redb.Identity получил gRPC-фасад: те же маршруты ядра, тот же реестр клиентов, один токен на оба транспорта. Что внутри, как включить, что померить.

Про redb.Identity мы не раз говорили, что он транспортно-агностичен: вся логика живёт в ядре за адресами direct-vm://identity-*, а HTTP это всего лишь фасад поверх них. Звучало убедительно, но проверить это утверждение было нечем. Фасад был ровно один, и «агностичность» оставалась обещанием архитектуры, а не наблюдаемым фактом.

Теперь фасадов два. Рядом с HTTP встал gRPC: те же маршруты ядра, тот же издатель, тот же реестр клиентов, то же хранилище токенов. Один и тот же токен принимается обоими транспортами и получает от них одинаковый вердикт. Про это и статья: что именно появилось, как это включить, и почему оно особенно уместно там, где gRPC уже стал ...

HurriCache это распределенная key-value база данных с поддерожкой как простых типов ключ значение так и конейнеров, блокировок, работы с atomics и многое другое. HurriCache может работать как standalone так и в кластере. В данной статье не буду сравнивать ее ни с каким либо продуктом, просто расскажу о том что умеет решение а остальные выводы пускай сделают пользователи.

PlayStation 5, Xbox Series S/X, PC; Asobo Studio
The medieval franchise is transplanted to Crete, conjuring action-adventure magic from familiar ingredients

The path in Resonance: A Plague Tale Legacy is a familiar one. Amid ancient ruins and sun-dappled gorges, a young woman, Sophia, dutifully treads the same footsteps as a Minoan warrior from millennia ago, one with whom she seems to share a visionary connection. The “resonance” between these two characters is made clear by their echoing actions – a crank pushed in the bronze age that still works in the medieval present, for example. Through these spliced timelines, it becomes clear that Sophia, compelled by her supernatural gift, possesses little agency. Destiny beckons her forwards.

This is a smart meta concept for a game that, at its most basic level, boils down to keeping your left thumb planted firmly on the analogue stick, always pushing Sophia onwards in linear fashion. You jostle her through ornate corridors rendered as higgledy-piggledy pirate camps and cobbled Venetian streets. For the greater part of the game, you propel her through the Minoan remains of Crete, which harbour a dark and terrible secret. It is classic third-person action-adventure fare, building on the template laid down by the likes of Tomb Raider and then refined and complicated by titles such as The Last of Us. Little, from an interactive perspective, surprises: you dash, vault and swing between teetering podiums, squeeze through tiny gaps in rock and crouch behind conveniently placed walls to avoid enemies.

The flat routines of a dead end railway job screen out an approaching menace in a quietly intriguing game from the indie developer of Cat Lady and Lorelai

Lonely jobs have provided excellent material for independent video games over the years. From Papers, Please to Firewatch to The Stanley Parable, players have been happy to spend hours dwelling in depressing cubicles or rural hideaways, usually because there is an intriguingly hidden point to it all.

In Trainwatch, a character named Troy has taken a seemingly godforsaken job as a railway worker in an unnamed desolate backwater. His main task over the course of a single month is to manage a level crossing, closing the gate whenever a train comes, while also carrying out daily chores such as cooking and washing. It sounds serene, but Troy is also running away from something. The other stipulations are that he stays sober and calls his wife every night. And there is something lurking in the fog at the edges of the fields – one day he must face it.