If you have Steam installed, try putting them in ~/.local/share/Steam/compatilitytools.d.

Uh… kinda? Powershell has many POSIX aliases to cmdlets (equivalent to shell built-ins) of allegedly the same functionality. rmdir and rm are both aliases of Remove-Item, ls is Get-ChildItem, cd is Set-Location, cat is Get-Content, and so on.

Of particular note is curl. Windows supplies the real CURL executable (System32/curl.exe), but in a Powershell 5 session, which is still the default on Windows 11 25H2, the curl alias shadows it. curl is an alias of the Invoke-WebRequest cmdlet, which is functionally a headless front-end for Internet Explorer unless the -UseBasicParsing switch is specified. But since IE is dead, if -UseBasicParsing is not specified, the cmdlet will always throw an error. Fucking genius, Microsoft.

He can’t, he had to re-run a benchmark.

Suddenly want to play Half-Life 2 again, wonder why

Never let perfection be the enemy of getting it to work.

Is this what normies feel like when Linux users tell them to just use Linux? I have some apologies to make.

I thought they were wearing prison jumpsuits.

My opinion is the exact opposite. Narrative games, even action shooters, need to have high action and low action parts in balance. If high action segments are excessive, it can lead to combat fatigue. If low action parts are excessive, the player gets bored and the pacing dies.

Half-Life 2 E1, the “Low Lives” chapter, has probably the most stressful combat in the game because the player has to balance so many things. Shooting the zombies attacking Gordon versus helping Alyx fight. Helping Alyx versus keeping the flashlight charged. Firearms versus explosive props. All of that in oppressive darkness. Combat fatigue sets in. The short puzzle segments, even as simple as crawling through a vent to flip a switch, are opportunities to take a breath, absorb the environment, and prepare for the next segment – especially at the end of that particular chapter, when the player escapes the zombies and has a chance to wind down.

At the same time, puzzles, by their slower nature, are excellent for delivering narrative and player training, and to let the player absorb the atmosphere. Alyx’s first encounter with the stalkers in “Undue Alarm” wouldn’t have had the same emotional impact if the player could just pop them in the head and move on.

In contrast, most of “Highway 17” is just a prolonged vehicle-based puzzle. By the time the player reaches the large railway bridge, they might be sick of driving. I know I was. It’s a relief to finally engage in some platforming and long-range combat while traversing the bridge.

So what are the narrative values of my two examples? The cinderblock seesaw in “Route Kanal” is just player training. A show, don’t tell method to let the player know that physics puzzles will be a factor. It’s also a short break after the on-foot chase, before the encounter with the hunter chopper. In “Water Hazard”, the contraptions serve a larger narrative purpose: they’re the tools of the rebels’ refugee evacuation effort. The player utilizes them like one of the refugees would have.

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It’s called lexical analysis or lexical tokenization. It existed long before LLMs (as long as high-level programming languages have, since lexical analysis of the source is the first step of compilation), it doesn’t rely on stolen code, and doesn’t consume a small village’s worth of electricity. Superficial parallels with chatbots do not make it AI – it’s a fucking algorithm.

Besides, there is a world of difference between asking a clanker to spit out a Python function that multiplies two matrices, and putting the knock-off Shadowheart from TEMU in a million-dollar game.

Then you should hold yourself to higher standards than “people”.

Maybe some people, who are an ocean away from me, have been gaslit into thinking they can’t be anything other than consumers. I know it can be difficult to grasp the concept, but you can refuse a service if the terms are unacceptable. It is possible to go into a transaction with open eyes and full knowledge of the rights granted to you by law and responsibilities demanded of you by the contract.

That’s why I say “customer”. It’s a reminder to myself that I should demand equitable treatment, even if the chances are slim unless the courts get involved. You don’t have to jump into the meat grinder willingly.

consumers

This is very much a pet peeve, but be careful about how you use “consumer” versus “customer”. They each imply completely different power dynamics.

POW is a far higher cost on your actual users than the bots.

That sentence tells me that you either don’t understand or consciously ignore the purpose of Anubis. It’s not to punish the scrapers, or to block access to the website’s content. It is to reduce the load on the web server when it is flooded by scraper requests. Bots running headless Chrome can easily solve the challenge, but every second a client is working on the challenge is a second that the web server doesn’t have to waste CPU cycles on serving clankers.

POW is an inconvenience to users. The flood of scrapers is an existential threat to independent websites. And there is a simple fact that you conveniently ignored: it fucking works.

Interface configuration and DNS resolution are managed by different systems. Their file structures are different. It’s been like this for many decades, and changing it is just not worth breaking existing systems.

(I can’t believe “none pizza left beef” has a wikipedia page)

No numbers, no testimonials, or even anecdotes… “It works, trust me bro” is not exactly convincing.

I want to see puzzles that are implemented using the physics engine. And I don’t mean “toss the axe in the proper arc to trigger the gate” physics. I mean “stack the bricks on one end of the seesaw to balance it long enough to make the jump to the next platform”. Or “use the blue barrels’ buoyancy to raise the platform out of the water”.

That’s a poython constructah, __init__?

They absolutely are, in terms of gameplay. Ozzy Mandus and The Crank Hog Machine sacrificed most of the gameplay Frictional’s Amnesia became known for. There are no light mechanics. Barely any physics puzzles. The pigmen are braindead, which removes the challenge and the tension. Even if it’s a better story and atmosphere than The Dark Descent, it’s a lesser game. Even Still Wakes The Deep only goes as far as “throw the object to make the thing look away” when you’re not just responding to non-diegetic prompts.

You can make the argument that walking simulators have a place in the gaming landscape, and you’d be right, but by their nature, they are the exact opposite of what Bloodlines 1 was and what Bloodlines 2 should have been. Why Paradox decided it was a good idea to entrust with it a studio that has only made things that it never should have been is a fucking mystery to me.