alt.confident.assertion.question.doubt.disagree

;)

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I developed the cel shading effect for the Dreamcast game 'Looney Tunes: Space Race' (developed by Infogrames Melbourne House) literally during the first week we had access to a Dreamcast development kit. Infogrames Sheffield (devs of Wacky Racers) were shown an early version of our implementation, and added the similar effect to their game. It looked great, but went into their game pretty late in production, so the game hadn't really been optimised for it the way that ours was.

And the folks behind Jet Grind Radio came up with the effect on their own as well, and beat both of us to market. They were using exactly the same algorithm, but were using it in a very different way; they were fully embracing and leaning into the uneven, wide and jagged outlines, where Sheffield and we were fighting against them and trying to match a more uniform and traditional art style.

And then only about a year later, somebody seemed to have figured out how to make the edge-detection cel shading approach work in real-time on Xbox, for the game "Dragons Lair 3D". I had done a test implementation of that approach on the Dreamcast, but it wasn't nearly performant enough for us to run it on multiple characters at once while playing a game too! Not sure whether it was due to the Xbox being more powerful or them just having a smarter algorithm than mine, but you can't argue with their results! If you're making a game that you want to look like an actual hand-drawn cartoon, that is still absolutely the best quality way to do it, IMHO.

Someday I'll find an excuse to try my hand at implementing one of those again. Performance shouldn't be a problem at all any more, I imagine!

To reach 'causation' would require intentionally giving your experimental subjects Covid-19 (and in a way that didn't result in them knowing they'd had it!), and that's unlikely to pass muster with the ethics review board.

> [...] for many writers, writing a book is about the last thing they should do (unless they feel a book bursting out of them, much like a facehugger).

Now, as we all know, the aliens that burst out of people in the Aliens franchise are called 'chestbursters'. "Facehuggers", by comparison, are hatched from alien eggs.

So in this metaphor, since we're told that novels are facehuggers, the writers must be the eggs. And by process of elimination, we can deduce that the innocent starship crewmembers being attacked by facehuggers (novels) are innocent readers.

The metaphor actually contradicts the author's main thesis, since every egg (writer) does in fact contain a facehugger (novel). But contrariwise, all the human characters (the rest of us) would be much better off if those novels just stayed inside the writers and didn't insist on being written or read.

Metaphors are like scissors; they're twice as much fun when you run with them!

I'd really love to be able to specify whether I want absolute or relative numbering (or both or neither); the :set commands don't seem to be implemented?

"Craftsman" was originally a store brand used by Sears, under which it sold tools that Sears contracted various third parties to produce.

In 2017, Stanley Black & Decker purchased the "Craftsman" trademark from Sears (Sears Holdings at the time), giving Sears a long-term royalty-free license to continue producing and selling tools under that trademark (I think that license lasts for about another decade at this point? And then there'd be a small royalty payment for using the trademark beyond that point.)

As a result, several different stores now each carry tools all called "Craftsman", they're generally not the same tools; different stores sell different tools produced in different places, and all sell their own versions of the tools under the same "Craftsman" brand name.

This undoubtedly causes absurd levels of consumer confusion. As you say, it's absolutely causing tremendous reputational value for the trademark.

I was really curious about how they would handle 'rewinding' a film reel between plays; assuming 16mm film, I figured, it would have been about 30 meters of film, so I wondered whether you could splice it together into a full loop and concertina it inside the cabinet so that it doesn't actually require rewinding between plays, and can instead just keep playing it continuously in a forward direction, and... after a bunch of Internet trawling, I found a forum post by somebody who had purchased and restored two units, that's exactly what they'd done! (I had my calculations about the length of the film wrong, though; apparently the full film is only about 10 meters long, which would definitely make it easier to wrangle the loop!)

The world of these older electromechanical arcade games is seriously cool; so much history and ingenuity here that I hadn't been aware of!

The game synced dynamic computer graphics on top of pre-recorded laser disc background video. The "somehow switch to footage of the enemy aircraft crashing and burning" was, unsurprisingly, accomplished by simply jumping to a different track on the laserdisc, and typically happened when you completed one level and were about to begin the next.

I've never played it myself, but the gameplay actually looks surprisingly similar to Atari's vector graphic "Star Wars" game.

Or maybe not surprisingly once you notice that Firefox was created by the same team who had made that Star Wars arcade game the year before, and would go on to make the also-similar Empire Strikes Back arcade game the following year. I guess if you've got a winning formula, don't mess with it too much!

I remember once standing at a booth at the MacWorld Expo looking up at the massive display of a newly released game "Jump Raven" in which you were tasked with flying a hovercraft through city streets, shooting baddies, and all that usual video game stuff. I commented to the random guy standing next to me, "It looks a bit like Apache Strike, doesn't it?", referring to an old helicopter sim from like eight years earlier which had used a very similar viewpoint and game mechanics, albeit with only fairly primitive black and white graphics. And that random guy standing next to me turned and said, "I'm allowed to plagiarize from myself". Oops! (Sorry, Bill, I hadn't realised you were the programmer on Jump Raven too!) :D

Interestingly, for Riven (Myst's sequel) they were still using Hypercard to author the game, but the game no longer ran through Hypercard; instead, it ran on a custom C++ engine which ran on the data files output by the Hypercard authoring tools.

Where I have had problems has been on the Mac, where the system default "Terminal.app" or popular alternatives like "iTerm2.app" can each be catastrophically slow if you have a lot of control codes (as in, for example, rapidly paging through a large document in vim with an intensive color scheme active), and it could just take noticeable fractions of a second to redraw a fullscreen terminal window.

Moving to a faster terminal emulator like alacritty or kitty did make a good quality of life improvement for me in that specific use case.

"Craftsman" was never a company. It was a trademark under which Sears sold tools which they hired various tool manufacturers to produce for them.

Black and Decker bought the trademark from Sears in 2017, but don't use the trademark themselves; instead, they licensed the name right back to Sears for 15 years for free (that license will expire in 2032), and Sears (now Sears/Kmart) is still using it the way they used to; getting tool manufacturers to produce tools for them and selling them to consumers under the Craftsman badge.

So it depends on how you want to look at it? Sears never actually made the tools themselves, and don't own the trademark any more, but they're still the ones using the trademark and they're still selling tools made in the same way as they did before. So.. nothing's really changed? Except that the ownership of the name has been transferred to a different company.