A Lazy Coward`s Guide to Fighting Fascism

❗The following overview contains SPOILERS for Hades. Reader discretion is advised.❗

Gaming is Hell. From the AI slop and asset flips that pollute low-bar eshops like (checks notes) Switch and PS5 to the ever-climbing dev cycles making 300 hour experiences that demand 100% of your time for the better part of a year. Gaming is Hell.

But sometimes it can be nirvana. In the case of Rock Band, literally.

I’ve never been a fan of -like as a game description. Shorthand can express a ton of information quickly, so it’s useful for conveying a description in an elevator. But it becomes useless as a descriptor in long form reviews or in marketing material. Metroidvania is -like’s granduncle and lost every ounce of meaning the moment it was uttered. What is a Metroidvania? Not Castlevania or Metroid. Castlevania 2 is closer to the modern ideal than the first. Metroid fits the bill, but so do dozens of games that preceded it. And today it’s diluted to the point of kind of meaning any platformer where you back track with upgraded abilities. Almost always 2D, despite Metroid stepping onto the Z axis with GameCube. What’s a Rogue-Like? Rogue certainly isn’t. The concept of dying being part of gameplay is such a minor building block to a complete game, making a genre out of it seems limiting and very, very stupid.

Cards on the table. I hate cards. But I also hate ‘Rogue-likes.’ That doesn’t mean I hate games with the mechanics associated with that shorthand. But I have yet to find a game which has made that phrase a central part of their release push that does much of anything for me. Super Mario Bros. gives you information which makes your next play go a bit further. Just because its buff is your own memory, why isn’t that a Rogue-Like? You must die to get the intel to improve your next run. See what I mean? The whole concept is meaningless due to oversaturation, wibbly-wobbly edges, and mostly, the reductive boxing-in of defining a genre around a single mechanic. I roll my eyes at the term being used in reveals. Or being spat out by denizens of camp GitGud. Or, most egregious of all, on the goddamned box text.

I bring up this annoyance because often - well more often than never, which is too many times - Hades discussions will include the incantation as a way to quickly signal those GG campers to perk up their ears, while the less coordinated, but often more story-hungry of us will tune out. Rogue-like almost had me sleeping on what turned into one of my favorite games of the past 10 years. I almost looked back and watched my love vanish from my vision into the depths of the Underworld. Liam Gallagher would have been so disappointed.

I’ve played a fair number of games carrying the stupid, connotative weight of Rogue-Like and have disliked them all in some fundamental way. At best, with a game like Rogue Legacy, it was an afternoon-waster that didn’t stain my soul, but that wasn’t about to live in my head any longer than it took to see a few level styles. At worst, it was Returnal or similar fare - games that turn progress into a burden because the fall is so far on death that you can’t enjoy the game. You’re watching every step. You’re meticulously scrubbing the entire room for health. You’re not taking any risks and trying to color inside the lines to the point it stops being a game and just becomes Operation Solitaire.

Hades is not that. What Hades is is a game deserving of more than a two word hyphenate. First and foremost, Hades is grounded in its own mythology. Which is Greek mythology by way of a very liberal license. In the best way, I must add. Hades follows Zagreus via the Gantzian theory of Zag’s - his friends call him Zag. It’s cool - lineage; being the child of Hades and Persephone. This diverges a tiny bit from his myth of being reborn after being Stretch Armstronged by some Titans having a bit of a play in the yard, but the bones remain. He desires to escape the Underworld his father has built for the souls of humanity and to join the gods on Olympus. To escape, he must traverse always-changing rooms of scaling difficulty, get random boons from gods and goddesses, and frequently give 1/3rd of a very good boy many, many pets.

The mythology of Zagreus makes him a fantastic vessel for the gameplay mechanic and oxymoron of progressive death. He doesn’t die. Progress is achieved because death is, by his own myth’s telling, just a reset. Additionally, failure does not result in so massive a setback as to feel like lost time. Death (which is what we’ll call it, but not what it is) is progress. Every run gives you a little something. Longer runs become equally rewarding to succeed or to fail. Rooms nearly always contain some helpful item you can take with you after defeat, and as you make it through more rooms, the run becomes more and more valuable upon expiration. It feels like part of the game because it is part of the game, rather than being a harsh punishment. You are also rewarded with unique dialog and grounding story segments between runs, keeping you engaged. You have multiple collectable buckets that fuel multiple progression systems. Some can be used to power up the character. Some can be used to add more boons to the labyrinthine halls of the Underworld. Some are just trinkets or tokens you can give to characters to get additional permanent modifiers for future runs. The dialog is witty, impeccably acted, and very cohesive. There is a whole game upon which the mechanic of progressive death is hung, along side other equally rewarding mechanics. And that, as some poetist once penned, made all the difference.

Beyond the progression mechanics, the game is rich in playstyle choices. A number of weapons become available very quickly and allow for varied options for defeating the wandering horrors in the catacombs of the damned. Ranged, melee, bull in a china shop…whatever your preferred method of dispatching foes, you’re not too far off from unlocking a weapon that allows you to express your desire to re-kill the dead in your own way. The game does not lock you into classes - you can swap at any time. You can play your current mood and mix things up if the wind changes. You never feel stuck in a choice for very long and that makes the experience much more personal and rewarding.

The graphics are beautiful, hand-drawn, thoughtful representations of the core story. Every character is uniquely represented by their art. Yet they are all fully cohesive with every other. The game is unapologetically horny (complimentary). Gods are sex. They are manifestations of the ego interpreting the drives of the id. Hades makes that statement well, without making it gross or skeevy. The game has an absolute lust to it without being a brown paper bag Switch title where Honeys are Popped or Gals are Gunned.

The sound and music are absolute delights. Ambrosia in every word spoken. Thundering beats in time with your attacks give the game a rhythm, intended or otherwise, that really amplifies the experience. The satisfying sound of Zagreus’ dashes, slashes, bashes, and lobs are all tied so well to the animation that even as you’re playing it, the battles seem choreographed. The acting is, as mentioned, top tier. The entire audio experience is truly wonderful and utterly deserving of their many, many award nominations and wins. It’s a soundtrack you’ll want to pick up and put into rotation immediately.

Hades is not an exception to my rule of dismissing rogue-likes. It’s proof that the label bares almost no value in describing a game that has more depth than a teaspoon. To draw the breath to say it, you’ve already given yourself enough runway to accurately depict any game you’re about to besmirch. The jargon does not serve a purpose. It actively diminishes nearly any game to which it’s applied. The fact that Hades and Returnal can both be brought up in the category is enough to disprove it’s worth. But there’s no stuffing that Barbara Eden back into the Michelob tallboy. So, despite my hatred, my message is more for those of us who feel the label is off-putting. If someone voice-vomits that phrase about a new game, wipe it off your shoes and do a little research online before discounting it. While it’s true that usually you’ll find a cheese grater with the words ‘for genital use only’ etched on the side in shaking script at the end of the painbow, sometimes you may find your next favorite game.

I’m going to make a bold statement.
Leaving Microsoft and Apple is fighting fascism.
See? It’s bold!

In a landscape where both companies are selling out their own employees and customers for a speculation bubble around a wrong answer machine nobody asked for, anything you can do to reduce their grip on the world desktop market is - true facts - a strategy against the regime they fund. Both companies have been openly complicit in, and have directly financially benefited from the Trump administration. Benefited in a way that robs the public chest and in a way that funnels more money from their own customer base up the chain without providing any meaningful goods or services in kind. Hell, Tim Cook got a personal gold sticker from Das Uberstench. And both companies have funneled millions of dollars into his pocket in return. Both in direct contributions, indirect ones via PACs, and by laying the groundwork for theft from the masses on a scale that would have been unimaginable, even by the most mad king, a decade ago. AI is a global grift that is going to kill us all, not because the actual product is dangerous. It is dangerous. But the real danger lies in the speculation capitalist vultures…sorry, vulture capitalists…who carve its name into the heads of the spears with which they plan on hunting us. This is a fire sale. Everyone must go. Leave your belongings. Your offerings. To the gods of industry. They have always wanted to wring all of the money out of the fabric of society and they finally have the proper snake oil to oil the snakes of a totalitarian, dementia-addled Polyp Pot. CoPilot needs you to forget how to open an e-mail so it can justify speculation on compute and DC expansion. Apple will do anything to keep you in their garden of antitrust nightmares and hardware rental disguised as ownership, up to and including literally sabotaging your devices in updates. Google wants to suck every ounce of tracking data from you and everyone who looks like you to feed you, the product, the slop their real customers pay them to feed you. There is no publicly traded company that is your friend. To them, we are all prey. On the gaming side of things, the world is not much brighter. Ignoring Xbox, something the world has been trying to do since the Xbox One, Sony and Nintendo also both wish you’d just die and will them your estate. Nintendo takes every opportunity to raise prices and blame anything but their own profit graphs. They sit on a mountain of patents like a dragon, using their brigade of willing acolytes as shields for any critique. Sony kills support for anything that doesn’t turn an instant quarterly profit with little fanfare. Concord, their much hyped copy-of-a-copy Multiplicity clone of Overwatch lasted from August 23, 2024 to October of the same year; the announcement it was being cancelled coming only 10 days after launch.

Removing ownership has deep roots in fascist ideals. The idea that every single aspect of your life is run by landlords, including your entertainment, is just a small tool in a large toolbox of implements to keep the masses docile and indentured. But all normalization is a win for people who feed on the work of the world through dumb luck or birthright. People will defend their hobbies to, in some cases literally, the death and will take up arms in the name of boots if you mention they’re on their necks. Again, this is all by design. Tribalism is the fire that lights the muskets and sunk cost is the black powder within them. Just go online and say a bad word about Elden Ring or Zelda and see how fast you get your digital teeth kicked in by die-hard dickweeds who spend more time falling on swords in real life than wielding them in fantasy ones.

So, if you love games and hate fascism, what are you to do? Give up your hobby and become an angry person with no outlet? I mean, that’s always an option. Trust me, being a curmudgeon has its advantages. But there are alternatives. A great option, which I will surely write about in the future but that deserves its own, dedicated post, is retro gaming. There are more great games from the past you haven’t yet played than you could get to in ten lifetimes. Another is theft. And while I have zero issue with Triracy, it’s also a piece that really needs a longer deconstruction than is allowed in this post. This post is about gaming on Linux.

Linux has not had the best reputation when it comes to gaming. It has powered the OS for a number of consoles, but up until the summer of 2018, Linux gaming was mostly relegated to emulation, manually ported open-source games and a handful of dedicated releases. WINE (Wine Is Not an Emulator) existed and was useful for a handful of light weight games as well as productivity software, but for the most part if you wanted to game on Linux, you had to get source code and recompile or hope that the game developer decided to do it themselves. But in August of 2018, Proton - a joint venture between Valve and CodeWeavers - was released. Without getting too far into the weeds, Proton is a compatibility layer that diverts Win32 and Win64 calls to Linux equivalents and hosts linked libraries to process anything that doesn’t have native Linux support. Windows runs on the X86_64 platform and code assembled to that instruction set can run natively, provided the functions hosted outside of the application are available to it. Proton brokers all of this in a mostly seamless way, allowing Windows-compiled code to run without overhead under Linux. Proton uses the previous work of WINE to host DirectX, Vulkan, Open-GL, and other game-critical libraries. What this means is, nearly every game which doesn’t require kernel-level anti-cheat can be run on Linux at roughly the same (or sometimes greater) framerates as on Windows. The project is opensource, so you don’t even need Steam to run it. But Steam does work great, as well.

The Good

As mentioned, Steam is a great way to play games on Linux. Everything is mostly handled for you. You can purchase nearly every Windows-compatible game and it should run just fine on Linux with nothing but a click of the Play button. You are, of course, still beholden to Steam at this point. And to be honest, Valve is not your friend either. It’s another corporation. The only difference is, Valve has a scoped purpose and seems to be less driven to take all of your money. Just most of it.

You can, however, use their launcher without buying anything and run games through it downloaded from other sources. Itch.io, GoG (now under less evil management), or even - GASP! - CD-ROM! Additionally, there are a number of very nice, very curated launchers out there. Heroic, Lutris, Hydra, Cartriges…the list is long and full of terrors. A decent rundown can be found here. Heroic is my launcher of choice. It provides hosting for stores such as GoG and Epic, allowing you to directly install your games from the stores without downloading offline installers. The larger launchers also generally include database scraping for cover art, descriptions, and settings, allowing a curated list of games without having to manually launch each one, providing a more console-like experience.

Performance can go either way, but in general, my experience has been better framerates - likely owing to more overhead and fewer spyware processes running.

The Bad

Not all games run as easily as ‘just click Play.’ A number of GoG games, in example, require manually adding symbolic links to older libraries for audio. Some games don’t correctly implement their resolution and you end up with incorrectly scaled, hard to read experiences until you can find the right settings. The Desktop Environment you use (or don’t use) can also have a massive impact on your ability to launch games at the correct resolution the first time. Gnome, in example, generally creates a secondary desktop space and includes this in the desktop canvas sizing response to software. So many games on Gnome will show the native resolution as doubled over the actual native resolution. Window managers and compositors such as Hyprland (possibly made by a neo nazi) have less overhead and provide a better dedicated game experience, but sacrifice usability and desktop functionality for Swordfish-style tiling windows.

Configuration can be a pain with older games, as well. Games that utilize 32bit PhysX calls, in example, require extra install steps and configurations to get the full benefit of a card which supports them. Driver support is hit or miss, with native drivers generally offering the most performance, but less support from the manufacturers than the community gives the open source drivers. Nvidia can be trickier than AMD simply because Valve (again, the very sung hero of Linux gaming) uses AMD in their handheld console, the Steam Deck, and therefor has much more quality control for AMD based gaming. Nvidia generally works, but some games are more fussy about it than others. Controllers can be a mixed bag as the big players are well supported, but some X-Input controllers that work a treat on Windows will have incorrect mapping or bad support on Linux.

Overall, the difficult stuff is usually a quick web search away, but you’ll do better to search old forums or Reddit as live interaction with the Linux community is pretty toxic (another post on the ‘to do’ pile). Once you start getting a feel for how it all threads together, though, you’ll be able to self-serve most issues when they do crop up.

The Fugly

Some games just will not work on Linux. Period. This goes for some productivity software as well. Adobe, being a huge culprit of the latter. This is a sacrifice, or a dual boot setup, you’ll have to make to get out from under Microsoft for gaming. Games from Riot, in example, use Valorant anti-cheat software. This is kernel-mode anti-cheat, akin to a root kit. Frankly, for me, this is a dealbreaker anyway. I don’t want kernel mode code that is not part of the OS doing kernel mode shit. But this does cut out some heavy hitters like League of Legends. And unfortunately, there are no options unless Riot games decides to release a Linux-specific build of these games. I wanted to play Project L (presently 2KXO, which is a stupid name for stupid reasons), but am unable to thanks to this incredibly invasive anti-cheat. I didn’t even want to play it multiplayer apart from couch matches, but it doesn’t matter if you plan on going online or not. The whole enchirito is off the table.

Conclusion

Since moving to Linux, I’ve actually been gaming quite a bit more. The reason is mostly because I’m thinking about it. On Windows, gaming is a given. But when moving to a new OS, it’s often on the forefront of thought to entertain the possibilities afforded you in the journey. It’s not all rainbows and kittens and that one rainbow kitten that might grant wishes, but you can never catch it. But it can be worth the trip just to know your hobby isn’t supporting IDF bombing of children, growing the power of a little dick’dtraitor, or giving your money to a company that Thinks Different by literally making 2026 like 1984 after swearing that’s the ONE thing they wouldn’t do. Your mileage will absolutely vary, as Linux is not a monolithic operating system. But switching does make the…WINE… a bit sweeter, none the less.