And managed democracy!

I’m playing a lot of Helldivers 2 and The Talos Principle 2, and I’m having a great time from both games.

I’ve bought a bunch of Wadjet Eye games; Unavowed, Gemini Rue, Primordia, Strangeland, Shardlight, Technobabylon and The Excavation of Hob’s Barrow.

And aside from that, Return of the Obra Dinn.

I’ve already played Gemini Rue, and I’m finishing Unavowed.

Heroic is a client for GOG and Epic Launcher, so if I install a game from there, I use Heroic.

Lutris is more generic, and has specific script installers per game, so I use Lutris as a fallback if the game is from somewhere else, or the game does not correctly work with Heroic.

Then, as a third fallback, I try to install the game with Wine directly, then add it a shortcut on Steam to benefit from Proton through Steam. In the above cases (Heroic and Lutris), they would be using their own packaged version of Wine/Proton, so it’s worth to try it before giving up.

Curiosity. It began while trying to play around with programming, and finding a lot of talk and resources about Linux, and then trying it. 3 broken Debian installations just for messing around, then Ubuntu as a more permanent install, all of this alongside Windows.

Then I began using less and less Windows until I just deleted the Windows partition because I needed more space.

The behaviour you mention is from npm install, which will put the same exact version from the package-lock.json, if present. If not it will act as an npm update.

npm update will always update, and rewrite the package-lock.json file with the latest version available that complies with the restrictions defined on the package.json.

I may be wrong but, I think the difference may be that python only has the behaviour that package-lock.json offer, but not the package.json, which allows the developer to put constraints on which is the max/min version allowed to install.

I’m liking it a lot. I’ve never finished Bioshock, but I’ve played a few hours of it, so it may not be a fair comparison, but the environment feels bigger and more convoluted, everything is less linear. It’s more similar to Prey than Bioshock.

Also, the progression of the player is based on gadgets and weapons, there are no powers to level up by using points.

And with Baldur’s Gate I’m playing a thief which a master on almost every skill, but not the best in combat jajajaja.

Finnished Call of Cthulhu the past week, finally finished Prey this one (I’ve abandoned it for about a year), and between all of this I’m playing Baldur’s Gate 3. Now I want to play again the System Shock remake, I’m far in the game and I think I can finish it without much time.

Dead Cells is a game I always have installed just to pick it up in bursts of 30 minutes or an hour.

It’s a roguelike, it’s challenging and it’s easy to pick up any time.

Even though it has levels, the intended way to play it is in runs. You start the game, start a new run, and try to go as far as you can, you die and repeat.

Multiple paths to choose, so it never becomes boring, and the levels are generated, so you can’t memorize everything.

It seems they consider themselves complimentary with OpenStreetMap, as stated on their FAQ https://overturemaps.org/resources/faq/#

Overture is a data-centric map project, not a community of individual map editors. Therefore, Overture is intended to be complementary to OSM. We combine OSM with other sources to produce new open map data sets. Overture data will be available for use by the OpenStreetMap community under compatible open data licenses. Overture members are encouraged to contribute to OSM directly.

I don’t know a lot about any of both projects, but it seems fair.

I think I’ve been lucky building an horror atmosphere, because the only one I played was for Call of Cthulhu and was with a combination of casual DnD players and new players to TTRPG in general. So, explaining to them the kind of game keep them on the mood since first minute, since CoC has pretty hard rules about sanity and the posibility of dying, and there is a lot of emphasis on not beign combat focused.

Then, the adventure I played had a lot of elements that create a build up for the sessions. Things I can identify that helped where:

• That the players where given a clear objective as a premise, but then an aircraft accident happened and they were completely lost. The whole adventure is escaping from the town were they are after the accident, the premise was a lie, and this gave them a sense of constant danger and a direct problem that they can not just forget about.
• In the adventure, language was a barrier. They were on a town where everyone spoke an old romanian dialect. Their only way of communication they had were trying to use their hands or talk to only one person in town which could translate their requests. This augmented the isolation factor.
• With the first two points, everything else flowed, because if they found, like, signs of blood somewhere, or strange paintings, talking about them ment using this one character that could translate their requests, but they didn’t trust them, because everyone on that town felt like an enemy, so everything else exponientialy grew in possible theories because trying to just grab information felt dangerous in itself.

This may be too much specific, but could be translated in other contexts by using those kind of barriers and immediate unavoidable problems that felt real, that augment a normal spooky scene you can imagine, supported by a game system that danger is a real threat in the rules.

Alien! I’ve got it on my hands a few days ago at my local store. I’m probably going to buy it by Monday or shortly after.

I’ve only read good things about it so far.