Hi readers,

It has been brought to my attention that the "Contact page is not working properly, and I am not receiving emails sent through that page. I migrated the blog over to a new hosting server a couple years ago, so the problem may have begun then -- even though I tested it, and it worked at the time. I'm not sure. If you've tried using the "Contact" page to send me an email in the past year or two, I did not receive the message. I was not ignoring you, and I hope you do not take it personally.

I'm going to investigate this issue when I have the time and hopefully fix it soon. I apologize for the inconvenience.

In the meantime, if you need to get a hold of me, I recommend that you do one of the following:

• If the message is OK to be seen publicly, post it in the comments of this page.
• Otherwise, send me a PM at twitter.com/MegaBearsFan, or at youtube.com/user/MegaBearsFan/, or through my Patreon page. I will most likely see any messages sent to those accounts.

Hot off of releasing a video in which I criticized Colossal Order's design philosophy for its Cities: Skylines expansions, a new expansion was released. This expansion fulfilled my fears by being similarly narrow in scope compared to the previous expansions. Campus might even be more narrow than previous expansions. Every city will need parks and industries, so you'll have plenty of opportunity to use those expansion features in every city you build. Not every city will need a sprawling university complex, so a given city might not ever need to include any of the Campus content.

Fortunately, there's more options here than a full-blown research university. Colossal Order has added several types of university areas that are more suitable to modestly-sized cities. Sure you may not need that full-blown research university, but maybe your smaller town could use a trade school or liberal arts school?

Even so, the scope here is very narrow! Colossal Order seems to have recognized this, as they are selling the expansion for a couple dollars less than previous expansions.

School is back in session, even for your industries!

Since Mass Transit, new expansions have struggled to find ways to make broader impacts on the game as a whole. They mostly stayed in their lanes. Campus follows suit by not adding anything that isn't related to education, however, those overhauls to education do have some further-reaching ripple effects.

Over-educated citizens used to refuse to take lower-level industrial jobs.

One of the problems that players have had to deal with since the initial launch of the game has been over-educated workers. Once you have schools in your city, it's only a matter of time before virtually everyone has a high level of education -- even children. This would leave all those educated citizens unwilling to take low-education, low-paying jobs in your factories and farms and would starve those industries of eligible workers. Demand for high-end commercial and office zones would skyrocket, and all your educated citizens would take those jobs. This would force those lower level industries to all but shut down once your city grows large enough.

Citizens' education level is now bounded by the level of schooling that they've attended. Prior to Campus, simply having a university in your city would provide everybody attending school (at any level) with a high level of education. Now, this has finally been fixed such that only those citizens who attend higher levels of schooling will receive the higher levels of education. This means that if a student goes to elementary school, but doesn't attend high school (either because they get a job first, or there isn't enough capacity in your high schools), then that citizen will be capped at a low level of education and will remain eligible for those low-level factory jobs.

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My biggest concern going into this new Twilight Zone reboot was with the hour-long format of its premiere. The first episode, "The Comedian" (which was available on YouTube for free as a preview of the show to come), was a bit overlong and dragged considerably in the second half. It had made its point by about halfway through, we could all see where the episode was going, and it insisted on going on for another 20 minutes despite not really having anything left to say.

OK, yeah sure, in the past I've complained about shows like Fox's Cosmos reboot being too short. Commercials cutting Niel DeGrasse Tyson's Cosmos reboot to only 45-ish minutes was simply not enough time for Tyson to give more than an elementary overview of the grandeur of nature or science.

However, The Twilight Zone isn't an educational show about "all that is, or ever was, or ever will be"; it's an anthology of science fiction parables and allegories. Parables and allegories are usually short and simple stories intended to convey a moral or lesson or insight into the human condition. The Twilight Zone doesn't really need a full hour to tell its stories. The twists are easy enough to see coming. This isn't The Sixth Sense, or Fight Club, or American Psycho, or Se7en, or something similar that actually needs a two-hour runtime to build up suspense and intrigue and dot the entire runtime with clues for its twist ending.

The pilot episode "The Comedian" felt over-long.

I was happy to see that episodes later in the first season have variable runtimes. The second episode, "Nightmare at 30,000 Feet" (which is actually a totally different story than the "Nightmare at 20,000 Feet" classic that it is homaging with its title), is under 40 minutes, filled out its runtime better, and enjoyed much tighter overall pacing. The following episode, "Replay", clocked in at 45 minutes, and also enjoyed a much tighter script.

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At the end of April, our family's beloved cat, Gynx passed away. My father found him lying dead next to the curb outside the house. There were no apparent signs of injury or trauma, so we don't think he was hit by a car. Perhaps he had a heart attack or a stroke? Because nobody was there to witness it, we'll never know for sure.

My sister took it particularly hard. She had just fed him his breakfast 20 or 30 minutes before my dad found him outside. All seemed well. Just another routine morning. My how suddenly things can change...

She was hit hard with grief, and felt responsible. "If only I hadn't let him outside", she said. But it wasn't her fault. She had no way of knowing. He could just as easily have passed inside the house.

Our cat Gynx died this month after 20 happy and loving years.

Yes, I do wish that we could have had some warning. One of my friends once lost an old cat who had become ill. She got to hold her cat and pet him and make him comfortable as he slowly passed and breathed his last breath. If I were a cat, that's how I'd want to go: comfortably resting in the lap of my beloved human. I wish that Gynx could have had that as well.

But as I said, none of us can feel responsible or guilty. We can't have known that his time was coming. He was healthy and active right up till the end. We all worried that someday he'd go outside and we'd never see him again, and over the years, it became harder and harder to let him go. But he loved to be outside, so keeping him locked inside would have just made him miserable and stressed, and probably only accelerated his demise.

A life worth celebrating; not grieving

I've written about the loss of pets before on this blog. Back in 2014, Nipper, a tortoise that I had since I was about 7 or 8 years old died after apparently becoming trapped in her burrow. The following year, I also lost my baby tortoise Koopa to some kind of tragic accident. Like with Gynx, I have little-to-no idea what actually happened, since I wasn't there to witness the event itself. The sudden and tragic loss of those tortoises was gut-wrenching and depressing, and I grieved very hard, and for a very long time.

I was much more prepared for Gynx's death than I was for the deaths of my tortoises Nipper and Koopa.

Though Gynx's death was also sudden, it was not altogether unexpected. Gynx was 20 years old, which is very old for a cat. I had thought cats only lived for 15-ish years, so I had spent the past 5 or 6 years thinking that Gynx's time could come any day now. I didn't expect for him to hit 20! So when his time finally came, I think I was emotionally prepared for it -- had been for a long time, in fact. I knew that phone call from my mom, dad, or sister would be coming eventually, and when it came, I knew what it would be.

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It's real refreshing to come across a science fiction game that isn't just about shooting aliens with laser guns or blowing up space ships. If you're in the market for a thoughtful, well-presented science fiction experience, then I highly recommend that you check out Observation. If you're also into horror, then even better, because this game definitely has some horror elements as well. They're much more subdued, but this game does do a fantastic job of creating a building sense of tension and intrigue as its over-arching mystery is slowly unfurled.

The gimmick here is that you play as a malfunctioning artificial intelligence on a near-future orbital research station. The game is presented as a sort-of found-footage narrative (think along the lines of the Apollo 18 horror movie) told entirely from the point of view of the on-board A.I. Something goes wrong, the crew are all missing and possibly dead, and you help the sole survivor try to find the remaining crew and piece together what happened to the station. Think along the lines of playing as the HAL 9000 from 2001: A Space Odyssey, or as Kevin Spacey's character in the [fantastic] movie Moon. You do this by jumping between different surveillance cameras (a la Five Nights at Freddy's, but, you know, with ambitions of being more than just a random jump-scare-generator). Through the cameras, you interact with various technology and station systems within your line of sight. You'll occasionally be asked questions or given commands by the surviving astronaut, and you chose how to respond.

You are an unreliable A.I.?

From the start, there's a certain degree of unreliable narrator going on. One of the very first actions that the game asks you to do is verify the identify of the surviving astronaut via her voice print. You are initially told that her voice print does not match, and you're given the option to accept or reject her voice print. If you reject, she'll repeat her authorization code, and you'll be told that it matches this time. Is she not who she seems? Are your own systems providing you with misleading information? Are your systems merely damaged? This creates an immediate sense of distrust. You (the player) don't necessarily trust the survivor, the survivor doesn't necessarily trust you, and you can't even trust your own perception and judgement.

From the start, it's unclear whether you can trust Emma, or whether she can trust you...

This immediately creates a dense atmosphere of intrigue and mystery and sets a level of tension that persists through the entire game.

This atmosphere is helped by the richly-detailed near-future space station that you inhabit. The visuals are immaculately detailed, and the station looks and feels like it could be modeled after the real-life International Space Station. The spaces are tight and claustrophobic. Accessories and stationary are strapped or velcroed to the walls, floors, ceiling, and desk surfaces in order to prevent them from floating off in the zero-gravity environment. Everything is believable.

The game further builds its atmosphere with its immersive U.I.. Every button press, command, and interaction has some in-universe context behind it that helps to keep you in the mind-space of your A.I. character. The U.I. is mostly easy to use, and most actions feel intuitive.

This game hooked me in with its setting and atmosphere, and I just had to keep playing to find out what happened and where this would go!

The space station and U.I. are believable and immersive.

...