So, you wrote your Quarkus application, and now you want to deploy it to a Kubernetes cluster. Good news: Deploying a Quarkus application to a Kubernetes cluster is easy. Before you do this, though, you need to straighten out your application’s properties. After all, your app probably has to connect with a database, call other services, and so on. These settings are already defined in your application.properties file, but the values match the ones for your local environment and won’t work once deployed onto your cluster.

So, how do you easily solve this problem? Let’s walk through an example.

Create the example Quarkus application

Instead of using a complex example, let’s take a simple use case that explains the concept well. Start by creating a new Quarkus app:

$ mvn io.quarkus:quarkus-maven-plugin:1.1.1.Final:create

You can keep all of the default values while creating the new application. In this example, the application is named hello-app. Now, open the HelloResource.java file and refactor it to look like this:

@Path("/hello") public class HelloResource { @ConfigProperty(name = "greeting.message") String message; @GET @Produces(MediaType.TEXT_PLAIN) public String hello() { return "hello " + message; } } 

In your application.properties file, now add greeting.message=localhost. The @ConfigProperty annotation is not in the scope of this article, but here we can see how easy it is to inject properties inside our code using this annotation.

Now, let’s start our application to see if it works as expected:

$ mvn compile quarkus:dev

Browse to http://localhost:8080/hello, which should output hello localhost. That’s it for the Quarkus app. It’s ready to go.

Deploy the application to the Kubernetes cluster

The idea here is to deploy this application to our Kubernetes cluster and replace the value of our greeting property with one that will work on the cluster. It is important to know here that all of the properties from application.properties are exposed, and thus can be overridden with environment variables. The convention is to convert the name of the property to uppercase and replace every dot (.) with an underscore (_). So, for instance, our greeting.message will become GREETING_MESSAGE.

At this point, we are almost ready to deploy our app to Kubernetes, but we need to do three more things:

1. Create a Docker image of your application and push it to a repository that your cluster can access.
2. Define a ConfgMap resource.
3. Generate the Kubernetes resources for our application.

To create the Docker image, simply execute this command:

$ docker build -f src/main/docker/Dockerfile.jvm -t quarkus/hello-app .

Be sure to set the right Docker username and to also push to an image registry, like docker-hub or quay. If you are not able to push an image, you can use sebi2706/hello-app:latest.

Next, create the file config-hello.yml:

apiVersion: v1 data: greeting: "Kubernetes" kind: ConfigMap metadata: name: hello-config 

Make sure that you are connected to a cluster and apply this file:

$ kubectl apply -f config-hello.yml

Quarkus comes with a useful extension, quarkus-kubernetes, that generates the Kubernetes resources for you. You can even tweak the generated resources by providing extra properties—for more details, check out this guide.

After installing the extension, add these properties to our application.properties file so it generates extra configuration arguments for our containers specification:

kubernetes.group=yourDockerUsername kubernetes.env-vars[0].name=GREETING_MESSAGE kubernetes.env-vars[0].value=greeting kubernetes.env-vars[0].configmap=hello-config

Run mvn package and view the generated resources in target/kubernetes. The interesting part is in spec.containers.env:

- name: "GREETING_MESSAGE"   valueFrom:   configMapKeyRef:     key: "greeting"    name: "hello-config"

Here, we see how to pass an environment variable to our container with a value coming from a ConfigMap. Now, simply apply the resources:

$ kubectl apply -f target/kubernetes/kubernetes.yml

Expose your service:

kubectl expose deployment hello --type=NodePort

Then, browse to the public URL or do a curl. For instance, with Minikube:

$ curl $(minikube service hello-app --url)/hello

This command should output: hello Kubernetes.

Conclusion

Now you know how to use a ConfigMap in combination with environment variables and your Quarkus’s application.properties. As we said in the introduction, this technique is particularly useful when defining a DB connection’s URL (like QUARKUS_DATASOURCE_URL) or when using the quarkus-rest-client (ORG_SEBI_OTHERSERVICE_MP_REST_URL).

The post Using Kubernetes ConfigMaps to define your Quarkus application’s properties appeared first on Red Hat Developer.

Phaser Editor just released version 2.1.6.  Phaser Editor is an open source commercial game editor built on top of the Phaser game engine built on top of the Eclipse editor.  The 2.1.6 release brings Phaser editor to parity with the most current versions of Phaser and Eclipse.

Details from the release notes:

Phaser 3.22.0

The latest version of Phaser is now built-in. It is included in the project wizards, the Scene Editor, and the Phaser Labs tools.

The Phaser runtime files of your old projects are not updated. If you wish to update your game runtime to the new Phaser version you should do it manually. Learn more about it in the docs.

Eclipse IDE

We updated the editor to the latest Eclipse version (2019-12).

Asset Pack

• #139: Use relative names of asset pack files in the new file dialogs:
  

• #137: Bugfix: the New File wizard adds the new file to all the asset packs.

• #138 Parameter to use the container folder as the key prefix of the new file items.

Now you can enable the Use container folder as a prefix for new asset keys parameter. It is in the global preferences (Window > Preferences > Phaser Editor > Asset Pack Editor). By default it is disabled.

If the parameter is enabled, when you add new assets it will use the name of the container folder of the asset pack as the prefix of the new key. For example, if you add a file background.png and the asset pack file is in the folder level3, then the new key will be level3.background. Only in case of scene files, the prefix is ignored.

Texture Packer

• #141 Show import button in Properties.

macOS Mojave users are experiencing problems to drop files into the Texture Packer editor. We added a new button in the Properties view to import the files selected in the Blocks view.

Text editors

• #142: Bugfix: cursor is lost in a text editor after save (Windows 10).

Phaser Editor is available for download on Linux, Mac and Windows here.  PhaserEditor is open source under the EPL license available here on GitHub.  Learn more seeing Phaser Editor in action in the video below.

GameDev News Phaser

<!–

–>

There’s two flavors of space fiction. One has the sweet taste of optimism and adventure. The other is bitter and sprinkled with existential fear. Many works dabble in a bit of both. Kyle Barrett’s End of the Universe most certainly doesn’t. His follow up to Immortal Rogue takes a spoonful of the gloom of last year’s vampire slasher, and simmers it down to concentrated grimdark. The game this spooky sauce covers is a curious, if not ultimately disappointing taste.

You wake up in the cockpit of a floating ship. You don’t know how you got there, but you know you need to go. Now. There’s a handful of options to choose from as far as where, but they all take you to a place where you will be shooting whatever is nearby. These options, one being following a blinking light, for example, promise a bit of a mystery. If you survive long enough down a path, you’ll eventually get another set of options, branching you down another path of a loosely knit story.

Each path doesn’t seem to have any obvious benefits over one another. In fact, the only real significant difference between them is that they seem to determine what sorts of enemies you’ll see the most during the next set of screens. If there are more consequential story elements deeper in space, then I just haven’t found them yet. Some choices seem pretty dramatic, but don’t lead to anything more than just shooting more people.

End of the Universe has shoot-em up in its haunted, black blood. From very early stages, enemies begin to crowd the limited space provided. They mostly either sit stationary and fire like a turret, or swarm you in a constant, relentless dog fight. The amount of ships and bullets on screen can get downright oppressive at times, thanks to the very limited hit points you have to work with. The learning curve for how to identify the best ways to stick and move is steep, and will require many deaths before any feeling of confidence can be gained.

Some design choices seem inconsistent, though. Each arena is surrounded by a yellow box that acts like an electric fence to keep the action in. Well, your action at least. Enemies pass in and out of it at will, while you take damage when colliding into it. The size of this box grows and shrinks per stage, which in and of itself isn’t an issue. Combined with the debris that fills the field, however, and any given stage can feel like an unfair death trap.

Procedural generation is a design concept that is supposed to algorithmically place objects and enemies in a way that still feels winnable by a player. Many maps in End of the Universe feel completely random. This is a problem because it can often create zones that feel boxed off and impossible to traverse safely. Maybe enemies are tucked behind two big chunks of ship debris, meaning you have to slither into a narrow space in order to destroy them, and move on to the next stage. Random encounters shouldn’t feel like Luke blowing up the Death Star.

Sometimes, enemies spawn under obstacles. Sometimes that seems deliberate. Big purple chomping aliens pop out from asteroids you’ve gotten too close to and take you by surprise. The overwhelming occasion features ships that would be moving around if they could clip through the walls that spawned on top of them, but instead just kind of spin aimlessly until you put them out of their misery. Some creatures will spawn, but linger just outside of the aforementioned yellow box, which means you have to make several fly bys in hopes to hit with some long range shots. These out of place enemies sometimes self-reset if you let them linger off screen for awhile. Count yourself lucky when they do.

The controls can be tough to navigate, as well. With one touch, you can change directions, slow down, and dash forward. Time, and possible experimentation with the sensitivity controls, will be enough to make you at least a serviceable pilot. Even now, with hours under my belt, I clip debris and passing hostiles accidentally. It feels like slipping accidentally is just a part of playing any given round.

The stages seem well suited for dropping in and playing a small chunk quickly. Ironically, for a game that fills every available space with things that will kill you, moment to moment gameplay is pretty passive. This is because light weapons auto fire, and heavy weapons take time to charge. You spend much of the game just watching your ship do things while you attempt to navigate it around obstacles. It’s an interesting undercutting of the Gradius-like button mash/hold designs that you see all over the genre already.

But it doesn’t always make for an interesting session. Once you start unlocking new ships and new potential weapons, the sort of combinations you can slap on your moving space turret really ties the whole thing together. It just requires real dedication to push through the initial hump to get to the gameplay loop you can really get behind.

Aesthetically, End of the Universe is also pretty inconsistent. On one hand, many of the enemy sprites are well designed and animated. Especially the bug/tentacle beast space aliens and the metro cyber cops. Some of the other space enemies just look and feel generic. Even though two sets of enemies look remarkably different, they’re identities don’t hold up past ‘blue space guys’ and ‘orange space guys’ when next to the really inspired stuff.

The backgrounds are often just washed out and hard to see with all the bigger obstacles on top. Some of this space junk is also pretty cool. The Broken World and Spaceway sections are particular standouts. The rest never really pop. The Hive Worlds are interesting the first time, but they don’t really stay with you.

Immortal Rogue fans will need to temper their expectations when approaching End of the Universe. They feature some similarities – rogue-like nature, some visual elements and decision tree concepts – but these are wholly different games. Like Rogue, Universe is better than the sum of its parts, but this space adventure is far tougher to get into early on. Dedication may reveal a game you can sink your teeth into. You wouldn’t be faulted for finding the mostly passive-feeling combat, mixed with the limited progression and unsatisfying narrative, to be too dark a frontier to travel.

By AppleInsider Staff
Thursday, January 23, 2020, 05:59 pm PT (08:59 pm ET)

Apple has leased the entirety of San Jose’s “Triangle Building,” a well known six-floor office building near the company’s main Apple Park campus.

Apple is leasing the entirety of the “Triangle Building” in San Jose. | Source: Google Maps

The tech giant has leased all six floors of the 86,000-square-foot office building at 5300 Stevens Creek Blvd., according to public filings reported by Mercury News.

Apple first rented a portion of the building in 2012, though information from property listing services reveal the company did not continuously use the space. Today’s reported lease appears to be a more permanent endeavor, as construction is underway on all floors to make ready for whatever plans the company has in store for the property. Apple logos can be seen throughout the building, the report said.

The new lease expands Apple’s presence in the area. Last year, the iPhone maker snapped up two buildings on the same street, while today’s report notes office space leased in a complex located directly across from the Triangle Building.

Apple owns and leases multiple properties in and around the Bay Area of California, including a headquarters in Cupertino and offices in Santa Clara, San Jose, Milpitas and beyond. Locations range from the high-profile, multi-billion-dollar Apple Park in Cupertino to smaller operations in Sunnyvale, the latter of which has been described as a “black site” by contractors.

Overcooked 2 has just been treated to yet another dollop of free, tasty goodness to celebrate the Chinese New Year this weekend – not that the team needed an excuse with the generous amount of extra content we’ve been getting since release.

Two new playable characters have been added to the game’s roster of colourful chefs – a turtle and this year’s animal representative, the rat – as well as five new themed levels full of all the bonkers cooking antics you’ve come to know and love. Dishes like dim sum, hot pot and fruit platters will also be making their way back onto the menu.

Key Features
– New Chefs: Normally rodents shouldn’t be allowed in the kitchen, but as it’s the Year of the Rat we’ll let it slide. Rat chef is ready to rustle up some fresh festival food alongside Turtle Chef, who is anything but a slow cooker!
– New Levels: There may be a runaway dragon leaving havoc in its wake, but that doesn’t mean the cooking can stop. Players will work their way through five new levels all created around the Spring Festival theme.

While this is the latest free DLC to arrive in the game, you can also grab lots more via the Overcooked 2 Season Pass. This grants you access to the ‘Carnival of Chaos’, ‘Campfire Cook Off’, and ‘Night of the Hangry Horde’ packs, giving you more meals and madness for £14.99 / €18.99 / $18.99.

Do you still love a good night in with Overcooked 2? Let us know if you’ll be checking out the new content with a comment below.

Best Deals This Week

• Pokemon-Like MMO Temtem Can Already Be Snagged At A Discount
• PS4's Free PS Plus Games For January 2020 Announced
• Over 1,500 PC Games Discounted In Huge Lunar New Year Sale