“We are legion.”

I’m just perusing my old comments and came across this, 7 months later. This is an amazing article, thank you.

Honestly less frantic gameplay sounds good to me, I got sick of the “oh god they’re after me now I fell oh well try again” parts of the gameplay. I might take a look. Thanks!

I played the first game and thought it was okay but not great. What were the changes? Maybe they’ll suit me since I’m not so attached to the original.

Okay, that’s all very interesting and I love the idea about dynamic music, I’ve had similar thoughts myself but wouldn’t have thought to go this far to make it happen. I’d love to see what you come up with!

My only real thoughts are about the transpiling, so the editor uses relative time codes but the format itself uses absolute, if I understand you, and you’re converting between the two?

That to me hints of code smell, because I wonder why that’s necessary. For example, could you program the editor to display and work in absolute time codes, or is there something stopping that from happening?

Alternatively you could simply make the format capable of natively understanding both relative and absolute commands, so whichever is more appropriate to the context is what gets used.

Keeping them different seems like it will require you to program two formats, make them compatible with one another and deal with bugs in both of them. Essentially you’ve not only doubled the number of places where bugs can arise within the formats, you’ve added the extra step of transpiling which also doubles the number of interactions between the formats, adding even more complexity, even more places where inconsistencies can show up, even more code to sift through to find the problem.

It’s the sort of thing that shows up in legacy systems where the programmers don’t have the freedom to simply ditch one of the parts.

Personally if I had the freedom of programming the system from scratch I would rather commit completely to a single format and make it work across the entire stack, so then I only have one interpreter/encoder to consider. That one parser would then be the single point of reference for every interaction with the format. Any code that wants to get or place a note for any reason - for playing, editing, recording, whatever - would use the same set of functions, and then you automatically get consistency across all of it.

Edit: another thought about this: if you need some notes to be absolute and others to be relative, it might be worth having an absolute anchor command that other commands can be relative to, and have it indexed, so commands are relative to anchor 1, 2, etc. Maybe anchor 0 is just the start of the song. Also maybe you could set any command as an anchor by referring to its index. That way you can still move around those commands in a relative way while still having the overall format reducible to absolute times during playback. Also a note “duration” could just be an off command set relative to its corresponding on command.

I say that because as another principle I like to make sure that I “name things what they are”. If the user is programming things in the editor that are relative, but under the hood they’re translated into absolute terms, that will probably lead to unexpected behaviour.

The argument could be made that because the image generator is essentially a regurgitator with no artistic interpretation, there is no transformative artistic value in it. It’s like applying a filter with extra steps.

Also the generators charge for access, so they are profiting off of the IP. That’s quite different to making something for personal use or releasing it for free.

Honestly a lot of this post is very inside-baseball with a lot of lingo, and the last paragraph is very dense, so it’s hard to know what you mean, especially by the term “transpiler”. What is it transpiling to & from, and where does this happen in the overall process of implementing the editor?

I’m sorry I don’t have a lot of insight other than: it sounds like you know better than anyone here, so just try it and see what works. Sometimes rewriting a system is unavoidable as you figure out the logic of it.

Also as someone with some interest in programming my own physical MIDI instruments, I’d be interested to hear what limitations of MIDI you’re talking about and what your system does differently. It sounds like you’ve got a pretty advanced use-case if MIDI isn’t up to the task.

Got them working, and was pleasantly surprised to find most of them had flatpak installers! Manual saving is still a pain but the engines running smoothly does make a big difference.

Although the dark forces installer doesn’t work with the steam install so you have to copy the game data to the data folder to make it work.

Honestly anything to deal with the horrendous friction and instability of the original would be welcome. Even modded I think I had to stick with 4:3 which even with black bars was still not quite right on my modern system. It would have to be a better experience, even if I have to re-learn manual quicksaves.

And I’ll keep saying this: you can’t teach a neural network to understand context without creating a generalised context engine, another word for which is AGI.

Fidelity is impossible to automate.

I just found Shockolate, a GPL-3 source port of system shock:

https://github.com/Interrupt/systemshock

I actually really appreciate someone clarifying the chronology of these games, I’ve got them all in my steam library and can never remember the order they go in.

Do the OS remakes have any QoL improvements? I tried playing through them recently and had a very hard time with the manual save system since I’m used to autosave points in linear games like that.

He proposed a moon cannon. The moon cannon was wrong, as wrong as thinking an LLM can have any fidelity whatsoever. That’s all that’s needed for my analogy to make the point I want to make. Whether rockets count as artillery or not really doesn’t change that.

Cannons are not rockets. LLMs are not thinking machines.

Being occasionally right like a stopped clock is not what “fidelity” means in this context. Fidelity implies some level of adherence to a model of the world, but the LLM simply has no model, so it has zero fidelity.

Interesting article, but you have to be aware of the flipside: “people said flight was impossible”, “people said the earth didn’t revolve around the sun”, “people said the internet was a fad, and now people think AI is a fad”.

It’s cherry-picking. They’re taking the relatively rare examples of transformative technology and projecting that level of impact and prestige onto their new favoured fad.

And here’s the thing, the “information superhighway” was a fad that also happened to be an important technology.

Also the rock argument vanishes the moment anyone arrives with actual reasoning that goes beyond the heuristic. So here’s some actual reasoning:

GenAI is interesting, but it has zero fidelity. Information without fidelity is just noise, so a system that can’t solve the fidelity problem can’t do information work. Information work requires fidelity.

And “fidelity” is just a fancy way of saying “truth”, or maybe “meaning”. Even as conscious beings we haven’t really cracked that issue, and I don’t think you can make a machine that understands meaning without creating AGI.

Saying we can solve the fidelity problem is like Jules Verne in 1867 saying we could get to the moon with a cannon because of “what progress artillery science has made during the last few years”. We’re just not there yet, and until we are, the cannon might have some uses, but it’s not space technology.

Interestingly, artillery science had its role in getting us to the moon, but that was because it gave us the rotating workpiece lathe for making smooth bore holes, which gave us efficient steam engines, which gave us the industrial revolution. Verne didn’t know it, but that critical development had already happened nearly a century prior. Cannons weren’t really a factor in space beyond that.

Edit: actually metallurgy and solid fuel propellants were crucial for space too, and cannons had a lot to do with that as well. This is all beside the point.

We need to go deeper.

Okay, this is a deep cut, literally, but that’s what a salt mine looks like.

Wait, open world, specific upgrades needed to access new areas and progress the story… I think Subnautica is a secret metroidvania. It’s just most of the upgrades are “you can go deeper now”.

Welcome!

Yup, and honestly even according to that anti-art logic it was a strategic failure. Funny meme gifs were part of how the game gained notoriety, but you don’t maintain a game long term on meme status alone.

Even if “haha funni physics glitches” were still the in thing - I think people got over them fast, like with any comedy style - the longevity of the game came from the deep mechanics and impressive missions people could do, and the community support.

I actually think that sequels to breakout sandbox games are always doomed to fail. Like what if they tried to release Minecraft 2? It would be awful, and I think we all instinctively know it would be, which is kind of a self fullfulling prophecy.

Minecraft doesn’t have a monopoly on the special sauce that makes their game good. It has a decade and a half of support and cultural recognition from a dedicated following. You can’t make that happen a second time. I don’t like what’s been done with the franchise commercially, but they figured out how to milk it without doing a direct sequel, which I think is part of why it’s still relevant.

If you like factory designing games, I can recommend anything by Zachtronics.

They’re all esoteric programming/automation type puzzle games, and they all have their own unique solitaire games built-in for whenever you get tired of the main game.

My personal favourites are SpaceChem - scifi molecule factories - and Opus Magnum - steampunk alchemical molecule factories. Something about the molecules just works for me, don’t know why. Plus the Opus Magnum solitaire game is really unique and fun, and it has a user-made level feature, so you can keep playing.

Last Call BBS is a collection of minigames they made as their final release before shutting up shop, so it’s a lot more casual than the others, but a lot of fun.