This post will talk about piracy. I won't provide any links or direct instructions. That said, if a mod or admin thinks there is something inappropriate about talking about that stuff, feel free to mention this in the comments and I will remove any inappropriate details as soon as I can.

Like many Latin Americans, I am a long-term pirate. I have pirated stuff with floppy disks, with CD-ROMs, through IRC, FTP, Kazaa, Napster, Soulseek, websites, and torrent. I have also purchased several illegal media from street vendors. The whole idea of traditional piracy is to get the files I want for me to own, which is why I made a Plex server for myself.

Stremio is a challenge to all of this. It is much easier to setup than Plex and basically requires no maintenance. It is a program that allows me to stream video content from a variety of sources, legal or illegal. It took less than 30 minutes to set it up on my computer, and I know that it exists for both of my TVs. I am using it with the Torrentio addon.

Stremio changed my viewing habits much in the same way paid streaming services did. I am more spontaneous in my choices. I have watched Doctor Who from 2005, ER, Tiny Toons Adventures, Animaniacs, The Twighlight Zone (original), The Magicians, Blackadder, and Falling Skies (alien TV show with Noah Wyle!). Playback sometimes takes a little while to start, but went it does it rarely stutters, even on old or less popular shows. A paid debrid service should improve on that. I am now considering removing most of our extremely expensive paid streaming services and replacing them with Stremio. Money is tight and, when added up, they make quite a dent on our budget!

One bad thing about Stremio is that it is basically a leech. It does not seed the torrents. I am considering getting Real Debrid as it seemingly reduces the strain on torrents via caching.

Right now, my only concern with changing everything to Stremio is that my wife will probably dislike choosing between multiple sources for an episode, and some episodes come with bad subtitles. That would require minimal effort to solve, but might still be too much for her.

Anyway, I am very impressed by Stremio. It is so good, in fact, that I am half-jokingly worried about the police knocking on my door.

Just kidding, that doesn't happen around here.

My thoughts on the show

An overarching theme of the show is that we aren’t very good at naming our emotions when we’re feeling them and that it’s important to learn the vocabulary for our emotions and call them by their right names.

Call stress stress, not overwhelm. (Are you “in the weeds” or “blown”?)

Call vulnerability vulnerability, not anxiety.

Call awe and wonder awe and wonder.

When we name what we’re feeling, we open up so much more agency and freedom to guide our lives in the direction we want them to go. Language is a portal.

I found this show moving and illuminating when I first watched it in 2022 and it was moving and illuminating all over again when I rewatched it over the past few days.

Awe and wonder are two of the emotions that stick out to me. These are not words I used regularly before watching the show. I use them now. I think I used to believe these emotions were nice to feel and a good part of life, but kind of like the icing on the cake. I have come to see them as necessary nutrients in the human emotional diet, more core and more central than I thought before.

Maybe we can’t feel awe and wonder very often, but maybe like the elephants who walk long distances to lick the salt off cave walls, it’s something we need in our diet and should go out of our way to feel.

I have a copy of Brené Brown’s book Atlas of the Heart, which the TV series is based on, and it mentioned that, among other things, experiences of awe and wonder make people more willing to cooperate with each other. Doesn’t that sound like something we need in this world?

Where to watch

Brené Brown: Atlas of the Heart is streaming on HBO Max in the U.S. and parts of Europe and Latin America, on Crave in Canada, on Binge in Australia, and on Sky in New Zealand.

HBO Max: https://www.max.com/shows/brene-brown-atlas-of-the-heart/dfad262e-b764-4b92-ae63-72886f8a0d81

Crave: https://www.crave.ca/en/tv-shows/brene-brown-atlas-of-the-heart

List of countries and streaming services where the show is available: https://brenebrown.com/find-the-series-outside-of-the-us/

JustWatch, a generally useful tool for this sort of thing: https://www.google.com/search?q=site%3Ajustwatch.com+Brené+Brown+Atlas+of+the+Heart

Or, let’s be honest, firstly as a novelty. I don't know anyone else personally who has bought, or would buy, a copy. I figured it would be interesting to see what it was like.

My wife and I stopped on Valentine’s day to buy a copy, and I think we were both surprised by the print. I knew Playboy magazines produced some notable interviews in the past, but a dozen important conversations over several decades isn’t exactly going to outweigh the sea of photographs they’re known for. The new edition was a surprising $20 in-person. It felt like a bit of a gamble, but I think it was worth it.

By the numbers, it’s ~125 pages long and features 3 pictorial photoshoots. Beyond a few pages of photos, the rest is basically all writing. There are a few ads, but nothing like the volume of ads in other magazines I’ve read recently. I figured the magazine would be full of risqué photos, but it’s more of a tasteful inclusion alongside other, more substantial discussion. It is essentially all writing, and it’s good writing.

From the outset, the Editor’s Letter (Mike Guy) sets the tone of the new printing:

Five years have passed since an issue of Playboy rolled off a printing press, and they have been strange years indeed. We’ve passed through the wreckage of a pandemic, sat on a violent political see-saw, and watched as discourse shrinks to tiny digital moments that explode into divisive range at precisely the time we need reason. Just as Playboy was frustrated with the conservative norms of the ‘50s, we want to challenge them now, too. This can mean just showing up, listening; it can mean choosing connecting and pleasure over sensation and isolation. It means rejecting poisonous, meme-driven narratives, as writer Magdalene Taylor urges in “The Rise of the Beta Male” …, her disturbing report from the front lines of our emerging dystopia about young men who have given up on sex. … The internet - OnlyFans, TikTok, and the rest - has stolen sexuality and fed it into the meat grinder of the attention economy. We’re doing our part to steal it back. As the poet Wallace Stevens wrote, “The greatest poverty is not to live in the physical world.”

I didn’t anticipate an article detailing a first-person investigation into the rise of anti-semitism, or an article about a far-out apocalyptic billionaire party, nor did I expect a humorous memoir about the rise of Nashville as the bachelorette party destination. But, these were funny, interesting pieces that spurred much discussion in my house. My wife and I have taken turns reading these long-form articles aloud each night. The article on an ultra-exclusive sex party in LA fell inline with the sort of topics I expected, but the writing and description of a beautiful spectacle made us pause and say, “that actually sounds like a fun time.”

It turns out you really can read Playboy for the articles, and more importantly resonate on the value of re-engaging human connection, disarming hate, building up our communities, and challenging our preconceived notions.

My partner and I have friends from China, and they pushed us to watch Ne Zha 2, the animated movie produced over there. It's pronounced "nuh zah" by the way. We had no idea what the fuss was about, and we were skeptical since it has literally no marketing in the US, and we hadn't seen the first movie either. All we heard is that it's insanely popular in China, and making records in the domestic box office there.

Now, I can say I was honestly blown away. It's like, ruined other animated movies for me, for a while. Again, I had no expectations going in, and the first ten minutes of the movie, I thought this was not the movie for me, it looked like a kids' movie, I was almost rolling my eyes in the beginning of the movie tbh.

We didn't look at any clips on the Internet beforehand, and I'm glad, because they would not do the movie justice!

What got me, I think it was the visuals, the nonstop action that looks like it was made with an insane budget, and animators working way beyond healthy hours to produce. Oh, and the sound production with the deep bass, so I could feel every impact, I have to thank the theater for that lol. I didn't even know it was an action movie, so it caught me off guard just how many scenes they crammed in there! Once it started, it really felt almost nonstop, no time to breathe like most movies would do

The story is actually good too, and there are definitely parts where people could cry

I'm also not used to seeing much of Chinese fantasy settings, so that part was entertaining for me. I don't know how much was out of the director's imagination, or coming from Chinese mythology, or Chinese video games, it all came together so well though

If you like action, and fantasy, and animation or video games, and are okay reading subtitles, please do yourself a favor, watch this one!

Disclaimer: I'm a US citizen, I'm not affiliated with Chinese media, I'm not a marketer, I really genuinely loved the movie

Homeland - 5/10

First paragraph works as both the tldr as well as the beginning of the review.

This show is all over the place. Some parts are really good, some parts are really bad, most parts are just meh. This show lends itself to be picked apart too easily. There are plot holes, convenient coincidences, contrived nonsense, and so often intelligent characters behaving like idiots over and over again which leaves you wanting to yell at the screen. So many eyeroll moments, cheesy stuff, questionable story writing, a lot of times that they tell, not show - it should be show, don't tell of course - and that classic trope that everything would have been solved if they just talked to each other, and another about just doing one single simple thing instead of getting distracted for dumb reasons. It is also pretty unrealistic despite trying to appear grounded. A lot of this show is too reminiscent of Jason Statham movies, if that makes sense. However I was entertained enough by it to keep watching, and it worked fine to pass the time when I was bored. Despite never really getting all that into the show as a whole, the good parts or episodes were worth the wait.

Family drama in this show was not good. It was just kind of something you had to sit through to get to those good parts. Monica Baccarin was fine and Damian Lewis was incredible, but I really just didn't care all that much about their relationship nor their children. It's a show that is being sold as an action spy thriller, but too large a part of it is this sort of more or less regular drama. It reminds me of The Americans where you of course don't watch it for the family stuff with the children, but because they were super cool undercover Soviet spies. This type of show's biggest weakness is this stuff. It just acts as filler and drags things out unnecessarily. And this goes for the main character's family too. The relationship with the sister was alright, but when the main character gets a daughter? Just kind of felt like a waste of time.

Most characters are pretty run-of-the-mill spy show stereotypes. Not great, not terrible. The main character, Carrie, was quite unique with a lot of depth, but she ends up going through way too many unbelievable situations. She and her tiny team, or even she all alone, saves the world half a dozen times. Her character at best decent, and that was only in the first few seasons. But then she goes completely down the drain and off the rails in season 4 and never recovered. I am probably in the minority with this opinion but I can't imagine most people see it this way since it's the star of a show that ran for 8 seasons so I guess take this opinion with a grain of salt.. but she just does not land for me after seasons 1-3.

She is highly unlikable. She is one of the worst mothers I have ever seen in any show or movie. She is very neglectful and abusive mother, she is also a mass murderer who practically never repents or regrets what she has done, she disobeys orders constantly, mostly making things worse, she uses people all the time, and she has such a massive victim complex so 90% of the time she blames someone else for her often fatal fuckups - of which there are a lot. By far the biggest problem with all this is that it is quite clear that the creators of the show want the audience to sympathize with her and are trying to pass her off as the reluctant hero. She was never that good a character, nor do I think actor Claire Danes is very good in the role - just alright. However season 4 and onwards she just in no way works. Just impossible to root for, which is of course a big problem when it's the main character. She's not a cool antihero, it just became a chore to watch her scenes. The best summation is something Saul said to her in season 2: "You're the smartest and the dumbest fuckin' person I've ever known." Characters that are supposed to be intelligent who then do such truly dumb things.. characters are only as smart as their writers. So it's just bad writing.

On a more positive note, there are a few characters I really liked: Astrid, Quinn, Saul, Max. Astrid was not in the show very much but she was great as the German spy counterpart in the BND. She just had a way about her and I felt the relationship she had with Quinn was quite interesting. She was a joy to watch, just like Quinn, played by Rupert Friend whom I recently saw in Hitman: Agent 47 which was an awful movie, so I was kind of nervous when he first appeared here in Homeland. Turns out though that he was just horribly miscast in the former because in this show, he is great! There's no nonsense with him, it's the "competency porn" feeling while watching him. Same goes for Saul and Max. Saul's actor Mandy Patinkin (who also played Inigo Montaya, couldn't believe it when I looked him up lol) steals most scenes he's in. He is great as the older, experienced spy, the mentor for our main character. His voice is both soothing and dramatic to listen to and even though half his face is invisible because of his huge beard, he still has such good expressions and body language that he really draws you in. As for Max, he was a very minor character to begin with but his role became bigger towards the final two seasons and like I said, it was a joy to watch him on screen and great that he was given more screentime.

Not much of a joy however was all the nonsense that they had to implement in order to make the show work - they took the easy route to explain things away instead of actually implementing them well. For example they practically never have surveillance drones or satellites available, nor nightvision or thermal cameras, so they constantly lose track of people that they are following. Nor do they have much more than pistols most of the time. The agency does have these things available, and more, so it's just dumb that they pretend it doesn't exist in this show - some special ops guys had nightvision one time in one of the first seasons but I think season 7 was the first time a thermal camera was used and then we saw it maybe twice more. There are also often no contingency plans. Back-up being nonexistent 90% of the time, handwaved or ignored with a quick line or reason that wouldn't really make sense. Plus, everytime they needed to make something thrilling, they added a time constraint element to do it.

Something I did like was the representation of mental illness. You really see the ugly side of Carrie's bipolar and even though I don't have it, and so can't actually speak to whether or not it's actually a good portrayal, it seemed good. I feel it's important to show regular people what it looks like, and I felt the same way with Max's neurodivergency - that he was quiet and forward added a lot to his character. He could have definitely just been the kind of techy nerd stereotype that is seen everywhere, but I'm glad they didn't go that route.

And another great thing, I think the best even, was Damian Lewis. It was such a shame that he was written out but it does make sense that they couldn't do all that much with his character. I have only seen him in Band of Brothers, but he was one of the highlights in that show too, so it's not surprising that I liked him in this one too. The best scene of the show for me was the one where he is wearing the bomb vest in the bunker next to all the high ranking officers. The up close shot of his trembling and shivering face.. I have no idea how he was able to even do that. He has won awards which is well deserved.

Bingewatching the show over about a month instead of watching it week to week across 8 years probably did not do this show any favours. I think maybe it's easier to see through the formula then. Better shows barely even have formulas, but this one certainly does, and I'm not a fan of it. Every single season has ways that they can't trust anyone anywhere. It's always this small team versus the world. That's not unique to this show but it stands out because it's often the same way they do it - they think they can't trust anyone, there's a mole, they're on their own because reasons, etc. In any case, the show was an alright use of my time but definitely not going to watch it again.

Would love to hear anyone's thoughts about either the show or what I have written here!

Recently I did an update on my Macbook and it started showing alerts about Apple Intelligence. I've heard a little bit of marketing about this but I haven't really spent any time trying to figure out if it is just hype. Well, I've tried it a few times and I'm completely underwhelmed.
One of marketed features is that Siri is much improved. That would be nice, I thought, because there are only a few use cases like "Set an Alarm" where Siri could ever do anything besides a google search.

So there are two times recently I tried to use this improved Siri to solve a problem. My background using AI: I use Copilot at work. I get mixed results for it, but it does use my local context (open files etc) and is able to ask follow up questions if my prompt is too vague.

First Use Case: I want to solve a technical problem on my laptop

• My Prompt: "Can you help me fix Discord so that audio is shared when I share a video stream"
• My Expectation: Maybe an AI summary of the cause of the issue. Maybe open up system settings or open up Discord or give an explanation of why this is a technical problem on Macs.
• Actual Siri Response: Does an internet search and shows some links. Essentially just did a google search which I could have done by typing the same prompt in a browser.

Second Use case: I want help finding a file on my laptop

In this case, I made a summary of my finances on my laptop a few months ago. I can't remember what I named the file or what kind of file it was. Maybe a spreadsheet? I know it was on my local computer.

• My 1st Prompt: Can you help me find a specific file on my computer
• My Expectation: Maybe some follow up questions where it asks me for a date range or something that is inside the file. Yes, I know that I can do this in Finder but I want Apple Intelligence to save me a few minutes.
• Siri: Shows the result of a web search on how to find files on a computer. The first few results are for Microsoft Windows
• 2nd Prompt: Can you help me find a specific file on my mac
• Siri: Tells me to use Command-space and use the search

In both cases, Siri just acted like a shortcut to a google search. It didn't even recognize that I was asking the question on a Mac. This is same as Siri has always been. I assume that it can still figure out to set a timer and do a few things, but it doesn't seem to be working in a way I would expect an AI to work at all.

So bit more than one month ago my very old Microsoft Sidewinder X4 keyboard broke the membrane on the 'A' key, meaning it was effectively kaput. I decided that I wanted to try a mechanical.

The Search

My use-cases are as follows, in the order of importance:

1. Gaming
2. Programming
3. General typing

These were the first requirements I settled on, based on my limited knowledge of mechanical keyboards:

• ISO nordic layout
• Full size: Because I make heavy use of both numpad and the insert-delete-home-end-page island of keys. Whatever it is called. I have zero interest in compromising on the standard layout.
• Nice to have: Metal body
• Nice to have: General high-quality
• Nice to have: Wireless, but only if 2.4Gz.
• Nice to have: Tactile switches
• Nice to have: Backlit keys
• Nice to have: Simple elegant aesthetic. I especially want to avoid typical gamer aesthetic.
• Budget basically unlimited

With these requirements I eventually settled on Keychron Q6 Max with Jupiter Brown. But just before ordering one, I started thinking about the height of the keys on a normal old-school mechanical.
I don't remember when I have last used one, all my recent keyboard had been modern low-profile so I didn't have a reference for what I was buying other than images.
I started reading about wrist problems from keyboard height and the recommendation of a wrist rest. I looked at the Keychron options and saw that they only had rests that were completely detached from the keyboard.
Thing is that I move my keyboard around my desk a lot, so I figured that having a wrist-rest that was not attached would become an annoyance.
After this I decided to just stick to what I am used to and added another requirement:

• Low-profile

Unfortunately when you set requirements for 100%, ISO, and low-profile, then the otherwise extensive Keychron catalogue becomes super limited. So I started looking elsewhere.
At the time there was a new post about a search engine on the /r/MechanicalKeyboards front page.
Using this I discovered the Cherry MX 10.0N. This seemed like a good deal. High quality all-metal body.
The only real sticking point was that the switches are linear with very short actuation, but I liked the look of this keyboard so much that I decided I could probably learn to live with it.

The review

The keyboard looks great in person. The all-metal body feels very solid and high-quality. It's got good heft and sticks to the table. The entire board is very thin and feels good to rest on.
The keys also feel high quality with minimal wobbling, and long keys sound and feel the same whether pressed on the edge or in the middle.

That's all the good stuff. Now on to the less good.

The foot

The adjustable foot in the back has no real positions. Meaning that there is no point in adjusting it where it will click in place and stay there, and it is under constant spring pressure to return to the stowed position. This means that the only thing keeping the extended foot in place is the weight of the keyboard. As mentioned I move my keyboard around frequently, and this means that everytime I move it I have to readjust the foot.
Additionally, it's highest position is sort of a balancing point, meaning that it you are a bit off, or accidentally push the keyboard a bit in this position, then the foot will suddenly collapse.
It's a minor annoyance, but one that is unique to this keyboard since I don't see this kind of foot design anywhere else. Otherwise the full-length metal foot is really nice, if only they had added proper click positions in its travel.

The switches

As mentioned, these are linear with very short actuation. CHERRY MX LOW PROFILE RGB SPEED switches to be specific. My first thought when trying to type with these was "Oh my god I hate this, how can some prefer this?!".
Constant mistyping was the name of the game. I was so used to being able to slightly miss a key, but still only actuate the intended. But that doesn't fly with this keyboard. If you depress any key even the slightest, it WILL actuate.
For gaming I first didn't understand why I sometimes kept jumping. I eventually figured out its because the mere weight of my thumb resting on the spacebar can be enough to actuate it sometimes.

After 1 month of regular usage, I can confidently say that my thoughts are now "Oh my god I hate this, how can some prefer this?!". Okay, I improved my typing somewhat to maybe half my mistyping. Gaming is still a pain, and I've had to regularly rest my thumb on the table instead to stop the sudden jumping.
Unfortunately this keyboard does not have hot-swappable switches, so there is no fixing it unless I want to buy a soldering iron and replace every single key, which I am not willing to.

Key spacing

So while the keyboard is technically 100%, Cherry has still designed it to be as compact as possible. One area where they have shaved off the length is the spacing between the main keys and the arrows keys and those above. Aswell as on the other side with the numpad.
I didn't know this prior to puchasing this keyboard, but apparently this spacing is essential for my muscle memory to be able to find those keys. The lack of spacing has meant that maybe 25% of the time I use them, I press the wrong key.

Overall

Now the issue with the switches and spacing is really an issue of preference. These aren’t quality issues. They were designed this way because some people like it (somehow). So if this keyboard looks interesting to you, and these preference design choices don't bother you, then I can only recommend the Cherry MX 10.0N. It really is a very high quality keyboard.

For me though, I just can't overlook these choices, so I have started looking for another keyboard again. I'm currently split between the Cherry KW X ULP and Logitech G915 X Lightspeed. None of them are full-metal body unfortunately. The cherry one seems to be the higher quality, but the the key caps remind me of laptops keys, which I really hate the feel of. Maybe I'm overreacting to it. The Logitech one is lower quality, but has all the the features that I would want. If you know of something better then please do leave a comment. I might reconsider my low-profile requirement. I'll give it at least another month before I become serious about switching again.

I recently finished The Bonehunters, the 6th book in Malazan Book of the Fallen and taking the advice of @DynamoSunshirt I decided to post this to see the thoughts and opinions of everyone here on this book in the series, and by extension how it builds upon the previous books.

I've felt like each book in the series has drawn me further in, and this was no exception. One thing that I've found in reading large scale series with multiple POVs is that there are often ones that I'm not interested in or find less appealing than others while reading it and look forward to getting back to my favorite characters. There wasn't a single character in this volume, and so far in Malazan, that I wasn't interested in following.

I'm wrapping up my work day and don't have a lot of time to write out all my thoughts on the book but wanted to get this posted while it was on my mind and then add in more later.

I loved seeing so many potlines from the previous books start coming together.

The siege of Y'Ghatan was completely unexpected and was riveting to read, it being one of the longer chapters in the book kept me up late one night because I had to see how it wrapped up!

The end of the book felt like we were witnessing a pivotal moment and what seemed like a rapid fall of the empire. So many injustices with the Wican Pogrom and how the Chain of Dogs was being treated. I was honestly rooting for Tavore to usurp Laseen.

Heboric's potline feels like it is not completed and that the Jade Statue and all of those souls will have an impact on the storyline later on. I'm also left wondering what Hood wanted from Ganoes as part of the deal to let Heboric out of Hood's realm.

Karsa Orlong continues to be awesome and has become of my favorite characters. His self-assurance and introspection along with the seeming threat to civilization he represents is fantastic. I also saw a reference towards the end of the book about certain Tobalki possessing warrens of their own. I'm curious if he has reached that point and how exactly that works with all the other mysteries of the magic in this world.

I have a friend who has already read all 10 books, and I've been bouncing ideas/predictions off of him which has been great.

I am currently starting book 7 and would appreciate if any spoilers for the following books, or other books in the Malazan setting, are avoided.

I dont know how many people here play Runescape, but the latest seasonal League has just started a day or two ago.

It is a temporary event during which you start a new profile and all the xp rates and drop rates are boosted considerably, making it really fast to level up and progress.

Ive been having a blast with it. Its a fun way to try out skills you dont typically enjoy and get up to hogh level quickly.

For those playing, what relics and areas have you chosen? Ive unlocked Kandarin as my first area and am currently levelling slayer so I can finally try out the trident of the seas on my ironman account.

To me this is the best thing I've ever seen, movie or series or otherwise. Characters, artstyle, writing, animations, worldbuilding, character depth, mental issues and disability representation and the music.

It's bold, it's flashy, it's outright heartbreaking and earth-shattering yet comforting and soft when it wants to be and then totally can spin the story again in a new direction. Bravo.

And I've seen anything from the Shawshank Redemption and The Dark Knight on release to obscure anime and bad TV series these past 25 years.

I bow to the incredible talent that has made this possible.

I thought I would share my thoughts and experiences daily driving Linux (Fedora KDE Plasma) for the past week.

Why did I switch from Windows to Linux?

My plan was to switch to Linux once Windows 10 hit EoL in Fall 2025. This was due to my computer not supporting Windows 11. This past September, my computer broke (probably MoBo), and so I swapped out my CPU and MoBo, which probably can support Windows 11. However, this hardware swap unactivated my Windows, Microsoft support was not helpful, and I am not a fan of the direction Windows is heading in (removing local accounts, Recall, and a general vibe I get from Microsoft of removing control from end users). So, I decided to make the jump to Linux a year sooner than expected.

My Previous Experience with Linux

So I would say I am moderately experienced with Linux before this. Personally, I have setup a Proxmox server, in which I setup an openmediavault NAS, and played around with various desktop distros for personal curiosity. I also switched my old laptop over to Linux a few years back, but had very low requirements of the tasks that laptop had to perform. I also took a post secondary class on Linux, primarily covering system administration tasks like BASH/PERL scripting, Apache server admin, LDAP, and file sharing all using Ubuntu. So going into this I had a moderate amount of experience, all within Debian based distros. The bigger change with switching my desktop is that it is my primary computer, so the expectations of what it needed to run was higher.

Why I chose Fedora KDE Plasma

I did a post about a month ago asking for recommendations to look into: https://tildes.net/~tech/1ji6/switching_to_linux_looking_for_distro_recommendations
I settled on Fedora KDE Plasma for a few reasons:

• I appreciate the philosophy of not being rolling release like Arch, but also a quicker release cycle than Ubuntu and its forks. I felt this was a good middle ground where I get newer advances without dealing with stuff breaking frequently when there was a new update.
• It can handle most tasks graphically, without having to dig into the console often (more on this later).
• I appreciate the Windows-esque styling of KDE Plasma. I got used to Windows so didn't want a radical shake up. However, it feels to me like a better version of Windows (or maybe just not touch screen oriented and ad bloated).

Headaches/glitches

Some of these are ongoing, while others were issues that I have worked through

• FIXED: Installing nvidia drivers via RPM Fusion. Before installing drivers, the computer was unstable and frequently froze. I ended up just loading a command line only interface and manually typing in the commands to install RPM Fusion and the nvidia drivers. I was planning on installing it via command line anyway, so the main headache here was typing it out instead of copy and pasting the commands in. I also had an issue where I initially installed the wrong drivers.
• ONGOING/INFREQUENT: Occasionally when I wake the computer from sleep, at the lock screen, my mouse is responsive, but my keyboard is not. Also, selecting the virtual keyboard does not work, as the virtual keyboard does not load. I tried waiting for the computer to go back to sleep, and then wake it from sleep to see if it reloads things properly. The computer does not go to sleep normally, so the solution right now is to just shut down the computer and then it is solved.
• FIXED: Steam launched games not closing properly. Specifically Far Cry 5, which runs properly, when I exit the game, the process does not fully close down. From my perspective, it seems like it has, but Steam indicates that it is still running. The solution is to go into System Monitor and close down the Steam application with high resource usage, as that is actually the game still running in the background.
• ONGOING/INFREQUENT/PARTIALLY FIXED: When I wake the computer from sleep, and login, there is a large amount of visual glitches and artifacts on my desktop environment. It is both in applications and especially on the Panel. The current solution is to run the command systemctl restart --user plasma-plasmashell which drastically improves the situation, but the glitches are still partially there. This has just started last night, so probably a computer restart may solve the problem, but I am trying to avoid having to constantly restart the computer.
• FIXED: As Far Cry 5 was a brand new game, when launching it from Steam for the first time, Ubisoft's software wanted me to enter a CD Key, but Steam was not giving me one. Thinking this was a Linux related issue, I switched to my Windows install, and had the same issue. Turns out it is a Ubisoft bug in their software that also impacted Windows. I found a solution online on how to solve it for Windows, did that and authenticated the game. Then I switched over to Linux and the game ran well.
• FIXED: KDE Wallet Service was doing an excessive amount of prompts. I uninstalled the software, but the prompts continued. Turns out it needs to be disabled before being uninstalled, or the prompts continue. So I had to reinstall it, disable it, then uninstall it. Annoying but minor and it is fixed now.
• ONGOING/INFREQUENT/PARTIALLY SOLVED: When waking from sleep, sometimes my background image on my primary display does not fully cover the desktop. This is most likely due to my primary display being 1920x1080, and my secondary display being 1600x900, so the image is not being scaled independently for both displays. The solution right now is to open the settings to change background, and load any image, but not save changes, as this causes my original image to be reloaded properly

Installing/Running Applications

I have been primarily using Flatpaks to install applications. Overall it has been a smooth process. One pain point I have is it seems that the Minecraft Official Launcher for non-Debian systems is kind of clunky requiring me to login to my Microsoft account every time I open the game. This will probably be solved by switching to a third party launcher in the near future. The one software that I haven't gotten around to installing yet is DaVinci Resolve.

What Surprised Me so Far?

There are a few things that have been a pleasant surprise:

• I use the console more than I expected going into it. For flatpaks, I tend to just copy and paste the commands into console. RPM Fusion also had a GUI based install option but I preferred the console option instead. I also have VIM installed, and use that as my digital notepad, just doing simple console commands of vi fileName in my home directory. I was not expecting to use the console as much as I have been, and I think that is partially due to now being more experienced with it, I gravitate towards using the console which I know how to use instead of learning how to do some tasks via a GUI..
• Most things are running better than expected. I haven't touched many games yet, but I haven't had an issue with it yet. It is worth noting that I do not play competitive shooters, so anti-cheat is not something I will have to fight with.
• Libre Office can open my .docx files. I was concerned I may have to convert my existing files to .odt before I can use them, but that does not appear to be the case. I will probably use .odt for new files going forward. It is also worth noting that I haven't worked extensively with my .docx files yet, so there may be some incompatibilities I have yet to encounter.

Overall Thoughts:

Overall I have quite enjoyed running Linux. It does require some tinkering as glitches appear, which currently I am fine with. If I had less free time to tinker and solve the issues, I would probably find Linux to be less viable and more frustrating. Also, most of my glitches can be solved by restarting the computer, although I am trying to find solutions that do not require that. I find it allows me to use the computer and change it to how I want it to be, which I have felt like Windows has gotten increasingly hostile towards the user. A good comparison on this is how the default applications that KDE has included are easy to remove, whereas Windows used to (not sure if it still does) reinstall Microsoft Teams when you uninstalled it.

Edits:

• Added the glitch with background image
• Added more information on my background with Linux, including using it on my laptop

Churchill Solitaire is a mobile game that you can play on Apple or Android devices. It came out in 2016. I found out about it in 2018. It had some very good reviews. It was mentioned that the game is difficult to beat. At the time I was playing some different solitaire games on mobile so I decided to try another. I paid $4.99 to unlock "all deals and free play".

The game is pretty good. $5 was a little expensive to pay for a game that only had one variation of solitaire. For example, I had the game Solebon Pro which has 160 variations. That game cost $10.

So Churchill Solitaire is not a great value. Not all games have the same value of course. But the reason I stopped playing it is because it charges you to get hints and undo moves. A game that is this hard just wastes your time if you can't undo. You can get quite near the end of a session and need to completely restart because you had several choices earlier and picked the wrong one.

Here is the In-App purchase list that is currently on the App Store in 2024. I don't remember if these prices were the same in 2018, but they are the current prices if you want to unlock any of the features:

• Undos - 15 Pack $0.99
• Hints - 15 Pack $0.99
• Undos - 100 Pack $5.99
• Hints - 100 Pack $5.99
• Unlock All Deals & Freeplay $4.99
• Game Pack 1 $0.99
• Daily Game (Monthly) $4.99
• Game Pack 2 $0.99
• Game Pack 3 $0.99
• Undos - 50 Pack $4.99

I understand that the developer should get paid money for unlocking the basic game. I understand that making additional winnable deals may take developer time (most deals are unwinnable in this game, but there is a "campaign" that has winnable deals). I understand that having a daily game may cost the developer to maintain servers and create winnable deals.

But I don't understand charging for hints or undos. I mean, I understand it from a greed perspective. But not from an "I respect the people who paid money for my game" perspective. Yes, I know about Candy Crush and all the other super addictive mobile games that are pay to win and farm money from whales. But this one just pissed me off in particular. This is the mobile game equivalent of heated seats in a BMW.

Since 2018 I've only bought 2 mobile games. So sorry other game devs, I don't even check the app store for games anymore.

Edit: It has been rightfully pointed out that this is a bit of a cranky post. I didn't make clear my intention. Maybe someone can recommend some recent small mobile games, like card or sudoku or something, that aren't pay to win. I am aware of one: Good Sudoku.

after the comments in my previous topic, I proceeded to try Notesnook and Joplin after having issues with Nextcloud Notes (that I have already documented in my previous post)

Notesnook ain't bad if it's your jam. I found it easy to use and quite nice U.I. the only dings against it (obviously subjective) is that it really isn't supportive of markdown in an easy way, you have to pay for it cause there's no self-hosting option and you have to pay for the ability to have more than 5 tags.

Joplin's only ding imo is just that it has no web browser interface, but beyond that, there's nothing else fuctionality-wise I can really count against it, the U.I. is rather dated but the functionality is so stable that I am more than willing to deal with a dated UI. and I can self-host using my nextcloud instance so that's a great plus in avoiding additional charge.

So I personally recommend Joplin if you don't care about a dated UI in order to avoid having to pay a subscription if you are willing to self-host.

In other news, by the time I finally imported all my Nextcloud notes to Joplin, the nextcloud Notes App had managed to wipe 60 of my notes empty. I love nextcloud and its let me do wonderful things but the notes app they have is incredibly buggy when combined with their android app and how they are trying to implement markdown support.

"Scavengers Reign" eluded me when it released last year, but I was made aware of it after MAX canceled the show in May (Netflix has since picked it up but may or may not put in for more, is how I understand the situation).

The trailer has been posted here but I wanted to check in and see how everyone else felt about it (keep it spoiler free!). Personally I was enthralled all the way through. It has such an interesting blend of Miyazaki-esque "creature-y" world building with more meditative displays of nature and the violence and balance that is integral to it. If that sounds at all interesting I would suggest watching the first of twelve episodes, you will probably know if you are interested or not after it's over.

Here's hoping Netflix green lights more, assuming the creators want to continue. It really could stand as-is with where they left it.

A little over a year ago I posed some questions on Tildes about used electrics.

Shortly after that topic, I went put and purchased a 2016 VW E-Golf. I think that my experiences might be useful for anyone that is considering an electric but struggles with range anxiety or just wonders how practical a car with low range would actually be. When looking at used car prices, I was shocked at how cheap a low range electric car was compared to longer range EVs. I picked mine up for $10,500 out the door.

For context, I live on the outside of a small city in the Midwest. It gets cold here. I am also in a two car household, the other being a hybrid. There are two adults and children in the house.

The Golf has a roughly 20 kWh battery. Over the year that I have driven it, I have averaged 4.5 miles per kWh. That sounds like a range of 90 miles, but that doesn't tell the whole story. On cold days when resistive heating has to be run, the mileage drops by around 30%. On a nice mild day, I can get it up to 6 mi/kWh on a trip if I am off of the highway.

I did not need to install any additional charging abilities in my garage. I have the charger plugged into a random 110V outlet in my garage. I was prepared to shell out a bit of money for an electrician if the 110 circuit didn't cut it, but over a year of use I have not actually run into a scenario where I needed to use more than the trickle charge.

I work a hybrid setup. Twice a week I need to drive into the office around 20 miles away. The office does have some electric charging stations on a 220 circuit but I have not felt the need to charge there on any occasion.

The shorter range does mean that some coordination is required between the two adults in the household. If one of us needs to travel out of town for work or something involving the kids, the other has to limit their travel. In practice for our house, this annoyance ends up being more a concern for which vehicle needs car seats than a concern for mileage. Exactly one occasion this year we have had to adjust plans to deal with having a limited range vehicle.

Overall, I really have been thoroughly happy with the low range EV choice as the primary vehicle in a two vehicle household with a backup for longer range trips.

I've been on a hunt for a new monitor for over a year now. Something that can be for personal use and WFH with these specs:

• 4k
• 144Hz
• MiniLED
• <=34" (no curve)
• Built-in KVM switch

Having briefly experienced the INNOCN 27M2V, I expected a "perfect" monitor on the horizon.

Soon after I stumbled into a blog post announcing BenQ's reveal of a monitor that featured all the specs I wanted. I've finally got my hands on that monitor today having waited ~6 months.

First impression was the size. This monitor is a thicc boi. Made me think of a television, but not as heavy as I expected. I mounted it on my monitor arm (VESA 100) without problems.

The OSD is nifty and easy to navigate. There are 5 "quick menus" (ALPHA, BRAVO, etc.) that let you customize settings for each and quickly switch between them. These menus can be customized to select 3 "favorite" settings (e.g. brightness) so that you don't have to dig through the entire menu.

• What you see when you initially open the OSD
• Customizing quick menu favorites

After tinkering a bit, I've fired up Prince of Persia The Lost Crown. I've set the display profile to use the per-configured "Fantasy" color mode (with mini-led enabled). Honestly I don't know what I'm doing these settings, so I don't know whether this monitor is calibrated at all, but it was gorgeous. I don't think any picture I take will demonstrate how good it looks.

I don't have much to say about the KVM yet. But I connected my keyboard+mouse to the monitor, then connected the USB to USB-C to my desktop. I also connected my work laptop (USB-C to USB-C). Everything works, but it'll take a couple of days of normal use to see if there are hiccups. I like switching between desktop (waking from sleep) and my work laptop then vise-versa. I'm curious to see if the "auto scan" works like I want it to.

Unfortunately, I've discovered 2 "stuck" sub-pixels. According to BenQ's dead pixel policy, this is "acceptable". One of the sub-pixels (green) is almost in the center of the screen and I zero in on it almost immediately. I'll reach out to their support regardless because I prefer not to have defects at this price ($1199.99). If I'm lucky I'll discover another stuck sub-pixel.

BenQ's Specs

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

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

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

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

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

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

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

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

So far, I have read:

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

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

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

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

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

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

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

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

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

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

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

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

Any other opinions on revelation space?

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

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

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

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

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

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

It can’t be that easy, right?

I am astonished to say that it WAS.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why should you listen to me?

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

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

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

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

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

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

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

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

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

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

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

The modding tools aren't out yet.

And, so, thumbs down.

click here for mood music for this post

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

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

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

Castlevania: Circle of the Moon

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

Castlevania: Harmony of Dissonance

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

Castlevania: Aria of Sorrow

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I 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.

Paradise is an exciting action sci fi with a really interesting premise. What if eternal youth, was available to anyone with money... yet it involved literally sucking the life force out of others less fortunate than yourself?



The movie focuses on Max, who after his wife is unexpectedly forced to give up 40 years of her life, he desperately searches for a way to get her youth back.

The movie is filled with the usual plot twists, cool sci fi graphics, true love and the like.



There are two truly interesting elements to this movie. The first is the cynical idea that if the rich could live forever, then they would be much more motivated to think about and solve for the long term health of the planet.

In this movie, only the rich can afford to extend their lives for as long as they choose, so we also see how that would severely impact wealth inequality. 



The second interesting element of this movie is a series of questions very similar to the trolley problem. If you could extend your life, at the cost of someone else's youth, would you, assuming they were somehow reimbursed financially?

What if your youth had been taken from you; or what if youth had been taken from someone you loved. Would you take it back? Would you take it back as ethically as possible, or ethics be damned?

Could you give up your youth to save a loved one from an extremely unkind yet uncertain end, or is it easier to risk your life to save theirs than it is to give up eternal youth once you have it?



At one point in the movie, we learn it is easier to take someones life passively through the forces of economics and medical science, than it is to actively kill someone with a gun to their head. Which is the essence of the trolley problem. But it is also the essence of wealth inequality.

We could easily flip the switch, to improve the quality of life and length of life for many people, at the cost of one rich persons riches, but those with power passively choose to not do so. The movie doesn't philosophize anywhere near as much as I am doing right now, instead focusing on fast action, true love and cool sci fi. But I think perhaps this movie is a very subtle warning to the rich. At a certain point of wealth inequality, some portion of the population will want their fair share of the wealth, ethics be damed.

https://www.netflix.com/title/81288179

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.

After giving This is How You Lose the Time War a five star review, I started scrolling through other reviews and I found thoughtful, well reasoned arguments for the other side. This is a thoroughly crafted well written book that is not going to be to everyone's taste.

The premise is two opposing secret agents, saboteurs, time and history manipulators who work for conflicting civilizations become aware of each other and start to exchange letters. It becomes a love story.

The nature of the work each main character does to manipulate history across many centuries and many parallel universes makes the narrative confusing. I can't imagine it done effectively any other way, but I also like other confusing time shifting stories where the story starts to make sense later.

The characters only meet through their letters with a couple of exceptions, so some say the love story is unbelievable. For me, it reflects the extreme isolation and loneliness of their work and how even minimal tenuous companionship of a peer would satisfy a gaping need.

The writing includes extravagant romantic feelings and poetic literary allusions to go with the science fiction and time travel aspect. I appreciated it, but people who like romance and poetry don't always like science fiction and time travel and vice versa.

The authors lean into the epistolary format. It's not exclusively letters but a significant percentage of the writing is the letters these two characters exchange.

The creative forms the letters take were fun for me and seemed like a valid extrapolation of actual historical spycraft if you assumed much greater ability to manipulate matter. However some people find them over the top.

It is an exuberant, enthusiastic book that is fun if you like it and possibly cringy if you don't

I just finished this show, having waited for it all to come out before getting into it -- other Disney+ Star Wars series taught me the lesson that they are much better binged than watched week to week and I was not wrong.

Spoilers below

The endless references to a children's animated show that I have less than zero interest in viewing really drags it down, which is why my main take away as per the title is that it doesn't really work. Most of the premise of the show is finding Thrawn and Ezra -- two characters you have no way of knowing about unless you watched that cartoon. Yet these two characters are constantly referenced and for some reason important, but you're never really sure why.

It kind of works with Thrawn because there's a mysterious villain type of thing going on. But Ezra? Why do we miss him? Who is he? What did he do? Almost none of my questions are ever answered, even after we find him! Aside from simply being told by other characters that he is important, I am never told how or why. Nothing they say or do makes me care about him. They don't show me anything that makes me want to get emotionally invested in him. And no, I am not watching hundreds of hours of cartoons to understand the context. That is simply too much.

This show is in a very strange place between obviously trying to cater to a large audience (it is a Disney property after all, so $$$), but it simultaneously can only be fully understood by extremely hardcore Star Wars fans. I consider myself a fan. I have watched all live action movies and shows, even the laughably bad stuff like the Boba Fett and Kenobi shows. That they intentionally mix together animated and live action storylines though -- especially with any context lacking -- is a major misstep.

I like the Star Wars universe a lot. And while a lot of it is entertaining, it feels very bad to feel left out. It would be different if it was a small cameo or name drop once in a while. But the main storyline gets impacted by this, and it just kind of leaves a sour taste after finishing it.

I was decently entertained and it had some very good moments, particularly the Baylan and Shin duo was intriguing -- which is ironic as I understand that they are among the only original characters in this show. Regurgitating old canon is not the way.

7/10. Entertaining but unsatisfying.

I remembered that thread asking about the update to Cyberpunk 2077, and figured after finishing the expansion I'd offer what I've got. I played the game once on release prior to playing now.

The tl;dr - its a hell of a lot better, can totally recommend it, expansion was cool and fun

The long:

First, regarding the update. It's excellent. The game does feel significantly better to play, because a whole lot less is bugging the hell out. You do occasionally come across some silliness, like four of the same car all at an intersection, or the same child populating a cafeteria. But these moments are far, far less frequent, I think I can count on one hand after 50 hours, the number of times stuff like that happened.

Wanted system is functional now. It just works the way you'd expect, and it is pretty easy to escape. More lawless parts of town are appropriately easier to get away with shit in. Driving feels better but still feels weird to me, like everything is slippery/wheels never have good traction.

The skills/perks/inventory stuff is a thousand times better. It has a few weird things here and there but is easier to follow and use. It's nice not having to really mess around with clothes and just look however I want. Combat is a lot more fun now that stuff behaves appropriately. That's really the theme of it, they did fix what needed fixing, and what we're left with much more closely aligns with folks' original expectations.

Quests wrap up and sometimes into one another in ways which are genuinely very impressive, and I encountered all of one that had an issue with it. I pretty much constantly went from quest to quest and found there was enough variety that I didn't really care about wandering much. I still did, and that is all much improved too. Npcs behave a lot better and look nicer, and jobs consistently finish up the way they're supposed to.

I specialized in blades, pistols, and shotguns, and played on Normal, mostly on my steam deck. I mostly raised Reflexes, Technical Ability, and Cool. I got to turn into a Dragonball ninja assassin, occasionally dualing Japanese cyborg women with katanas in the street. I'd get into shit because melee is genuinely pretty fun to mess with.

The visuals are awesome even on the handheld, the preset for the deck is higher than I expected. Performance was consistently good, on the deck as well as my PC. PC can go maximum and is using a 144hz display, it looks really really good with everything pushed.

The expansion:

It fits squarely within the best of what the game offers. The storyline is complex and goes into the rest of the world in an impressive way, it's like it's always been there. The characters are exceptionally well done, as is the voice acting. The whole thing felt like a great season of a good show, it kinda proceeds like that too.

Dogtown is a really cool area. The detail is wild and sense of place really some of the strongest in the game. I felt uneasy at night in the rain, that's always cool for a game to evoke. It feels both like it's own independent spot and like a part of the city, they really nailed it with how it looks and what's available there.

Conclusion:

The complete package I'd say is totally worth it. Compared to release it is a completely different game. Feels like a much more realized vision, that consistently hits some pretty high notes. Panam is still the coolest, but Songbird was a really well done character too. With the game not being a flaming wreck, it's way easier to get into the storytelling, and it is pretty great for this medium. Especially those major characters, they're interestingly complicated and don't always behave how you'd expect. The overall experience is kinda like being a protagonist in a tv show, quests have their own arcs and climaxes and characters appear distinctly changed by the events as they unfold. That was always there, but now I'm comfortable saying you'll actually have that experience playing it.

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.

Minor Starfield lore spoiler's ahead

Originally written for /r/games, but the last discussion thread of Starfield in that place saw many user who said they personally like the game downvoted and replied to by mentally-questionable individuals that said not-so-nice things.

As I pass 170 hours in Bethesda newest, hottest, controversial game. I am happy because it is just as fun as I had hoped it to be.
Yet as I explore the cities it has to offer there is always a small detail that I keep failing to ignore (whenever I'm not busy thinking of new ship designs that is).

200,000 units are ready with a million more on the way

So say the slender being that has been tasked with creating an army to defend a galactic spanning government of countless worlds. At this point Montgomery, Zhukov, MacArthur, Jodl, or any-other-WW2-command-figure-of-your-choosing are rolling on the ground clapping each other's backs laughing their socks off. Because 1.2 million is an absolutely puny and pathetic number of troops for a galactic war.
I'm no Star Wars deep lore fan, I understand that fans and later authors has since tried to 'fix it' by making the Clone War more that just the clones. And yet those 1.2M clones was all there was when episode 2 released to theatres.
Most Sci-fi writings has similar a problem with scaling to their subject. It is not news. It even has a tv tropes page (the page is more about distances, but it's in the same ballpark).

Quest for the Peoplefield

So where does Starfield go wrong in this? The ships are puny. The wars and the numbers stated are puny.
Certainty more ways than one, but the one that I wish to focus on is this: where the hell are all the people?
A brief summary of the lore. Humanity has invented FTL and has seemingly solved all energy problems. They had to evacuate Earth, but this was successful and so the starfield should be absolutely teeming with tens of billions of human souls spreading to all corners of the galaxy and its many already habitable worlds.
And yet, Starfield feels so barren. I see no grand interstellar civilizations. Only dirt huts on a hill surrounded by walls that support barely a thousand people. Yet this dirt hill is supposed to be a capital or an interstellar superpower. Heck, they are even scared shitless of their own fauna.
The opposites capital is no dirt hill, yet still smaller than a modern earth country town.
And it's not like the main population centers are just outside player-accessible areas. All the NPCs ever talk about are Akila, New Atlantis, and Neon. These tiny puny cities.
It doesn't feel like the evacuation of Earth was a success. It feels like it was a catastrophe, and all that remains are scattered remnants playing civilization.

And yet... The Starfield is actually lively, just not where it should be. There is a scale imbalance, because spread across nearly every world in the settled systems are countless research stations, outposts, deserted or populated, you name it.
Yes, those procedually-generated buildings that spawn nearly everywhere you land in the settled systems.
Where did these come from? Surely the UC couldn't have built them. Manning just the ones that I have come across in my playthrough would empty New Atlantis 10 times over!

Bethesda built their open-world game style upon Fallout and Elder Scrolls. For both it makes sense that the worlds are sparely populated. One being post-apocalyptic wasteland, and the other a medieval society.
But now they have built something in a completely different realm. But they way in which Bethesda built the scale at which the game is presented remains the same.
So why did they go with this approach? I don't know. Maybe they just like making "small" worlds and didn't want to fit the new universe. Maybe the idea of 'climbing any mountain you can see' is a very hard rule and they didn't want to limit player movement in metropolises, that would undoubtedly be unfeasible to make fully traversable.

But lets pretend they actually tried. And perhaps it can be done without really changing how the game is designed or played.

So you can do it better huh?

A Microsoft executive plays the game as it's nearing launch. He feels there is something missing with the scale of the Starfield universe.
So he does the only rational thing he can think of and storms into the street and picks the first rando he can find, puts the Bethesda crown upon his head, and orders him to fix Starfield's problem of scale.
The exec is later found to be mentally ill and fired, but it does not matter for I am now king of Bethesda and my words are design directives.

Tell, don't show

The simple solution that requires no real work but some change in lore. New Atlantis is no longer a capital, just a administrative and diplomatic outpost. Akila is now just a small border city. The real population centers are now on entirely different worlds. Inaccessible to the player.
Why can't players go there? Well it shouldn't take much suspension of disbelief to acknowledge that governments might not want any random idiot, in a flying hunk of metal capable of tearing space-time at it seams, to go anywhere near their main population centers without considerable control.
NPCs should no longer talk of sprawling New Atlantis, Neon, or Akila, but rather these other places that you can see on the map but are not allowed to go to.

Show enough

The population planets are now accessible, but restricted in where you can land freely. On the map it should show big cities. And just like how you cannot land in water, you can neither land anywhere in cities or its surroundings.
Just like with New Atlantis and Akila, you can land at a designated spot. The difference is when you look into the horizon, because rather than a procedurally generated landscape you will instead see a sprawling metropolis that tells you "Yes here! Here are all the people!".
The other change would be that, unlike the landscape, if you try to go beyond the player-area of the city you will hit a wall. But that is a sacrifice I am willing to make.
New Atlantis and Akila can stay, but like the other solution they would change status.

All in all the scale issue is no big problem and the game is fine as it is. This was just something that has been on mind for some time and I wanted to put it to writing. So do you agree that Starfield has a scale problem? If yes, how would you fix it? Or maybe I missed some crucial info-dump and the entire premise of this writing is wrong?

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'm a little over halfway through and I really have to force myself to keep playing it. Some of it is really cool and a lot of it drives me crazy. Sorry to rant a bit but a lot of the discourse online is extremely positive and I just wanted to let this out.

• So many cutscenes. They're pretty good cutscenes. The acting is largely very good, most characters are really enjoyable (although maybe one day FF will realize that antagonists can be multifaceted and not just generic evil badman). But so, so many hours of cutscene -- run over there -- cutscene -- go to the one map location that's unlocked -- cutscene.
• So much time wasting slow running around. Sometimes the maps are designed like a (linear) maze for apparent reason except to make it take longer to get somewhere. I see a quest marker and I just immediately "ugh" at how long it's going to take me to plod over there.
• And as a corollary to the above, exploration sucks. I learned very early on that there's no reason not to beeline to the next goal, so it makes the slow running that much worse. Dungeons are basically right out of FF XIV, which means one straight line and a very clear pattern of trash mob, trash mob, boss, rinse, repeat.
• The gear and stats are a non-entity. You go through the story, it more or less hands you periodic levels and gear. It feels like they thought including these things was obligatory, but for what they put in the game, they could have just not bothered.
• Combat is pretty fun! A little repetitive. A little samey. I wish there were more options for using all the skills you get. I have all these things I could unlock, but the very limited set of slots you get make they basically a non-option once you've picked the ones you like. The system just feels kind of half baked.
• And in that same vein, the big quick-time-event boss battles are neat too. I don't love them, because it feels a lot like I'm not playing a game anymore, but they do look pretty fantastic. Some of the latter ones go on for way too long. Just like, I was done with punching this fantastic looking beast 10 minutes ago.
• Maybe I haven't heard enough of it or listened long enough, but the music is disappointing. Which is sad because I love the tracks in XIV from the same composer. So much here is just ambient or otherwise underwhelming. A bunch of critical moments are just remixes on the classic theme, which is nice, but not really selling me on the new score overall.

I'm probably going to stick through to the end (slowly, with many breaks for Dave the Diver), at the very least because it was so expensive. I just wish it were better.

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!

In general, I found a lot of real gems this year! The indie scene is thriving like never before, and smaller teams are being enabled by the likes of Unreal Engine to create really beautiful games on a budget. So I had a lot of free time today and yesterday, and decided to go through my discovery queue and check out a few demos. That quickly ballooned into sitting down and playing right through over a dozen demos, two of which (The Lies of P and Wizard with a Gun) I didn't get far enough into to give any coherent thoughts on. How many demos did you check out? Are there any games you're looking forward to on that basis?

The Cosmic Wheel Sisterhood: 5/5
From Deconstructeam, a Valencian studio with a strong emphasis on narrative, choice, and empowering the player to create their own art, this demo was one of the big winners for me. Gameplay revolves around conversations, VN style, but those conversations often happen in the context of you performing, essentially, tarot readings where the cards are all designed by you. I had a lovely, relaxing time making my own cards, and the challenge of interpreting them to the people around me in a way that felt… true, I guess, was memorable. There is an impressive level of responsiveness to your choices on display here, both on a micro level and, it seems, on a macro level, so I have to think that the game will be pretty replayable. My one gripe was that the dialogue felt a bit stiff and unnatural at times. The game isn’t voice-acted, and the lack of rhythm or cadence in a lot of conversations kept them from flowing well. But that said, even if individual lines of dialogue fell a bit short, placed in context, the conversations felt meaningful, engrossing, and interesting. I will be buying this on release.

Death Must Die: 4/5
I’m a sucker for the “Survivors” genre. My first experience with it preceded Vampire Survivors, the little $3 game that swept the world last year and popularized the new gameplay style; I started with the mobile game that inspired VS: Magic Survival. I had tens of hours in that game. And each subsequent entry into the genre; VS, HoloCure, 20 Minutes Til Dawn, etc., etc. have only worn me out more. These games are all the same: more enemies fill the screen; you get more autofire weapons to deal with them and dodge around to avoid contact damage. Fun for half an hour, but don’t really leave you wanting more. Death Must Die is different. Isometric rather than top-down, the combat here is all manual. You click to fire off an attack that needs to be well aimed; enemies don’t deal contact damage but instead have telegraphed attacks that you have to dodge. It feels very ARPG, actually; a bit Diablo. And the level-up system, which sees you selecting boons from different gods, is clearly inspired by Hades and offers considerably more interesting choices (so far, at least) than the usual Survivors game. Feels a lot more skill based, and a bit more build-craft-y, than usual. And I even caught a whiff of a story, though how well it’ll be executed remains to be seen. I look forward to the full release. Just wish there were more defensive options – maybe a parry?

El Paso, Elsewhere: 4/5
This is cute. A Max Payne-style third person shooter that’s well written in a surreal, noir sort of way; corny enough to be delightful; dark enough to maintain the tension. Visually, it’s a low res, low poly callback to the PS1 era. The gameplay is pretty tough; I didn’t finish the demo, but I imagine it would be a lot of fun to master. I’m keeping my eye on this one, even if it’s not my usual type of game. A special callout: there are biblically accurate angel enemies in this game, which makes me a very happy woman.

Escape from Mystwood Mansion: 3/5
I like escape rooms, and this demo is just a well-constructed escape room – actually, it skews very closely to the types of puzzles and mechanics I’ve come to expect from physical escape rooms. I’m not sure if that’s a good thing or a bad thing; I do wish the game used its medium to get a little more wild with it. But the puzzles were generally pretty well constructed and offered a few fun “aha!” moments when I solved them, and I didn’t need to look at a walkthrough or lean on hints to get through. That said, the hints that I did use were pretty lackluster, and in one case, actually wrong, so that system needs some revision. Some of the sound design got a bit grating, too. I don’t know. Were this a co-op experience I’d probably like it a bit more. The appeal of an escape room is the excitement of solving it with a friend, and there are certainly enough self-contained puzzle sequences here to support that. But no; Mystwood Mansion is a solo experience, and I’m not sure if it’ll be that fun to solve multiple predictable escape rooms alone, staring at a computer screen.

The Invincible: 3/5
I am of two minds about The Invincible. This game is an atompunk sci-fi walking sim adapted from a novel (my roommate tells me) by Stanislaw Lem, and so, suitably, what we have in this demo is a slice of high-concept sci-fi steeped in personal stakes. I have a hard time thinking of anything bad to say about this game. It looks good, runs well, has an interesting story that left me wanting more. And yet, one day after playing it, I just do not want to pick the game up again. I suppose part of it was the pace. Some of the best walking sims – What Remains of Edith Finch – tell incredible stories in the space of two hours. Meanwhile this demo was 40 minutes long and felt like only a small piece of some grand, sprawling story. Environments are huge and your walking speed is pretty slow, so there’s a lot of time between set pieces where your character is just having headaches or struggling to breathe, which really wore me down. I can’t imagine playing this game for 10 hours; 5 might be pushing it. It’s not super tempting when I could just read the book.

Loodlenaut: 2/5
Oh boy, Loodlenaut. Where to begin. Okay, so, I actually like this game. It’s pretty, and relaxing; an ocean exploration game where your job is to clean up trash, rescue wildlife, and climb the tech tree. I have played through the entire demo, done everything there is to do, which took about an hour. And I will absolutely not be playing the full game. If you’ve played Powerwash Simulator, you know how satisfying it can be to get rid of muck and watch a meter climb up to 100% clean, and Loodlenaut scratches a similar itch. The problem here is that the game feels so clunky and limited that the frustration often outweighs the satisfaction. For example, you have a cleaning gun that picks up trash, destroys goop, and breaks boxes. But you don’t aim the gun, the game does, and it’s not really based on where you're facing or what you're closest to so much as it is on the game’s capricious moods. Say you’re trying to pick up a glass bottle, but there’s a crate nearby that you can’t break yet because you don’t have the right upgrade. Well, Loodlenaut will snap the gun to the crate and repeatedly try to break it, until you wiggle around enough to get it to change its mind and pick up the bottle. Wielding the gun is a constant frustration, as is sluggishly moving through the ocean. Your swim speed is slow, and your boost recharges slowly, so going back and forth between central base and the area you’re cleaning – something you have to do pretty frequently – takes what feels like an eternity until you sink lots of resources into infrastructure. None of this is a bad idea – incentivising players to craft boost rings to improve traversal is a good idea; auto-targeting is more comfortable than aiming on a controller – it’s just these systems are poorly implemented, which leads to frustration.

Luna Abyss: 5/5
Luna Abyss is a fucking wild demo. I downloaded it because the game’s description used they/them pronouns for its protagonist. I had no idea what I was getting into. So, okay, the best comparison I have for this game is to Returnal. Like that game, Luna Abyss is a high-production value 3D shooter where hitting your shots is easy, and the difficulty comes from avoiding the attacks of bullet-hell style enemies. And like Returnal, it has a strange, unsettling atmosphere, tight movement, and punchy, satisfying guns. Of course, Luna Abyss isn’t a roguelike, and it appears much more straightforward with its story beats so far. I don’t know, I’m having a hard time capturing what makes this game so great. Let’s start with the world, which is bleak and dark and oppressive. You run through cavernous metal structures, all black and grey, lit in harsh red. Enormous metal pipes twist and curl and embrace each other like enormous, mechanical intestines, and you run across them to get to your next objective. This place was not designed for you, and you feel that so clearly as you traverse it. You jump off the pipes and enter into combat, where a generous aim assist ensures that all your shots will hit. But there are a couple of enemy types to prioritize. You fire your shieldbreaker at a flying enemy, killing it, and time slows to a crawl, increasing the impact of the shot and giving you a tiny moment of respite to see what bullets you’ll have to dodge and decide what enemy you should prioritize next. A miniboss spawns in, grinning facelessly, and releases a flower of projectiles. You sprint and jump and dodge and you keep firing until she’s dead. The room is clear, and the demo is over, and your screen is awash with the bright, striking red of the UI. “Thanks for playing,” it says. I felt like I should be thanking it, instead.
It’s impossible to say, at this juncture, whether the game will be good. The crumbs of story were certainly engrossing; the combat fun; the world, striking. At the very least, Luna Abyss looks like it will be one of the most interesting and unique games of the year, whenever it comes out. I can’t wait.

Sea of Stars: 3/5
This one is alright. The world is beautiful, the music peppy, the character designs good. I just honestly have not played enough turn-based isometric RPGs to compare it to anything. I did have two big disappointments: I thought the writing was a little… on-the-nose, I guess? Characters just stated their objectives and everything was pretty surface-level. Dialogue wasn’t attacking or defending, only conveying information. And while the combat was fun and had a challenging timing element, it ended with a boss who I spent like ten minutes fighting for a single attempt, used all my items, did everything I could, and still lost to in dramatic fashion with no indication I had done any real damage. My suspicion is that the boss is simply meant to be an organic end to the demo, a scripted loss, but I don’t know; if not, it probably indicates that this type of game isn’t for me, since I found it to be quite a slog.

Stray Gods: 2/5
I really wanted to like Stray Gods: The Roleplaying Musical. It is, essentially, a choice-based VN in the style of a broadway musical about ancient Greek gods struggling to live in modern society. A tantalizing premise, if a bit theatre-kid-y. But my degree is literally in theatre criticism, so I have a lot of tolerance for the genre’s usual excesses. I can’t think of another musical video game, but Stray Gods’ demo did not convince me that the idea could work. The performances aren’t the problem here; Laura Bailey is a charismatic lead with pipes good enough to carry the show, and the supporting cast of big names (Troy Baker, Felicia Day, Khary Paton) are no slouches either. But so much about this game is just not working for me. Let’s start with the sound design. This is one of those games where it feels like all the actors are recording in totally separate rooms. There’s a lot of dead air, not a lot of dynamism or one person bouncing off the other during conversation. It robs scenes of a lot of momentum and impact. And when I say “dead air,” I mean dead air. Bafflingly, the game seemingly has no room noise, no background audio, so when people aren’t talking, or music isn’t playing, everything is completely, uncannily silent. It’s genuinely weird.
The musical numbers alleviate this weirdness by filling the soundscape but do little else to pull me in. We get to see four songs in the demo; two from the opening act, two picked from later in the game. All of these songs are very similar – fugues or duets, where one character has one perspective and another character (or chorus) has another perspective, and their conflict is expressed and then resolved through song. Which is a fine structure for a song in a musical, don’t get me wrong, but it is not a fine structure for every song. Even our main character Grace’s “I Want” song, the song that establishes her, her desires, and internal landscape and should absolutely be a solo, is a duet with a woman she’s just met. It does not work. And when the game has you making dialog choices during songs, it robs them of a natural arc; there’s no organic progression from the characters’ starting points to their ending points. Some part of me hopes that this game will be good, but I’m not optimistic. Stray Gods is no Hadestown.

Vampire Hunters: 3/5
In the Death Must Die blurb, I praised that game for refining the “Survivors” genre by making tweaks that allow for more skill and expression. But fuck that. Vampire Hunters is a braver game than Death Must Die will ever be, because it dares to ask, “What if Vampire Survivors was a boomer shooter where all your guns were on screen at the same time?” The result is absolutely wild; by the end of a run, more screen space is devoted to your guns than the entire rest of the game. It feels pretty weird to play, too; all of your guns have different ammo counts and may or may not be automatic, but all fire with the same button, so it can be tough to manage all of their separate ammo pools. And XP drops have a tiny pickup radius, so you really have to move to get them all. The neatest trick the game pulls is that it increases enemy spawn rate when you sprint, so moving at a high speed carries a lot of risk. But apart from that, this game is maybe too audacious to be enjoyable.

Viewfinder: 4/5
I am not a frequent puzzle game player, but I, like most every PC gamer, have a soft spot for the kind of reality-warping sci-fi-y puzzle genre originated by Portal and carried forward by the likes of Superliminal and, now, Viewfinder. First: this game is a technical marvel. You are able to, in essence, carry around entire environments, often with a wildly different art style from the rest of the game, and place them seamlessly and instantaneously in the world. I played this at 1440p, >100 FPS with nary a stutter on my midrange system. The ability to place photos and enter them is genuinely incredible on all levels other than technical, too; it feels magical, like stepping into a painting that you yourself made. My only question, one that the demo did not answer, is whether Viewfinder will be able to construct interesting puzzles out of this mechanic. This was something that I think Superliminal often failed to do, too; when the central mechanic of your puzzles is so unique and novel and powerful, how can you limit it in such a way that players actually have to think and put in effort to solve problems? For me, at least, every puzzle in Viewfinder was solved pretty much instantly, with no “aha!” moments, and that does worry me a bit.

Suddenly, inventory mostly works. NPCs sit on chairs (!!!) but also move and fight worth a damn. There's less lag. The game hasn't crashed for me 2 days in a row! I've run more missions than I ever have!

It can't last, right? I just jinxed it?

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 recently felt an itch for a big expansive RPG and decided to play through AC:O for a second time. The game is really big, was a timesink the first time around (like 80 hrs) and is bogged down by a lot of resource sinks and differing systems all trying to get your attention. But I'm a sucker for the Greek Myths and ancient Greece, so this game is perfect for me; so I gave it another go.

So NG+ on AC:O is your typical affair: You begin a new game, but you keep your experience, all your items, and also crucially, all your invested resources. AC:O has an extremely tiring resource sink in the form of the Adrestia, your ship. You can upgrade the hull, the ramming damage, the throwing spears, the arrows, the fire to light your arrows, and the ability of your crew to brace against enemy ranged attacks, the ramming speed, and I think I'm even forgetting a few. Doing this all on your original run is an extreme timesink, as the resources required to get a single one of those things up a level scales incredibly fast. Even worse, the items required to do so are all fairly common (wood, iron, and the like) except for one, which are ancient tablets, of which there is only a set amount in the world, at various locations you need to loot. I went the distance on my first run, and upgraded my ship fully. And it remained upgraded! This means that one vast system in the game is now basically gone. It has made ship combat very easy, but then that never was the highlight of the game anyway, so I don't mind. On top of that, all rewards are scaled up in NG+, meaning that you begin to immediately drown in money and resources, and with the biggest resource sink gone, you can focus on building your equipment exactly the way you want to.

A second one is experience. Now, when AC:O came out the first time, lots of players complained that the amount of experience you gain is abysmal, pointing to the overly convenient ingame shop selling a permanent XP and money boost for like 10 bucks. And I can absolutely see their point. To progress in any form in AC:O in the normal game, you pretty much need to do every "proper" side-quest (as in the ones with a plot, not the automatically generated ones you find on message boards and the like, only the ones marked on the map with the golden exclamation mark), and then the main-quests of an area. If you do that, you'll be just about the minimum level to do the main quests. So for the people who are here for the scenery and a main story, they got fucked hard, or had to pay up again.

Another incredibly annoying thing about vanilla AC:O is that like many open-world games, the world is divided into large regions and islands. Every region had a minimum level recommendation that might as well have been a requirement, as fighting someone just 3 levels above you bordered suicide, as you could die in sometimes 2 hits, and did a fraction of their health in damage even with your most powerful abilities. This means that on your original run, the world is not open at all, but you have to progress in the way that developers want you to. You start in Kephalonia, and can't leave until you unlock the ship. Your first quest leads you to Megaris, but you'll immediately notice that the level requirement for the region is too high. Conveniently, along the way is a different area which actually fits your requirement, so you have to stop there, and do every quest there before you can progress in the main story line.

NG+ fixes that entirely. Completely. Whatever level you are, every region in the game is now set to your level. Which means that you can follow the main quest line along without any problems at all and actually do the fun thing where you travel the open seas to sail to a random island and do the quests there. You know, open-world stuff! I vividly remember on my first play-through how sad I felt that I couldn't actually use my ship to sail around and explore, because the game forced me to do each region in a specific order, and "enjoy" my time there before moving me along at the pace of the main story line. I couldn't even stealth my way through it (in an ASSASSIN'S CREED game) because Odyssey has this really fucked up mechanic where stealth kills stop becoming instant kills if the target is too high of a level above you. Seriously. But NG+ fixes this, because you immediately get access to the crutch ability that the devs implemented to fix this issue and because most enemies you encounter are going to be around your level no matter where you are.

Since now everything is just scaled to your level, the world immediately opens up after you leave the tutorial area and you can do pretty much whatever you want. I didn't hunt down the Cult of Kosmos, a gameplay system where you discover clues about members of a secret dangerous cult hunting your family, have to piece those clues together (or collect enough where the game is just willing to locate them for you), and then go to a place to assassinate the person, which gives you another clue, and so on. Killing all cult members is optional, but does influence the main story-line, as they serve as the main antagonists. I didn't complete this objective on my first play-through, because some of them are specifically level-gated, as in the person you have to kill is just set to have level 59, which is post-endgame content, meaning you either have to commit to a worse ending of the main plot, or stall the final mission, ruining the pacing even more, to go on a world-spanning quest of hunting down every member.

Playing on NG+ has significantly increased my enjoyment of the game, as I feel like I can just go everywhere and do thing as I want to, not as the developers intended to. Do you know how great it is to actually see a place on the horizon and just, I don't know, go there? You know, the main attraction of the open-world genre? And not be greeted by an enemy town guard 10 levels above you decimates you in 2 hits while you'd be whaling against him with your best weapons for a solid 15 minutes before he goes down. It's great. I'd honestly urge it to even new-comers who like RPG or like the setting but don't like the grindy messy bits to just download a full save of the original game and start a new game + on it. The start will be a bit intimating since you'll have all abilities, but you can just reset the skill tree for spare change and re-level the way you want to. The game is better off not having the grinding for better ship parts in the game and you being able to go wherever you want.

It's far from perfect, but I really think it just turns into into a better experience. I'm fine with not really levelling my character, because 1 out of 3 skill trees is entirely useless and the other two only contain a couple of abilities which are any good, so putting your points into prestige skills that just percentage increase your damage or resistance or whatever is honestly good enough. It's not interesting, but the world and characters are plenty interesting enough for me.

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?