it with you in the form of cross-play, where your saves synced via the cloud and you could play the Vita version right where you dropped off. And of course, for games that didn't have a Vita version, there was always the option of streaming your games.

Of course, we know how well that worked out. There were maybe 5 games where you could buy both versions of the game at once, and the majority of the games that supported cross-play required you to buy the same game twice. Streaming is still what everyone's pushing today, but in many places (coughAmericacough) there isn't a good enough connection to stream games with a good experience - especially if it's got twitchy gameplay.

Time has passed and many companies have began to offer a service model for games - subscribe to a program, and you get free access to games. And many of these services have some sort of cross-play component to them, where you get access to multiple platforms, or even with streaming versions, but they all have their downsides.

But it turns out that one company offers a gaming service that actually does offer each of their games in native versions across computers, consoles, and phones, has cross-play support, and doesn't have any of the downsides of streaming, and it's from a company that most people don't associate with gaming - especially when it comes to computer games. I'm speaking, of course, about Apple Arcade.

Sure, it all only works on Apple hardware, and the console part is a bit of a stretch (who actually owns an Apple TV?), but it works remarkably well. And unlike a number of other systems I have tried, it works seamlessly - you can save your game on your mac, launch your game on your iPhone, and instantly be playing your game. And the higher-end games with nice 3D graphics actually do look remarkably better on the big screen.

Of course, the selection of games is much different than any other games service, but I find myself surprised at how many games I legitimately want to play. Sure, there are a lot of 'iPhone' style casual games - right now they just released a bunch of previously released iPhone games cleaned up and stripped of monetization schemes - but I view that as a positive thing - sometimes you just want something simple to pass time with that doesn't need to take space in your brain. But at the same time there are also bigger and more aspiring titles available. There's a new action game from PLATINUMGAMES with an Okami-like artstyle, a brand new RPG from Mistwalker built on top of dioramas, and complex adventure games like Beyond a Steel Sky.

Apple arcade, is, however, missing one notable meta-genre from it's library - Triple-A games. And honestly, I kind of love it for that. The majority of the games companies represented are independent, and that means that many of them are going to be able to offer me new types of gameplay or narratives that you won't get from the big guys. What other service is going to offer experiences like Assemble With Care? And from an ethical point of view, I'd rather reward independent creators who are pushing out these high-quality pieces of work than giant companies who are famous for exploiting their workers.

While Apple Arcade obviously won't be a good choice for everyone since it's limited to Apple hardware, and if you're already in Apple's ecosystem, you probably already know about it (they're surprisingly aggressive at marketing their free trial - which is actually what got me to write this in the first place). I had originally written them off as all casual games, but with the last big release of games it's got some pretty fantastic releases. It's worth trying if you've only got an iPhone, but it's more than worth it if you've got a recent Mac or Apple TV.

MAJOR SPOILER WARNING

What I Did

The game took me around twenty hours to beat, and I stretched that out over the course of about two months. Sometimes I would dive in deep and play non-stop for an hour or two, but most of the time it was me playing it almost piecemeal, for ten or fifteen minutes at a time. Enough to get through one or two panels that I had been stuck on and then stop again.

I would have liked to do longer gaming sessions with it, but I found that I sort of had finite mental resources to apply to the game. I would hit a panel, be thoroughly perplexed, stare at it for 10 minutes while trying different solutions in my head, on paper, and in the game. Nothing would work, so I'd stop the game. The next day I would boot it up and, more often than not, have the solution in a minute or two--sometimes even the first try! I think my brain was working on these in the background.

Something that helped me massively was not letting myself get intimidated by the game. As I would work myself farther and farther down a strand of puzzles, I would instinctively start to feel the pressure that they were getting harder and harder each time. Rather than feed into that feeling, I simply reassured myself that each puzzle was its own thing, and each one had a solution right there, staring me in the face. I just had to find it.

What I Loved

I think the game is gorgeous. Stunning. Beautiful. An absolute joy to look at. It made me realize that we don't often get vibrant color in games that aren't pixel art. I also think the world is beautifully designed. The island is a memorable place with lots to explore.

I also loved the game's ability to teach you its rules wordlessly. The line puzzles aren't just puzzles--they're a language. The whole game felt like some geometric force was trying to communicate with me, but first it had to teach me its alphabet, grammar, and syntax.

Furthermore, I can't tell you how many times I would fight for a solution to a difficult puzzle, feeling it was nearly impossible all the way, only to find the seemingly one right answer. The only way it could possibly work. The next panel? The same damn layout but with an added rule that ruined my prior solution! I loved that the game made me rethink my own thoughts and forced me to see, quite literally, that there is often more than one way to solve a problem.

What I Felt

I was probably 12 to 14 hours into the game when I accidentally stumbled onto the knowledge that there were lines that could be activated outside the panels. I can't remember where I was but holy hell can I remember the feeling. I've got goosebumps right now as I type this from revisiting it in my memory. It was the sublime feeling you get from a great plot twist. There was a sense of revelation, the feeling of frission, and a newfound respect and appreciation for the design that went into the game.

What's sad is that it shouldn't have taken me that long. I saw the circles and lines throughout the environment as I made my way around the island and just assumed that it was a sort of visual motif, or maybe a stylistic flair, much like the game's sort of cartoony, polygonal look. Finding out that I could, in fact, trace them just like every other line I'd been making for the past ten hours was absolutely flooring to me. Experiencing that moment is one of the high points in all of my gaming history. It was the moment the game went from "this is definitely a clever game!" to "FUCK...this game is SO. DAMN. SMART." After that moment I think I spent two hours frantically running around the island hunting environmental lines. Now that I knew what to look for, they were EVERYWHERE. Hiding in plain sight! I was stunned. In absolute awe.

At probably about the 15 hour mark, I found the movie room and had the input for one movie. It was a scene in which a man lights a candle and attempts to walk across a courtyard, and each time the candle goes out, he returns to the beginning. I took this to be a metaphor for the game--specifically that it is about the journey rather than the destination. As such, this was the point that I realized I wasn't going to get some revelatory story at the end of the game, and that making it to the end of the game, while definitely a goal, was not what gave the game meaning.

The sub-takeaway from the film was the idea that the effort is worth it. The man in the film could have just crossed the courtyard and lit the candle at the end. The fact that he didn't showed self-restraint and a committment to the rule. I took this to be a comment on how the game is played. I could have looked up solutions to the puzzles online and just inputted them easily as a way of breezing through the game. While it would get me to where I was going (the end), what was the point? My playthrough was the lit candle route--harder because I was forcing myself to put in the work rather than taking the easy way out.

Oh, and did I mention that the film also had an environmental line at the end you could activate if you went behind the screen while it was running? Genius. This game is SO. DAMN. SMART.

What I Didn't Love

Because I didn't pay attention to detail and made assumptions when I shouldn't have, I didn't realize that I could enter the mountain without all the beacons activated. My gamer mind simply saw OBVIOUS GATED DESTINATION and OBVIOUS DESTINATION GATE KEYS and went "yup, gotta get all of these to unlock the end!" As such, I overplayed my game a bit by doing all of that first. I was all set for entering the mountain to be the ending, especially because the village beacon felt like a "final exam" to the game, incorporating all of the other puzzle types. I kept coming back to it after learning a new symbol/rule and would chip away here and there until I finally got through all of it.

As such, when I got into the mountain and there were even more puzzles I was miffed. My steam had run out. Add to that I'm pretty susceptible to motion sickness in games, so the flashing, scrolling, and color-cycling puzzles were deeply unpleasant for me. I literally had to look away from the screen for the scrolling ones. I solved them on paper and inputted them with the panels in my peripheral vision.

The double-sided room below those was equal parts brilliant and frustrating, though I was impressed as hell with the room with the four sub-puzzles that fed into the larger one on the floor. Unfortunately, I ended the game on quite a low note, as the pillar puzzles at the very end turned my stomach on account of the rotating camera. I was able to power through those only because I knew I was so close to the end.

What I'm Left With

While I didn't love the ending, I, as previously mentioned, don't think it's about that. The game gave me 20 hours of puzzle-solving bliss in a beautiful, rich environment. It gave me legitimate chills when I figured out its secret. It made me think, it made me work, and it made me feel legitimately fulfilled. Good puzzle games make you feel baffled and then they turn around and make you feel brilliant. This one made me feel all sorts of brilliant.

The game has so many legitimately clever moments. I loved the pagoda area where you have to look through branches at the right angle to see the solution. The last puzzle has two pieces of the answer, but a section is missing. After traipsing around, trying every possible visual angle, I look down and find a branch broken off at my feet. The missing piece. Brilliant.

It was filled with little things like these. Little thoughtful twists or nudges. Each puzzle strand was an iterative sequence, and each time you thought you knew where it was headed, they'd push it further. Then further. More and more. Often in ways you wouldn't expect. It's not just that the idea of the game is good but that its execution is so rich and thoughtful that it makes me reverent.

As for post-game stuff (because I know there's a ton I haven't gotten to), I'm taking a break from the game right now, but I might return to it a little later. I kept screenshots of puzzles I didn't solve or environmental elements that I was pretty sure were really activatable but that I couldn't quite figure out (the brown railroad tracks in the white limestoney area, for example).

I have the inputs for a couple more movies that I haven't watched, so I'll probably go back for those. I know there's a challenge area as well, and I'm presumably equipped for it given that I did all of the beacons, but I don't know if I'm up for that. Not just yet, at least.

What You Can Help Me With

For those of you that have gone through the post-game content, do you recommend it? Are there certain things I should focus on? I'm not terribly concerned about spoilers, but if there's something "big" like the environmental line revelation, maybe just give me a hint or point me in the right direction.

I also have a couple of lingering questions. Feel free to answer them unless you feel that it's better if I try to figure it out by myself.

• What do the individual, standalone panels lying around the island do (the gray ones with the triangles)? I've figured out the rule, I just don't know their purpose.

• Does finding all the environmental lines serve any larger purpose?

• Is there story or lore in the game? Does the island or its frozen inhabitants get explained? I activated a few audiologs, but those were mostly philosophical ponderings rather than narrative.

• How on earth do I get that environmental line with the railroad tracks? Of all the ones that I haven't been able to figure out how to get, that one's bothering me the most.

Finally, to anyone who's played the game (which is hopefully anyone who read this), I'd love to hear your experience and thoughts. What was The Witness like for you?

EDIT: Writing the post inspired me to go back into the game instead of sleeping. I watched two other videos I had found inputs for. One was a woman talking about freeing yourself from want, and the other was a man talking about science and knowledge. Interesting stuff.

Then I started exploring and I found an environmental line made by the negative space in the sky when properly bounded by a cloud and wall from the exact right angle. This game is SO. DAMN. SMART.

EDIT 2: Disregard where I said I was going to take a break from the game. I'm diving back in. I want to explore and find these environmental lines. It's so satisfying when you find one.

There was one on a bridge leading from the village towards the foresty area with the orange trees. I could see it from the ground and knew it definitely was one, but I could never quite position myself right to actually trace it. I tried climbing in the castle area since it seemed like I needed to be elevated, but that didn't work. I tried it from the rooftops in the village, and that didn't work. Then I looked: the tower in the middle of the village! I'd forgotten to try from there because once I got to the top of that I headed straight for the mountain. Sure enough, that was the spot.

Also, can we talk about how the sound is so satisfying when you get one? So good.

EDIT 3: The game might be trying to teach me a lesson in freeing myself from want. Now that I'm fired up to dive back into it, it's hard crashing after I start it up. It loads fine and I can walk a few steps, then it locks up my whole system.

I'm running it on Linux through Proton and tried all the different Proton versions assuming that was the culprit (it has crashed before) but the outcome is the same. I might be technologically barred from going further, which I guess is in the spirit of the game's ending and philosophy, right?

EDIT 4: My OS had some graphics library updates for me today, and after installing them I'm back in business--no more crashing! (Sub edit: I spoke too soon. It crashed after about half an hour, but that's way better than what I was getting before). I spent a while traipsing around the island, looking for environmental lines. It's amazing how, in hindsight, so many areas or destinations that I thought were just kind of dead space are actually strategic locations for environmental lines.

A good example is the very beginning of the game. You can get onto the roof of the overhang you first walk out from. At the beginning of the game I got up there, saw some pillows, and just thought it was set dressing in an ultimately useless space. Nope! Not only is there an environmental line you can get from there, but there's an audiolog as well if you're paying attention to detail (which, of course, I wasn't in my first go-around).

I was recently in the market for a cheap used phone. I was looking for an Android device, preferably less than 3 years old, preferably with an unlockable bootloader and rootable, for $200 or less. I was looking at used Pixel 2's when I came across this weird Chinese manufacturer I'd never heard of.

The Umidigi F2 is a bizarre device. I was blown away by the specs, and the seller was only asking $200CAD for it, so I took a chance. I've got to say, so far I'm pretty impressed.

Quick Specs:

• 6.5" IPS LCD, 2340x1080px, bezelless, w/ hole-punch camera, no notch
• 6GB Dual-channel LPDDR4 RAM, 128GB Storage
• Mediatek P70 - ARM Cortex A73/A53 Octo-core 2.0/2.1GHz CPU
• 5 cameras, 32MP front-facing, 48MP rear, 13MP wide-angle, 5MP depth, 5MP macro
• Dual SIM, MicroSD
• 5150mAh battery
• ~40 frequency bands
• 3.5mm headphone jack
• Stock Android 10

At this price I was initially skeptical. There must be something wrong with it, some glaring flaw I wasn't seeing, and/or those specs must be fake. I'm happy to say though, they're real, and the device seems much more solid than I expected.

I've had the thing a little over a week so far, and have only charged it once. On the first charge it lasted 4 days before I charged it, and still had 30% battery remaining after I'd spent a couple hours surfing the web and two hours watching youtube (total screen-on time was ~4.5hrs). After charging it I haven't been using it as much, but it's currently been running 3 days and it has 70% battery remaining. I've used it to listen to the radio for 3 hours this morning. Oh yeah, did I mention? Bizarrely, it has a FM radio tuner for some reason.

So far everything has been smooth, the device performs really well, which is not something I expected from a Mediatek CPU. Rooting it went smoothly, and I've been able to tweak a bunch of settings via the EdXposed framework, as much as you can in Android 10 anyway. I did remove some background bloat, but otherwise the default ROM is very close to vanilla AOSP.

The build quality of the thing is honestly not bad. I've used mid-range Samsung devices that have felt cheaper and more plastic-y than this. I have read some reports of bad touchscreens, but so far I haven't had any problems. There's also a DIY solution to solve that. Unfortunately, if it dies, this is pretty much my only option, since the warranty and support is pretty much nonexistent. At a quarter the price of a brand-name phone with similar specs though, I'm willing to roll those dice.

So, other than warranty, what are the downsides? Well, so far the biggest gripe I have is there is no notification LED on it. So if I go to the washroom and come back I can't just tell at a glance if I've missed a call or text, I actually need to unlock it. Luckily the fingerprint reader and face unlock are both pretty reliable. There is no wireless charging, which I'm more or less okay with. The main reason I'd want that is if the USB port died, but again, this is the sort of phone that if anything is wrong with it you're pretty much meant to throw it out. The speaker is a bit tinny, and unfortunately it's mono. The cameras are bad. The 48MP camera does take 8000x6000 pictures, but they're grainy to the point where even if you resize them down they still look worse than something taken with a good 6MP camera. This seems to be a software problem though. The camera module is apparently made by Samsung, and people have said it's gotten better with every OTA update. As for that, there's been an update this month, but a lot of people are expecting it might be the last update they put out. Umidigi apparently has a bad track record of only providing updates for a few months.

In conclusion, this is objectively a decent phone, and for it's price, it's exceptional. You sacrifice warranty, updates, any kind of support really, but you get some very decent hardware for $200.

Official site: https://www.umidigi.com/page-umidigi_f2_specification.html
Purchasable on amazon for fast shipping, purchase on aliexpress to save $50.

I recently finished reading Edward Abbey's Desert Solitaire, and prior to that I read his novel The Monkey Wrench Gang. I was left feeling quite differently than what I was expecting to feel. I'm an outdoorsman, a conservationist and an activist. I spent a good portion of my time last year on The Colorado Plateau, much of it in the places Edward Abbey has been and discusses frequently in his work. There is a distinct emotional connection I feel to this land, so my mental conflictions are especially notable. I recently wrote a friend a letter, much of it including my thoughts on Abbey thus far, and I felt posting the relevant excerpt here would be a good conversation starter. Let me know what you think!

"I just finished Abbey's Desert Solitaire, while I enjoyed many aspects of the work, it also left me feeling conflicted. I wholeheartedly concur with many (but not all) of his views on conservation. He challenged my views in some positive aspects as well, his disdain for the automobile in national parks, for example. Other views of his I cannot ignore or absolve him of. His views on traditional family values (read: misogyny) are quite apparent in The Monkey Wrench Gang and seep into this work as well. Furthermore, his views on indigenous peoples are outdated, even for his time. His incessant diatribe on the blights that impact Native Americans and other indigenous populations, blaming their own attitudes (victim blaming, if you will), while simultaneously railing against the federal government and The Bureau of Indian Affairs is at best hypocritical (while also patently racist).

Edward Abbey's actions also do not reflect his writing. The man continually rants about the ongoing destruction of this Earth, he blames everybody (The National Park Service, Bureau of Land Management, Forest Service, Bureau of Indian Affairs, the modern consumer, tourists, oil and gas corporations, mining companies, logging businesses and wannabe outdoorsmen) but himself. He went so far as to work for the NPS, while admitting their culpability in their own decimation. During his time there he constantly capitulated to the tourists, the modern consumers in their iron contraptions. Some federal employees I've met have set out to change their respective agencies from within, but what did Abbey do? He left. He saw a problem, railed against it, and left.

So I ask: Why didn't he do more? It has been suggested that Ed had engaged in some less-than-peaceful activities, "eco-terrorism" they call it. I personally don't believe it, I believe that any actions taken were never near the magnitude of the happenings of The Monkey Wrench Gang. Ed's books were his personal fantasies, which while not a guide, a reference point. He prefaces Desert Solitaire, describing it as an elegy. Almost as if he is passing an extinguished torch on to our time. It is frustrating and demoralizing to say the least. While grateful to read his words and as much as I concur with his notions, I disagree with hits actions (or lack thereof). I finish this book left feeling angry."

I just finished Andrew Marantz's Anti-Social: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation, and I think it's a book that would interest a lot of the people on this site. Marantz is a journalist for the New Yorker who embedded himself with alt-right influencers and social media companies. This book is a compilation of all of those stories; part memoir, part retelling, part observation, part commentary.

Despite its title, the book is not a one-dimensional hit piece. I actually strongly dislike the title as I feel it's a bit too barbed for a book that's rooted in extensive, thoughtful contemplation. The author is honest, open-minded, and critical. I hate the word "balanced" for all of the baggage it brings to the table, but it really feels like the best word to use, especially as an antonym for "unbalanced". He deftly handles a lot of different subjects here. He doesn't shy away from giving criticism where its due, but he's also not quick to judge, trying to understand the broader picture first before casting any judgments about it.

I mention it here because I think it has a lot of relevance to Tildes as a site, as well as the type of people that have congregated here. It covers a lot of ground of direct interest to Tildes: the role of social media platforms to police speech and ideology; how the structure of social media creates influence; how bad faith actors can manipulate systems; how noxious ideologies continue to appeal and propagate. I also know that Tildes trends toward the left, and as someone far on that side myself, I appreciated this book for giving me what I feel was a fair and thoughtful window into the lives of certain high-profile people on the right. It's easy to think of them as a monolith, but I was surprised by the differences between all of his various character portraits. Marantz never loses the individual humanity of his subjects, even when some of them are abjectly abhorrent people.

I should mention that the book is very US-centric, as that was where he focused his journalistic efforts. As such, readers outside the US might not appreciate it as much, but I still think a lot of what he shares is relevant no matter where you are located since we all share space together online.

So I bought this laptop mainly for web browsing, document editing, note taking and programming with perhaps light gaming although that's not something I've tried yet. So, really just for school work.

Specifications

Laptop Model : Acer Aspire 3 A315-42
Laptop screen : 1080p IPS (with matte finish?)
CPU : R5 3500U
RAM : 8GB DDR4 (6GB available because of iGPU)
Storage : 256GB SSD NVMe
Wireless : Qualcomm Atheros QCA9377
Wired : Realtek Semiconductor Co., Ltd. RTL8111/8168/8411 (According to lspci)
2x USB 2.0, 1x USB 3.0, 1x HDMI port, Audio jack, 1x RJ45 Ethernet port
Battery : 36.7Wh

Linux compatibility

Everything worked out of the box, gotta modify TLP to not kill the touchpad and webcam. The touchpad seems to have a mind of its own when it comes to being detected, It seems to be a kernel bug, unsure what I'll do about it concretely but rebooting a couple of times makes it work. Nothing to install thanks to AMD's open source mesa drivers. Might need a kernel higher than 5.3 because of general Ryzen 3000 issues but I've not tried, it was already higher than that.

Operating system tested

Basically never touched Windows, directly installed Fedora 31 Silverblue.

My Silverblue configuration is :

● ostree://fedora:fedora/31/x86_64/silverblue
                   Version: 31.20191213.0 (2019-12-13T00:42:11Z)
                BaseCommit: a5829371191d0a3e26d3cced9f075525d2ea73679bd255865fcf320bd2dca22a
              GPGSignature: Valid signature by 7D22D5867F2A4236474BF7B850CB390B3C3359C4
       RemovedBasePackages: gnome-terminal-nautilus gnome-terminal 3.34.2-1.fc31
           LayeredPackages: camorama cheese eog fedora-workstation-repositories gedit gnome-calendar gnome-font-viewer gnome-tweaks hw-probe libratbag-ratbagd lm_sensors nano neofetch
                            powertop radeontop sysprof systemd-swap tilix tlp

Kernel : 5.3.15
Gnome : 3.34.1

Body and Looks

The screen back has metal, I believe it feels quite sturdy. The rest is reasonable feeling plastic. The material used just loves to imprint grease / fingers which kinda sucks - the keys being the exception thankfully. There was also stickers on the inside which well, are somewhat standard but I thought they were pretty obnoxious so I removed them.

Typing experience

It's nothing amazing but it's good enough. I'm not really knowledgeable on keyboards so that's as much as I can say on it, really.

Performance

Everything feels quite snappy but I don't game at all on this machine so I'm not pushing it too much other than while I'm compiling or doing other things. The temperature does go up to 75°C and the fans get a little loud but it's not that bad. It's mostly the bottom getting hot so it's not something you notice too much while typing. It also cold boots quite fast, in about 10-20seconds I want to say but I've not benchmarked that. It's my first computer with an SSD so there's that.

Battery life

I get about 5hours with tlp installed doing web browsing, some programming occasionally, listening to music on the speakers and chatting. Personally I was kind of expecting more from this considering it's an APU but it seems to be what other people are getting on similar setups so It'll do.

Conclusion

Overall, I'm pretty happy with this laptop considering how I bought it for 575$ on sale. I made this review mostly because I wasn't finding much information about this laptop on Linux and well, I don't know, I guess I felt like it. If you have any questions, ask up!

Turn of Mind is a mystery. It's for the most part written in journal format. Interestingly it's a journal that sits in the house of a person with Alzheimer's disease.

Jennifer White was an orthopedic surgeon in Chicago. Once brilliant, Dr. White is now in the later stages of the disease and the journal is written in by family members and housekeepers to help her remember who she was and who she is. A fractured portrait emerges of a cold and strong minded woman who has had a full life that she remembers in bits and pieces. Amidst the pages is mention of a neighbor, Amanda, who has been murdered. Slowly things come together for the reader while Dr. White's disease progresses into confusion.

Yet she still has moments of lucidity, remembering the details of her profession, where she was considered one of the best and most respected hand surgeons in the country. Her deterioration is something she's at times very aware of, and it is this that makes the book so powerful.

The narrative often lapses into Jennifer's past memories of both her parents and her children. This adds authenticity to her mental condition but also made me impatient for what seemed to be more important details. As Jennifer is interviewed by police officers and pulled into interaction with her grown son and daughter, we can begin to understand the horror of this disease, especially regarding how hard it is to trust people who may be trying to manipulate the sufferer for their own purposes.

I'd put this near the top of my list for books enjoyed in 2019. It brings to mind The Curious Incident of the Dog in the Night Time by Mark Haddon, narrated by an Aspberger's spectrum person. Turn of Mind is a hard book to read, but it's even harder to put down once you get into it.

Channel 4 describe the programme "Series that captures the work of police, probation, prison, prosecution and parole".

Here's a link to the first episode: https://www.channel4.com/programmes/crime-and-punishment/on-demand/64655-001

Crime and punishment is a documentary series that looks inside prison to tell the stories of the criminal justice system from the viewpoint of those involved.

The first episode spends some time talking about the unjust "Imprisonment for Public Protection"[1] sentences (these are no longer given by the courts but there are thousands of prisoners still imprisoned on them), how they went wrong, and the awful effect they have upon prisoners. It's a difficult watch. It shows how severely the mental health of prisoners is when they're on this type of sentence, including their serious self harm.

Episode two talks about pressure inside prisons and how that results in "riots", about how prisoners use the only power they have available to them.

I like the programme because it avoids judgmentalism. The prisoners are not reduced to the bad guys; the officers are not simplified to the good guys. You hear a little bit about some of the offences committed by the prisoners

Here's a Twitter thread from someone working in the English NHS. She works in forensic services as a psychologist. https://twitter.com/SarahE_Davidson/status/1173707912981700608

I guess Channel 4 On Demand have geo-blocking. I don't know if it's available on other services, or on torrent.

[1] https://en.wikipedia.org/wiki/Imprisonment_for_public_protection

This is a British cookery show. They take a bunch of people who cook for a living but who have basic skills. These people are paired with a chef who has four Michelin stars and eighteen restaurants. They visit different restaurants around Europe to have competitions to cook that restaurant's own food.

Things I enjoy about it: it does a good job of showing that people who have somewhat fucked up lives will always find a place in cheffing. They could have stayed in the UK but they decided to go around Europe.[1] There's a couple of incidents of poor behaviour being corrected (some of the women chefs are ignored and spoken over by some men, the women stand up for themselves and get an apology).

Things I don't like: there's some cheffy bollocks around the pressure and discipline of a brigade; it's still a reality-show competition and that introduces some artificiallity; they send people home each week and I always hate that aspect of programmes.

It's available on Pirate Bay.

Here are some reviews which I think are fair.

https://www.theguardian.com/tv-and-radio/2019/jul/30/the-chefs-brigade-review-a-cookery-challenge-worthy-of-willy-wonka

https://inews.co.uk/culture/television/the-chefs-brigade-bbc2-episode-1-review-jason-atherton/

[1] I can't describe how pathologically awful Brexit has been for the UK. :-(

Mythbusters is back, but in a tweaked format.

Adam Savage fronts with a team of six young people. Jamie, Kari, Tory, and Grant are absent, only appearing in video flashbacks to the previous show.

Mythbusters with kids could have been horrific, but they've managed to make this entertaining and informative. They've increased the amount of STEM stuff. We see people doing a bit of math while planning something out. The kids are smart, and the show allows them to be smart while also being children. Adam is a great fit, being a big kid himself but also filling the role of a pseudo parent and giving friendly advice (often around safety, such as the tag strap used to manoeuvre huge steel plates).

The old show had a some problems. They'd have too many pre-break "what's coming next" and post-break "here's what happened before", and they'd chop up the myths being tested into tiny little bits. They still do that, but not nearly as much.

It's a fun, entertaining watch, and it's safe for families to watch together.

Years and Years is a British political near-future soft SF programme. Being British it's one short series - 6 episodes, 1 hour per episode. Mainstream broadcast SF isn't going to push all the boundaries, but this has some neat ideas. The political stuff feels realistic enough to work.

Emma Thompson is always impressive and she does excellent work here as a populist, fascist, politician. Jessica Hynes plays Edith with suitable intensity.

Here are a bunch of links:

https://www.imdb.com/title/tt8694364/?ref_=fn_al_tt_1

[spoilers] https://www.hollywoodreporter.com/review/years-and-years-1220415

[spoilers] https://variety.com/2019/tv/reviews/years-and-years-review-emma-thompson-hbo-1203243714/

[spoilers] https://www.theguardian.com/tv-and-radio/2019/may/14/years-and-years-review-a-glorious-near-future-drama-from-russell-t-davies

I don't have a lot to say yet; I'm on episode 9 so far. That series has been on my watchlist forever, so the moment I saw it pop up on Netflix I jumped on it.

It's as awesome as described. Moreso. It's funny and quirky. Despite watching two 12-year-olds hang out, it doesn't feel like a kids' series at all (the humour is quite adult, similar level as Futurama). It knows when to make fun of itself. It's pushing all my buttons and I'm having a lot of fun watching it.

My biggest laugh so far has been Mabel's "Scout's Honor" shirt. In my head I was waiting for the punchline and loved seeing the delivery.

Solid recommendation so far. And the theme song is so fucking catchy.

I finally got around to sinking some decent time into it over the last couple of days. I'm addicted. It's fun to go up against so many competitors and watch as people get knocked out of the competition over time. Not to mention, it's frickin' Tetris so of course it's great! I'm really looking forward to the special event that Nintendo's running this weekend. You can earn an old-school Gameboy theme!

Adjustment Day is a parody, at least I hope it is, of a United States dystopia. The concept is rather ambitious, but the author rises to the task. The prime conspiracy theory behind the book is that throughout history, civilization has periodically weeded out young men of 18-24 through war and whatever other means available to keep society from returning to the dark ages. Who does this in the U.S? Why, your government, of course.

In this version of the conspiracy, the young men turn the tables. Most of the book is about what happens after Adjustment Day. I've only read Fight Club and Choke by Palahniuk before this. All I can say is the cynicism and nihilism of those two books seems increased tenfold in Adjustment Day. Do you have a conservative conspiracy theory that you think about from time to time? They're all in here. I'd even bet that the author comes up with some you've never heard before.

In a satire that is as biting as The Sellout, Palahniuk presents several characters who live through the aftermath of the event, including the originator of it. But instead of nobody talking about it, (like in Fight Club) everybody is talking about this new bizarre movement/social-political revolution. As you go down this rabbit hole of irrational rationalization, it's easy to lose sight of what is going on. Scenes and characters are switched at the beginning of random paragraphs, causing me to back up every few pages.

A good example of Palahniuk's treatment of infrastructure is given by a new form of money that comes out of the movement:

Officially, the order called them Talbotts, but everyone knew them as skins. Rumor was the first batches were refined from, somehow crafted from the stretched and bleached skin taken from targeted persons. People seemed to take a hysterical joy from the idea.
Instead of being backed by gold or the full faith of government or some such, this money was backed by death. The suggestion was always that failure to accept the new currency and honor its face value might result in the rejecter being targeted. Never was this stated, not overtly, but the message was always on television and billboards: Please Report Anyone Failing to Honor the Talbott. The bills held their face value for as long as a season, but faded faster in strong light and fastest in sunlight. A faded bill held less value as the markers along the edges became illegible.

Because the money had a shelf life, people had to work all the time. At the top of the hierarchy were the young men who had put their lives on the line during the Adjustment Day revolution. They would get the money from some source and give it away to their workers and people they knew, spending it all as fast as they could.

If that sounds ridiculous, you haven't even scratched the surface of this world. Chief among the topics are racism and prejudice toward everyone you can imagine. All in all I found the book a little tedious. Palahniuk puts the crazy theories in the mouths of people who voice them so convincingly that it becomes surreal. If you're a fan of the author you might like it. But practically every paragraph seems engineered to be offensive in some way, to someone.

Let's just hope Chuck is making all this stuff up.

Hello Tildes, one common thread that I've noticed in a lot of the threads I've been browsing under ~hobbies and ~creative is that it seems like a lot of folks are looking for new hobbies and things to get into.

To that end one great hobby I've picked up somewhat recently is playing and collecting board games. To some of you, the term 'board game' likely inspires thoughts of old school board games like you may have played in your youth (Clue, Connect 4, Shoots N Ladders, Monopoly, Stratego) "Modern" board games can certainly still be as simple as some of those, but we are actually in a sort of second golden age for board games right now.

What I mean by the above statement is that quite recently (the last 5 years or so) Tabletop and board games have really become popular again, to the point where if you live in a major city there are most likely several places to buy games, and likely even a couple of places you can go to just hang out and play games that belong to the store. Between that, and the popularity of things like Wil Wheaton's TableTop on Youtube, both major game companies as well as small independent folks are creating more and arguably better games than ever in the past.

Now - to the actual subject of the post title. The games I'll list below vary from things most people have heard of or played (Cards Against Humanity) to somewhat obscure, but they should all be pretty easy to find, and very easy to pick up and get into. I'll try to include as much relevant information for each of them (Price, Number of players, Game type etc) and a brief description of what the game is like to play.

If anyone has any other suggestions to contribute please do - One of the best parts of the hobby is the community aspect and finding new games to play.

Let's start with something popular, but not quite ubiquitous yet -
Cards Against Humanity: (3-Unlimited(?) players, $25 Base game + Expansions, Play time Varies based on player count and house rules, ~1hr is a safe bet, but can be made shorter or longer by adjusting rules)
Cards against humanity is a NSFW card game described as 'a party game for horrible people' on the box, which is pretty accurate. Gameplay consists of one player (The judge) playing a black card from the top of a deck with a sentence on it such as "I drink to forget ______" after which the rest of the players will play a white card with things like "My ex-wife" or "Random Erections" or "A bigger, blacker dick" written on them. Once all of the players have played their white cards, they are shuffled, read aloud, and the "Judge" decides which of the white cards is their favorite, awarding a point to the player that played that white card. This is a great icebreaker game because it pretty much forces everyone to get outside of their comfort zone and get weird with it. There are many expansion packs, which are generally themed, but some are just general. These include more cards to keep things fresh after you've played through the originals too many times. - Note: Not recommended for Family Game Night.

Cthulu Dice (3-Unlimited(?) players, $11, Play time ~5-10 minutes):
Cthulu dice is what is called a "micro-game" it consists of just a single plastic (or metal, if you want to dent your table) die with some symbols on it. It's a variant of the old "put and take" game with a bit of a cthulu twist to it, this kind of game is great because it's simple, portable, can be taught to new players in minutes, and also makes a great drinking game. You can also add house rules or look up other variants to keep things fresh

Next up - Dixit (3-6 Players, $30 base game plus standalone expansions, Play time ~30-45 Minutes):
The gameplay of Dixit is somewhat similar to Cards Against Humanity with one player acting as a judge, but from there things get different and rather interesting. Whereas Cards Against Humanity has cards with absurd, obscure, or obscene sentences or words, Dixit has cards with pictures on them. The pictures are generally bizarre, surreal, and kind of whimsical art (Like these examples: https://i.imgur.com/VHtISAZ.png). The way the game is played is the "Judge" player will select a card from their hand and say a single word or phrase that describes something about the picture on the card (It could be a color, an object in the picture, the way the picture makes you feel, what the picture makes you think of, anything that makes sense really) and then plays the card face down. The other players then try to select a card from their hand that matches the judges phrase as best they can in order to fool the other players into picking their card instead of the judges. Once all players have played their face down cards, they are laid out and all players vote on which card they think is the original one played by the Judge, Points are handed out accordingly. Similar to Cards Against humanity, the expansions for this game are additional packs of cards, often following some loose theme to freshen up the game. Most of the expansions contain enough cards that they could be used to play the game standalone. This is a great game to play with people of any age or maturity, it can be as clean or as dirty as the people playing the game but is just generally always a good time.

For the next few games, the actual mechanics of gameplay can get pretty complex, and so rather than explain what the gameplay is like, I'll just link a relevant episode of TableTop for anyone who is interested enough to check them out.

Red Dragon Inn (2-4 Players, $35 Plus Expansions, Play time ~30-60 Minutes) Unfortunately, no TableTop of this one, I can expand if there's interest:
Red Dragon Inn is a game about what the adventurers from DnD do during their 'long rests' at the inn. It's intended to be a drinking game, with players assuming the roles of characters at the inn ( The base game comes with a Wizard, a Rogue, a Priestess, and Warrior ) and are given decks of cards containing context-sensitive actions and abilities. The goal of the game is to be the last person at the inn that isn't broke or passed out from injury or alcohol. The three main resources tracked are a characters health, sobriety, and coins and various cards can affect each of these in various ways. There's also a gambling mini-game that is a lot of fun. The expansions come in 2 types, main releases which consist of 4 new characters (later ones, 4+ seem not to work as well with the earlier ones, and may do better as standalones) as well as single character decks that aren't included in any of the main releases.

Tokaido(2-5 Players 3+ preferable, $30 + Expansion, Play time ~45-60 Minutes):
Tabletop: https://www.youtube.com/watch?v=pipFRzGYgdk

Tokaido is a bit different than the rest of the games on this list so far in that it isn't explicitly competitive. At its' core, Tokaido is a game about seeing who can have the best vacation. Each player assumes the role of a different traveler (each with their own benefits and abilities) and proceeds on their way, trying to stop at the different available locations in such a way that they end the game with the most points (how points are scored is kinda complex, Watch the TableTop for this) but it tends to be a nice, low stress game as there's few ways to really 'attack' other players. There is currently one expansion out for it which introduces some new mechanics and does a good job of freshening up the game for players who have had it a while.

The Resistance/Avalon/Werewolf/Mafia and similar games (Many players, ~$15, Price varies, Play time ~30 minutes, depending on the variant):
Tabletop: https://www.youtube.com/watch?v=g_QRczGzXqw

The Resistance and similar are games about lying to your friends and trying to convince them that you are somebody that you're not. Or maybe they're games about telling the truth and trying to get people to believe you, that all really depends on the cards you draw. These are some of my favorite party games to play in a big group because it can really show you who among your friends has the best poker face. Games tend to go pretty quick so when a player is eliminated it's generally not a big deal (this can sometimes not be the case if the group is way large). Of the different variants I've played, Avalon is my personal favorite of the different variants due to the interesting mechanics that the additional roles bring to the table in this one.

Finally - Betrayal at the house on the hill (3-6 Players, more is better, $35 plus expansions, Play time ~60+ minutes )
Tabletop (Part 1 of 2): https://www.youtube.com/watch?v=MINNKyE4fjs

Betrayal is my go-to example of how great a modern board game can be. It's a moderately complex game, but don't let that scare you off - after you play it once you'll get it just fine, and setup is relatively quick and easy compared to a lot of the other sort of "DnD Lite" games that exist (Lookin at you here, Arkham Horror!). The game consists of players exploring rooms in a spooky house, building out the map as they go from a stack of game tiles with rooms on them. The rooms will have different effects and trigger different types of events as the players explore through the house collecting items and discovering 'omens'. These 'omens' tie into the whole point of the game implied in the title, the "Betrayal". What this translates to in real terms is that for the first half of the game, all of the player characters are cooperating, trying to help each other get as many useful items and to position themselves in the house in such a way that when one of the other players inevitably fails the 'omen' check and triggers the 'haunt' and begins the second half of the game that the non-betrayers can survive and/or escape. Survive and/or escape what you might ask? That is one of my favorite parts about this game, in the base version there are over 50 different scenarios depending on a bunch of different factors. These scenarios can be everything from demonic possession, ghosts, werewolves, 'the blob' and many other creatures, monsters, and horrific situations and do an absolutely fantastic job of giving the base game a TON of replayability. On top of that, they released an expansion for the first game (Widow's Walk) which introduced even MORE scenarios, as well as new rooms and an entirely new floor to the house, as well as Betrayal at Baldur's Gate, which has similar gameplay but takes place in that universe.

I could really keep going all day, but I think this post has gotten well long enough. Let me know in the comments what games you guys play and love, or if you want to hear about some other kinds of games (There are too many to think about even coming close to touching on all of them: Deck building games, Dice building games, Pandemic-like games, Classics like Catan, Ticket to Ride, Dominion, Milles Borne etc etc etc)

while its not the best star wars movie, it isn't the abomination that people make it out to be. its legitimately fun to watch and comfy with all its bad CGI.

Favorite star wars movies in order: IV, V, Solo, VII, I, VIII, VI, Rogue One, III, II

                                                              Book Plot: Spoilers

The book opens by introducing the gunslinger, Roland Deschain, who is on a journey to find the Man in Black. As he ventures across the desert with his mule, he meets a farmer who goes by the name of Brown with his crow, Zoltan. The gunslinger begins to tell of the time he spent in the town of Tull. When Roland first comes to Tull, he missed the Man in Black possibly by a week. It is later revealed to Roland by the barmaid, Alice, that during his stay the Man in Black brought a dead weed eater by the name of Nort back to life. Roland makes Sylvia reveal to him that she is pregnant with the Man in Black's child (more importantly the child of the Crimson King). Roland uses his gun and rips the unborn monstrosity out of Sylvia. Outraged, Sylvia convinces the entire town of Tull that Roland is the spawn of the devil. Roland guns down the entire town of Tull: men, women, children, and even his lover, Alice. The story refocuses on Roland at the dwelling of Brown. Roland goes to sleep and wakes up to Brown telling him that his mule died of heat exhaustion and wonders if he can eat it. Roland leaves on foot to continue his pursuit of the Man in Black.

As his journey continues, Roland happens upon a way station and sees someone there in the distance. Roland believes this to be the Man in Black, but finds out it is a young boy by the name of Jake Chambers. Roland is near death when he arrives at the way station and Jake brings him jerky and water from an atomic slug water pump. Jake tells Roland that the Man in Black passed by a few days before. The way Jake talks reveals that he is not from Roland's world. Roland asks Jake about where he came from, but Jake cannot remember anything. Roland proceeds to hypnotize Jake and learn about where he came from.

Jake reveals to Roland that he is from New York and was on his way to school when a man dressed like a priest snuck up on him and pushed him into the street. Roland believes this man to be the Man in Black. Jake is then hit by a car and dies, but not before the priest approaches him and blesses him.

As they prepare to leave, Roland goes down to the cellar and encounters a demon speaking to him from a hole in the wall. After their palaver, Roland reaches into the hole and pulls out a jawbone. They then depart from the way station, and eventually make their way out of the desert into somewhat more welcoming lands. Roland awakes in the middle of the night to find Jake gone. Roland tracks down Jake and finds him about to be taken by the Oracle of the mountains. Roland uses the jawbone to lure the Oracle away from Jake. He then gives Jake the jawbone to concentrate on while he is gone and couples with the oracle himself in order to learn of his fate and path to the Dark Tower. Once Roland returns, Jake discards the jawbone. Come morning, they continue their trek to the mountains.

Along the trek Roland tells Jake a bit about his past. He tells of Hax, the cook, who was hanged for being an aid to the enemy. Hax was to poison the town of Farson/Taunton. Roland and his friend Cuthbert overhear the plot and alert their fathers of the traitor. Hax is hanged and the boys are allowed to watch with permission from their fathers.

Roland also reveals how he became a gunslinger at the age of 14. As he is walking home, his father's advisor Marten Broadcloak calls Roland to see his mother, Gabrielle, in Marten's bed covering her shame. Angry, Roland charges off to challenge Cort so he may receive his guns. He defeats Cort with the use of his hawk, David.

Roland and Jake soon come to the mountains and enter a series of tunnels under the mountains riding on a mine cart. On their journey, they are attacked by a group of Slow Mutants. Roland battles the Slow Mutants and they move along without the mine cart. They eventually come upon the exit from the tunnels. Jake trips and is left dangling from the tracks. As Roland tries to help him, the Man in Black appears and tells Roland that if he saves the boy then he will never catch him. Roland decides to let Jake fall; Jake knows this and spouts, "Go then. There are other worlds than these." Jake then falls to his death as Roland goes to talk with the Man in Black.

They meet in a golgotha and palaver. The Man in Black reads Roland's fate from Tarot cards. Roland's fate includes The Sailor, The Prisoner, The Lady of Shadows, death, life (which the Man in Black burns), and the Tower at the center of everything. The Man in Black tells Roland he is only a pawn for Roland's true enemy who now controls the Tower itself. The Man in Black tries to convince Roland to give up on his quest by creating a representation of the universe and showing him how insignificant he is. Roland refuses and is forced into sleep. When he awakens, ten years have passed and there is a skeleton next to him, which he believes to be the Man in Black. Roland departs from the Golgotha and sits at the edge of the Western Sea contemplating the next step in his quest for the Dark Tower.

At some unspecified date in the near future, an unknown agent causes the Moon to shatter into seven pieces. As the remnants of the Moon begin to collide with one another, astronomer and science popularizer "Doc" Dubois Harris calculates that the number of collisions will increase exponentially. A large number of moon fragments will begin entering Earth's atmosphere, forming a "white sky" and blanketing the earth within two years with what he calls a "Hard Rain" of bolides; this will cause the atmosphere to heat to incandescence and oceans to boil away, destroying the biosphere and rendering Earth uninhabitable for thousands of years. It is decided to evacuate as many people and resources as possible to a "Cloud Ark" in orbit, including a "swarm" of "arklet" habitats that will be able to avoid the debris from the moon—both to attempt to preserve the human race and to give the remaining doomed inhabitants of Earth something to hope for, to prevent civil disorder from breaking out on Earth before its surface is destroyed. Each nation on Earth is invited to choose by lot a small number of young people to become eligible to join the Cloud Ark.

The Cloud Ark is to be based around the International Space Station (ISS), currently commanded by American astronaut Ivy Xiao. The ISS is already bolted onto an iron Arjuna asteroid called Amalthea, which provides some protection against moon debris. Robots are used to excavate Amalthea to provide more protection in a project run by mining and robotics engineer Dinah MacQuarie. Technicians and specialists, including Doc Dubois, are sent to the ISS in advance of the Hard Rain to prepare it to become the headquarters of the Cloud Ark.

The plan is that the Cloud Ark must be self-sufficient for 5,000 years and capable of repopulating Earth once it is habitable again. A Human Genetic Archive is sent to the Cloud Ark, with the intention that it will be used to rebuild the human population. Approximately 1,500 people are launched into space in the two years before the Hard Rain begins.

Suspecting that some architects of the Cloud Ark are interested only in pacifying Earth's inhabitants with false hope (rather than creating an environment that will actually survive in the long term), a billionaire named Sean Probst realizes that the Cloud Ark will need a ready supply of water in order to provide propellant for the space station and to prevent it from eventually falling into the earth's atmosphere. He embarks on a two-year expedition to extract ice from a comet nicknamed Greg's Skeleton, using a nuclear reactor to provide power to bring it back towards Earth.

The Hard Rain begins approximately two years after the destruction of the moon as predicted; human civilization as well as nearly all life on Earth is obliterated, although some try to take shelter underground (such as Dinah's father) or in the deep ocean (such as Ivy's fiancé). Markus Leuker, appointed leader of the Cloud Ark, declares all nations of Earth to be dissolved, and imposes martial law under the Cloud Ark Constitution. Despite a worldwide agreement that members of government will not be launched into space, the President of the United States, Julia Bliss Flaherty, manages to get herself sent to the Cloud Ark at the last minute. Shortly afterwards the main cache of the physical Human Genetic Archive attached to the ISS is ruined by the thrusters of an arklet passing too closely, leaving only samples that had been distributed amongst the arks.

There is disagreement on the Cloud Ark about the best way to organize its society and avoid the debris of the moon. Some "Arkies" favor converting the Cloud Ark into a decentralized swarm of small space vessels at a higher orbit out of range of debris, rather than maintaining the central authority of the ISS. Doc Dubois wants to shelter in the "Cleft", a crevasse on the now-exposed iron core of the moon. Others want to go to Mars. Julia Flaherty starts to acquire a coterie of followers and encourages the proponents of the decentralized swarm plan.

Sean Probst's expedition has succeeded, and he has brought a comet into an orbit that will soon pass by Earth. His radio has failed and he has built a replacement by hand, and is able to communicate with Dinah MacQuarie by Morse code. However, he and his party die of radiation sickness caused by fallout from their nuclear reactor long before the expedition is complete. Markus Leuker and Dinah travel to the comet with a small crew to take control of it and bring it back to the Cloud Ark, in order to provide sufficient propellant to reach the Cleft on the moon's core. Just before Dinah returns with the ice as the sole survivor of the mission, Julia Flaherty persuades the majority of the population to abandon the ISS and move to higher orbit in a decentralized swarm, and sends a preliminary expedition to Mars. In the course of their sudden, unauthorized departure the ISS sustains catastrophic damage to many sections. The surviving portions of the Human Genetic Archive are carried along with them, but due to the Arkies' ignorance, these surviving portions are discarded or ignored. Only the digital version of the Human Genetic Archive survives aboard the ISS. The ISS and remaining third of the cloud ark combine through reshaping the ice into a support structure, and is rechristened Endurance.

During the three years that it takes for Endurance to reach the Cleft, the majority of its population die of various causes (cancer caused by cosmic radiation, suicide, bolide strikes, etc.); by the time they are within range of the Cleft, only about 30 survivors remain. Julia Bliss Flaherty's Swarm splits into two factions, who fight; Flaherty's faction is defeated. Running out of food, the Swarm resorts to cannibalism, and by the end of three years only 11 survive, including Flaherty and the leader of the opposing faction, Aïda. Aïda requests to reunite the remnant of the Swarm with the Cloud Ark before it reaches the Cleft, but secretly plans a battle for control of Endurance; as a result of that battle the population is diminished even further.

By the time Endurance reaches the relative safety of the Cleft, there are only eight surviving Homo sapiens in space, all of whom are women. One, the sociologist Luisa, has reached menopause, and the remaining seven (Dinah, Ivy, Aïda, Tekla, Camila, Moira, and Julia) come to be known as the Seven Eves. The Human Genetic Archive has been destroyed, but they have sufficient resources to use the surviving genetics laboratory to rebuild the human race by parthenogenesis. They agree that each of the Seven Eves gets to choose how her offspring will be genetically modified or enhanced. Aïda predicts that, hundreds of years from now, this project shall result in seven new races.

The narrative jumps to 5,000 years later. There are now three billion humans living in a ring around the Earth, and they have indeed formed into seven races, each one descended from and named after the Seven Eves who survived the events of Part 2. These races have quite distinct characteristics, including "Moirans" who can undergo "epigenetic shifts", radically changing their bodies in response to new environments. The iron core of the moon has mostly been used to build space habitats, but the Cleft itself has been turned into "Cradle", an exclusive piece of real estate attached to a tether that occasionally "docks" with Earth.

Humanity has divided mostly along racial lines into two states, Red and Blue, which are engaged in a form of Cold War characterized by cultural isolation, espionage and border skirmishes, mediated by treaty agreements more honored in the breach than the observance.

The orbiting races, the Spacers, terraform Earth by crashing ice comets into it to replenish the oceans, and seed the planet with genetically created organisms based upon re-sequenced DNA data saved from the escape to orbit. Once a breathable atmosphere is recreated, and sufficient plant and animal species have been reseeded, some members of the orbiting races ("Sooners") resettle the planet, in violation of treaty agreements.

A "Seven", a group of seven people with one member from each race, is recruited by "Doc" Hu Noah, to investigate mysterious people who have been sighted on Earth. As the story unfolds, they discover that some humans did indeed survive the Hard Rain on the planet by living in deep mines ("Diggers"), while others survived in ocean trenches using submarines ("Pingers"). Although these survivors have also evolved socially and biologically to form two additional races, the survival of root stock humanity separate from the Seven Eves causes turmoil in Spacer high politics. Ground conflict eventually occurs because each of the orbiting camps (Red and Blue) wishes to establish a preferential or exclusive relationship with the Earthbound races: the Diggers, although descendants of Dinah's family, interpret the Blue state's presence on their territory as an act of aggression and develop an alliance with Red, prompting Blue to seek out an alliance with the Pingers on the strength of Ivy's connection with one of their founders. Matters are further complicated because the Diggers claim all of the Earth's land surface as their own, and initially hold the Spacers in disdain (despite their high technology) for having fled the planet eons ago.

In an epilogue it is revealed that a separate, secret underwater ark had been created concurrently with the cloud ark, leading to the development of the Pingers, based on analysis of the "selfies" Ivy's fiance had sent her, using diagrams and sketches in the background as clues. Ty invites the surviving Seven (along with Sonar and Deep, representatives of the Diggers and the Pingers, respectively) back to apartments at his bar in the Cleft with the intent of forming the first "Nine".

At some unspecified date in the near future, an unknown agent causes the Moon to shatter into seven pieces. As the remnants of the Moon begin to collide with one another, astronomer and science popularizer "Doc" Dubois Harris calculates that the number of collisions will increase exponentially. A large number of moon fragments will begin entering Earth's atmosphere, forming a "white sky" and blanketing the earth within two years with what he calls a "Hard Rain" of bolides; this will cause the atmosphere to heat to incandescence and oceans to boil away, destroying the biosphere and rendering Earth uninhabitable for thousands of years. It is decided to evacuate as many people and resources as possible to a "Cloud Ark" in orbit, including a "swarm" of "arklet" habitats that will be able to avoid the debris from the moon—both to attempt to preserve the human race and to give the remaining doomed inhabitants of Earth something to hope for, to prevent civil disorder from breaking out on Earth before its surface is destroyed. Each nation on Earth is invited to choose by lot a small number of young people to become eligible to join the Cloud Ark.

The Cloud Ark is to be based around the International Space Station (ISS), currently commanded by American astronaut Ivy Xiao. The ISS is already bolted onto an iron Arjuna asteroid called Amalthea, which provides some protection against moon debris. Robots are used to excavate Amalthea to provide more protection in a project run by mining and robotics engineer Dinah MacQuarie. Technicians and specialists, including Doc Dubois, are sent to the ISS in advance of the Hard Rain to prepare it to become the headquarters of the Cloud Ark.

The plan is that the Cloud Ark must be self-sufficient for 5,000 years and capable of repopulating Earth once it is habitable again. A Human Genetic Archive is sent to the Cloud Ark, with the intention that it will be used to rebuild the human population. Approximately 1,500 people are launched into space in the two years before the Hard Rain begins.

Suspecting that some architects of the Cloud Ark are interested only in pacifying Earth's inhabitants with false hope (rather than creating an environment that will actually survive in the long term), a billionaire named Sean Probst realizes that the Cloud Ark will need a ready supply of water in order to provide propellant for the space station and to prevent it from eventually falling into the earth's atmosphere. He embarks on a two-year expedition to extract ice from a comet nicknamed Greg's Skeleton, using a nuclear reactor to provide power to bring it back towards Earth.

The Hard Rain begins approximately two years after the destruction of the moon as predicted; human civilization as well as nearly all life on Earth is obliterated, although some try to take shelter underground (such as Dinah's father) or in the deep ocean (such as Ivy's fiancé). Markus Leuker, appointed leader of the Cloud Ark, declares all nations of Earth to be dissolved, and imposes martial law under the Cloud Ark Constitution. Despite a worldwide agreement that members of government will not be launched into space, the President of the United States, Julia Bliss Flaherty, manages to get herself sent to the Cloud Ark at the last minute. Shortly afterwards the main cache of the physical Human Genetic Archive attached to the ISS is ruined by the thrusters of an arklet passing too closely, leaving only samples that had been distributed amongst the arks.

There is disagreement on the Cloud Ark about the best way to organize its society and avoid the debris of the moon. Some "Arkies" favor converting the Cloud Ark into a decentralized swarm of small space vessels at a higher orbit out of range of debris, rather than maintaining the central authority of the ISS. Doc Dubois wants to shelter in the "Cleft", a crevasse on the now-exposed iron core of the moon. Others want to go to Mars. Julia Flaherty starts to acquire a coterie of followers and encourages the proponents of the decentralized swarm plan.

Sean Probst's expedition has succeeded, and he has brought a comet into an orbit that will soon pass by Earth. His radio has failed and he has built a replacement by hand, and is able to communicate with Dinah MacQuarie by Morse code. However, he and his party die of radiation sickness caused by fallout from their nuclear reactor long before the expedition is complete. Markus Leuker and Dinah travel to the comet with a small crew to take control of it and bring it back to the Cloud Ark, in order to provide sufficient propellant to reach the Cleft on the moon's core. Just before Dinah returns with the ice as the sole survivor of the mission, Julia Flaherty persuades the majority of the population to abandon the ISS and move to higher orbit in a decentralized swarm, and sends a preliminary expedition to Mars. In the course of their sudden, unauthorized departure the ISS sustains catastrophic damage to many sections. The surviving portions of the Human Genetic Archive are carried along with them, but due to the Arkies' ignorance, these surviving portions are discarded or ignored. Only the digital version of the Human Genetic Archive survives aboard the ISS. The ISS and remaining third of the cloud ark combine through reshaping the ice into a support structure, and is rechristened Endurance.

During the three years that it takes for Endurance to reach the Cleft, the majority of its population die of various causes (cancer caused by cosmic radiation, suicide, bolide strikes, etc.); by the time they are within range of the Cleft, only about 30 survivors remain. Julia Bliss Flaherty's Swarm splits into two factions, who fight; Flaherty's faction is defeated. Running out of food, the Swarm resorts to cannibalism, and by the end of three years only 11 survive, including Flaherty and the leader of the opposing faction, Aïda. Aïda requests to reunite the remnant of the Swarm with the Cloud Ark before it reaches the Cleft, but secretly plans a battle for control of Endurance; as a result of that battle the population is diminished even further.

By the time Endurance reaches the relative safety of the Cleft, there are only eight surviving Homo sapiens in space, all of whom are women. One, the sociologist Luisa, has reached menopause, and the remaining seven (Dinah, Ivy, Aïda, Tekla, Camila, Moira, and Julia) come to be known as the Seven Eves. The Human Genetic Archive has been destroyed, but they have sufficient resources to use the surviving genetics laboratory to rebuild the human race by parthenogenesis. They agree that each of the Seven Eves gets to choose how her offspring will be genetically modified or enhanced. Aïda predicts that, hundreds of years from now, this project shall result in seven new races.

The narrative jumps to 5,000 years later. There are now three billion humans living in a ring around the Earth, and they have indeed formed into seven races, each one descended from and named after the Seven Eves who survived the events of Part 2. These races have quite distinct characteristics, including "Moirans" who can undergo "epigenetic shifts", radically changing their bodies in response to new environments. The iron core of the moon has mostly been used to build space habitats, but the Cleft itself has been turned into "Cradle", an exclusive piece of real estate attached to a tether that occasionally "docks" with Earth.

Humanity has divided mostly along racial lines into two states, Red and Blue, which are engaged in a form of Cold War characterized by cultural isolation, espionage and border skirmishes, mediated by treaty agreements more honored in the breach than the observance.

The orbiting races, the Spacers, terraform Earth by crashing ice comets into it to replenish the oceans, and seed the planet with genetically created organisms based upon re-sequenced DNA data saved from the escape to orbit. Once a breathable atmosphere is recreated, and sufficient plant and animal species have been reseeded, some members of the orbiting races ("Sooners") resettle the planet, in violation of treaty agreements.

A "Seven", a group of seven people with one member from each race, is recruited by "Doc" Hu Noah, to investigate mysterious people who have been sighted on Earth. As the story unfolds, they discover that some humans did indeed survive the Hard Rain on the planet by living in deep mines ("Diggers"), while others survived in ocean trenches using submarines ("Pingers"). Although these survivors have also evolved socially and biologically to form two additional races, the survival of root stock humanity separate from the Seven Eves causes turmoil in Spacer high politics. Ground conflict eventually occurs because each of the orbiting camps (Red and Blue) wishes to establish a preferential or exclusive relationship with the Earthbound races: the Diggers, although descendants of Dinah's family, interpret the Blue state's presence on their territory as an act of aggression and develop an alliance with Red, prompting Blue to seek out an alliance with the Pingers on the strength of Ivy's connection with one of their founders. Matters are further complicated because the Diggers claim all of the Earth's land surface as their own, and initially hold the Spacers in disdain (despite their high technology) for having fled the planet eons ago.

In an epilogue it is revealed that a separate, secret underwater ark had been created concurrently with the cloud ark, leading to the development of the Pingers, based on analysis of the "selfies" Ivy's fiance had sent her, using diagrams and sketches in the background as clues. Ty invites the surviving Seven (along with Sonar and Deep, representatives of the Diggers and the Pingers, respectively) back to apartments at his bar in the Cleft with the intent of forming the first "Nine".

                                             How to Live Safely in a Science Fictional Universe

Charles Yu's debut novel, How to Life Safely in a Science Fictional Universe, could be described as a story about contemporary family life disguised as science fiction. It concerns a young man who has spent most of the past decade in a small time machine in his job as a time machine repairman. He makes calls on people who have rented time machines for recreational purposes but have become stuck in time and must be rescued by him. As the novel progresses, it is revealed that this man's name is the same as that of the author, Charles Yu. The protagonist is a lonely and rather sad fellow, who spends much of his non-working hours drifting along in his capsule, thinking about his past and his parents, especially his father who disappeared long ago. Accompanied only by his dog and a computer that has the pixilated face of a female and a cartoon-like voice, Charles hopes to one day locate his father in some alternate universe to which he apparently has traveled in a time machine. Charles's parents, a few clients, and several street performers are the only other humans that he encounters during the course of the story. He makes one trip to a city in Minor Universe 31, a residential and entertainment world made mostly from a science fiction "substrate," where the company for which he works is headquartered. His objective is to have maintenance work done on his time machine and when he goes to pick it up, he encounters his future self. Panicking, he draws his service revolver and shoots his future self in the stomach, just as his future self is attempting to tell him that the key is the book. He has no idea what this means as he stumbles into his time machine and races away. On the capsule's console, he finds a manual-type book that has the same title as the novel.

With the help of his computer, he realizes that he must read the book and make amendments and additions to it as he goes along. At some point in the future, he must give the completed book to his past self, who then will shoot him and begin the rewriting process again in an endless cycle. Charles realizes he has become stuck in a time loop. By the rules of time travel, if he changes anything that happens during this loop, he risks entering an alternate universe from which he might not emerge. Under the circumstances, escaping the time loop appears to be extremely difficult. He may be doomed to spend the rest of his life in the time machine, writing the book, giving it to himself, shooting himself, and starting the cycle again. The book is a manual about time travel, but it also offers advice on how such a traveler should live within or use time wisely. The main use of Charles's time is in thinking about his father and mother, but he begins visiting periods in his past in his time machine, watching his younger self interact with his parents. Eventually, he discovers that the book given to him by his future self is literally the key, because it holds a key that unlocks a box that his mother gave him, inside of which his father left clues to where he went in time. This inspires Charles to realize that he can break out of his time loop through the power of his mind and memory. He does so and rescues his father from the past time in which he is stuck. As the novel ends, it looks as if the family has a chance to regain normalcy and move forward with a better understanding of how to cope with the difficulties of life by facing the problems of the past with courage and honesty.

                       Praise

“Glittering layers of gorgeous and playful meta-science-fiction. . . . Like [Douglas] Adams, Yu is very funny, usually proportional to the wildness of his inventions, but Yu’s sound and fury conceal (and construct) this novel’s dense, tragic, all-too-human heart. . . . Yu is a superhero of rendering human consciousness and emotion in the language of engineering and science. . . . A complex, brainy, genre-hopping joyride of a story, far more than the sum of its component parts, and smart and tragic enough to engage all regions of the brain and body.”
—The New York Times Book Review

“Compulsively rereadable. . . . Hilarious. . . . Yu has a crisp, intermittently lyrical prose style, one that’s comfortable with both math and sadness, moving seamlessly from delirious metafiction to the straight-faced prose of instruction-manual entries. . . . [The book itself] is like Steve Jobs’ ultimate hardware fetish, a dreamlike amalgam of functionality and predetermination.”
—Los Angeles Times

“Douglas Adams and Philip K. Dick are touchstones, but Yu’s sense of humor and narrative splashes of color–especially when dealing with a pretty solitary life and the bittersweet search for his father, a time travel pioneer who disappeared–set him apart within the narrative spaces of his own horizontal design. . . . A clever little story that will be looped in your head for days. No doubt it will be made into a movie, but let’s hope that doesn’t take away the heart.”
—Austin Chronicle

“If How to Live Safely in a Science Fictional Universe contented itself with exploring that classic chestnut of speculative fiction, the time paradox, it would likely make for an enjoyable sci-fi yarn. But Yu’s novel is a good deal more ambitious, and ultimately more satisfying, than that. It’s about time travel and cosmology, yes, but it’s also about language and narrative — the more we learn about Minor Universe 31, the more it resembles the story space of the novel we’re reading, which is full of diagrams, footnotes, pages left intentionally (and meaningfully) blank and brief chapters from the owner’s manual of our narrator’s time machine. . . . . Yu grafts the laws of theoretical physics onto the yearnings of the human heart so thoroughly and deftly that the book’s technical language and mathematical proofs take on a sense of urgency.”
—NPR

“How to Live Safely is a book likely to generate a lot of discussion, within science fiction and outside, infuriating some readers while delighting many others.”
—San Francisco Chronicle

“An extraordinary work. . . . I read the entire book in one gulp.”
—Chris Wallace, GQ

“A great Calvino-esque thrill ride of a book.”
—The Stranger

“Science and metaphor get nice and cozy in Charles Yu’s How to Live Safely in a Science Fictional Universe. The novel joins the likes of Gary Shteyngart’s Super Sad True Love Story and Jillian Weise’s The Colony, fiction that borrows the tropes of sci-fi to tell high-tech self-actualization narratives.”
—Portland Mercury

“A brainy reverie of sexbots, rayguns, time travel and Buddhist zombie mothers. . . . Packed with deft emotional insight.”
—The Economist

“A funny, funny book, and it’s a good thing, too; because at its heart it’s a book about loneliness, regret, and the all-too-human desire to change the past.”
—Tor.com

“A keenly perceptive satire. . . . Yu’s novel is also a meditation on the essentials of human life at its innermost point.. . . Campy allusions to the original Star Wars trilogy, a cityscape worthy of the director’s cut of Blade Runner and a semi-coherent vocabulary of techno-jargon cement these disparate elements into a brilliant send-up of science fiction. . . . Perhaps it would be better to think of the instructional units of How to Live Safely in a Science Fictional Universe in terms of the chapters of social commentary which John Steinbeck placed into the plot structure of The Grapes of Wrath.”
—California Literary Review

“How to Live Safely in a Science Fictional Universe is the rare book I pick up to read the first several pages, then decide to drop everything and finish at once. Emotionally resonant, funny, and as clever as any book I have read all year, this debut novel heralds the arrival of a talented young writer unafraid to take chances.”
—largehearted boy

“A wild and inventive first novel . . . has been compared to the novels of Kurt Vonnegut Jr. and Jonathan Lethem, and the fact that such comparisons are not out of line says everything necessary about Yu’s talent and future.”
—Portland Oregonian

“Bends the rules of time and literary convention.”
—Seattle Weekly

“Getting stuck with Yu in his time loop is like watching an episode of Doctor Who as written by the young Philip Roth. Even when recalling his most painful childhood moments, Yu makes fun of himself or pulls you into a silly description of fake physics experiments. In this way, he delivers one of the most clear-eyed descriptions of consciousness I’ve seen in literature: It’s full of self-mockery and self-deception, and yet somehow manages to keep its hands on the wheel, driving us forward into an unknowable future. How to Live Safely in a Science Fictional Universe is intellectually demanding, but also emotionally rich and funny. . . . It’s clearly the work of a scifi geek who knows how to twist pop culture tropes into melancholy meditations on the nature of consciousness.”
—io9

“Funny [and] moving. . . . Charles Yu’s first novel is getting ready for lift-off, and it more than surpasses expectations which couldn’t be any higher after he was given the 5 Under 35 Award . . . How to Live Safely in a Science Fiction Universe is one of the trippiest and most thoughtful novels I’ve read all year, one that begs for a single sit-down experience even if you’re left with a major head rush after the fact for having gulped down so many ideas in a solitary swoop. . . . Yu’s literary pyrotechnics come in a marvelously entertaining and accessible package, featuring a reluctant, time machine-operating hero on a continual quest to discover what really happened to his missing father, a mysterious book possibly answering all, and a computer with the most idiosyncratic personality since HAL or Deep Thought. . . . Like the work of Richard Powers . . . How to Live Safely in a Science Fictional Universe fuses the scientific and the emotional in ways that bring about something new.”
—Sarah Weinman, The Daily Beast

“One of the best novels of 2010. . . . It is a wonderfully stunning, brilliant work of science fiction that goes to the heart of self-realization, happiness and connections. . . . Yu has accomplished something remarkable in this book, blending science fiction universes with his own, alternative self’s life, in a way, breaking past the bonds of the page and bringing the reader right into the action. . . . Simply, this is one of the absolute best time travel stories . . . even compared to works such as The Time Machine by H.G. Wells or the Doctor Who television series.”
—SF Signal

“Within a few pages I was hooked. . . . There are times when he starts off a paragraph about chronodiegetics that just sounds like pseudo-scientific gibberish meant to fill in some space. And then you realize that what he’s saying actually makes sense, that he’s actually figured out something really fascinating about the way time works, about the way fiction works, and the “Aha!” switch in your brain gets flipped. That happened more than once for me. There are so many sections here and there that I found myself wanting to share with somebody: Here—read this paragraph! Look at this sentence! Ok, now check this out!”
—GeekDad, Wired.com

“In this debut novel, Charles Yu continues his ambitious exploration of the fantastic with a whimsical yet sincere tribute to old-school science fiction and quantum physics. . . . A fascinating, philosophical and disorienting thriller about life and the context that gives it meaning.”
—Kirkus, starred review

“With Star Wars allusions, glimpses of a future world, and journeys to the past, as well as hilarious and poignant explanations of “chronodiegetics,” or the “theory of the nature and function of time within a narrative space,” Yu, winner of the National Book Foundation’s 5 under 35 Award, constructs a clever, fluently metaphorical tale. A funny, brain-teasing, and wise take on archetypal father-and-son issues, the mysteries of time and memory, emotional inertia, and one sweet but bumbling misfit’s attempts to escape a legacy of sadness and isolation.”
—Booklist

“This book is cool as hell. If I could go back in time and read it earlier, I would.”
—Colson Whitehead, author of Sag Harbor

“Charles Yu is a tremendously clever writer, and How to Live Safely in a Science Fictional Universe is marvelously written, sweetly geeky, good clean time-bending fun.”
—Audrey Niffenegger, author of Her Fearful Symmetry and The Time Traveler’s Wife

“Funny, touching, and weirdly beautiful. This book is awesome.”
—Nick Harkaway, author of The Gone-Away World

“How to Live Safely in a Science Fictional Universe is that rare thing—a truly original novel. Charles Yu has built a strange, beautiful, intricate machine, with a pulse that carries as much blood as it does electricity.”
—Kevin Brockmeier, author of The View from the Seventh Layer and The Brief History of the Dead

“Poignant, hilarious, and electrically original. Bends time, mind, and genre.”
—David Eagleman, author of Sum

Sleeping Giants is a science fiction novel by Sylvain Neuvel in which an unknown interviewer and scientist Rose Franklin attempt to decipher the alien origins and purpose of a giant robotic weapon. Told by way of case files – transcripts, diary entries, and other documents – the novel spans the course of four years, beginning with a prologue set when Rose is 11 years old.

When the novel begins, Rose takes out the bike she has received for her birthday, only to fall into a massive hole near Deadwood, South Dakota, in which is a giant hand. Seventeen years later, Rose now spearheads the effort to determine what the hand is, and to crack the code of the symbols featured on it. At the same time, two American pilots, Kara Resnik and Ryan Mitchell, testing Syrian airspace for radiation, return over Turkey when another body part appears beneath them, activated by the radiation they trail. Because of this, Kara and Ryan are tasked to be a part of Rose’s team. A French-Canadian linguist, Vincent Couture, is brought on board to help decipher the symbols. Scouring the globe, the team completes the robot.

The team is watched over, protected by, and instigated by an unknown interviewer (to whom the files belong and who appears in most of the files speaking to the members of the team). The interviewer has immense power that spans presidential administrations, and indeed he only has two equals: the sitting president and an unidentified subject whom he meets in Washington D.C. The unidentified subject turns out to be the descendant of alien soldiers who came to Earth as the most far-flung colony of their alien empire, to guard it against the threat of invasion using giant war machines. When the danger had passed, they left one robot behind in pieces so that when humanity advanced enough technologically, it could operate the robot on its own and prove worthy of alien contact – or destruction. The ability to master the atom for war is the sign of humanity’s advancement, and progress by the 2010s has allowed the robot to be found, reassembled, and activated, for it uses radioactive material as fuel. The aliens are now watching to see what becomes of the robot they left behind.

Kara and Ryan become pilots for the robot, but they are unable to make much progress because the robot only responds to Kara. When Vincent attempts to operate the robot, he is successful, meaning he and Kara are both descendants of the aliens – the only ones who can operate alien machinery because of their genetics. As a result, Greek geneticist Alyssa Papantoniou is brought on board to study Vincent and Kara. But a testing accident on the robot destroys part of Denver International Airport, kills hundreds (seemingly including Rose), and exposes the top secret project to the world. The United States then goes public with the truth about the robot, and sinks it in the Puerto Rico Trench so no country may harness its destructive power. Secretly, the interviewer oversees a consortium of nations other than America which buy into a project to recover the robot.

The new secret project is overseen by Alyssa. But when the project is exposed because of Alyssa’s incompetence, the United States must intervene – now holding the moral high ground – to take custody of the robot – with everything happening at the workings of the interviewer. The United States then gifts the robot to the UN to form the Earth Defense Corps, a multinational effort to prepare for potential alien invasion. As the novel ends, in an epilogue, Rose wakes up on the side of a road in Ireland, with no memory of the project and no memory of the past four years – though she does remember everything before.

I purchased the Matebook X Pro for 1350 from Microsoft with the student discount.

Build: It is a very sturdy laptop and fits perfectly in a backpack.

Trackpad: It feels just like the MacBook Air.

Keyboard: Great typing. Switches are very similar to the MacBook Air but their noise is lower pitched.

Screen: The screen is great and I love the thin bezels.

Software: No bloat besides the driver manager.

Gaming: People underestimate the mx150. It runs pubg at a playable 40fps at mostly low and a few medium settings and fortnite at 60 FPS

with medium settings. I would never use it a a primary gaming machine, but it would be very useful for lan party’s.

Battery life: average

Dislikes: It can get very loud when gaming.

Overall, It feels like the spiritual successor to my MacBook Air in design and size. It has a fantastic display and build quality and it is priced competitively. If you are willing to pay a premium for build quality and portability then I would definitely get this laptop.

I have never done a Reddit review before so ask any questions that I left out.

Pics:

size comparison to MacBook Air https://i.imgur.com/xzcLiO0.jpg

side by side https://i.imgur.com/B4FiTlD.jpg

front view https://i.imgur.com/yDZCdqm.jpg

top view https://i.imgur.com/2n0JNSs.jpg