Old Yoda Coder. Co-coded Reality Construction Kit game engine on Commodore Amiga. Making #MoonDogsArcade (indiedev 1990-1996) FullyBandaged Autistic Aphantasia

England.
Joined November 2012
If I put unicorns in my game it'll make it too soft, so what if you eat unicorns in the game, then it's too mean.. no happy medium! #gamedev
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Current measurements show an absolute magnitude of 2.9 which makes it brighter, and potentially larger than Ceres. But further observations are needed across the spectrum to get a better handle on its properties. This will be another mini world on the edge of our solar system
Did we find a new dwarf planet? @VRubinObs has revealed a new dwarf planet candidate that orbits our Sun beyond Pluto! And it may be among the largest and brightest objects discovered in this region of the Solar System: stanford.io/4exr85u
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Click the link and turn it up to 11!
Welcome to the Mesmoscene: Our love letter to the 80s/90s demoscene, built with #threejs, #WebGPU and TSL labs.mesmotronic.com/three-m… #Demoscene #AtariST #Amiga
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ステージの横幅を広げて、自機の左右移動にカメラが追従するようにしました。 今回は敵や弾を出さず、ステージだけの描画です。 これでリアルタイムに3Dレンダリングしていることがわかりやすくなったと思います。 色数が厳しい……。
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Since 1979 I've saved many documents and relics from my gaming journey. My name is Tim Stamper, I'm the co-founder of Ultimate Play The Game, Rare and FortuneFish. It's finally time to let go of my reputation for secrecy... 👀
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If you take 100 mg of melatonin 1-2 hours before a CT (CAT scan) or PET scan gives you protection from radiation exposure during the scan‼️
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A PET scan finds cancer by injecting you with radioactive glucose and watching where it goes. The tumour lights up like a Christmas tree. The healthy tissue does not. The machine that diagnoses your cancer is, mechanically, a sugar detector. The thing it is detecting is the thing the cancer is eating. Your oncologist will then hand you a leaflet recommending complex carbohydrates as part of a balanced recovery diet. Read that twice.
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#msx2rockcityのゲーム会社時代のつぶやき #グラディウス おそらくグラⅣの中でも最も凝ったボスで、人気も高いボスである高速ステージのローリングコアのソースが見つかったので、当たり判定ボックスシューティングで再現してみた 7面ー高速ステージの担当は私でしたが、ボスは私と入れ替わりに退職していった方のプログラムです
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One of the best things about indie games is that nobody asked for them. No meeting of people in suits decided your game should exist. You just wanted to make something cool that you love. Never forget that's your biggest strength You're indie. Be weird, be raw, be authentic! ❤️
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Who remembers Cauldron on the ZX Spectrum. spectrumcomputing.co.uk/entr… It looks much better with bordered sprites and a small engine rewrite by an AI tool! And it runs on the Spectrum Next wonderfully. All the nostalgia, and only rose tinted a tiny amount for modern times!
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Server side on the ZXDB browser is doing a fair amount of heavy lifting. Its grabbing the games from their zip files and, because the Spectranet only supports tap and sna it'll attempt to auto convert tzx and z80 before download too (can't guarantee that'll always work though).
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A guy offered a little high five on the escalator, and the wholesome reactions from strangers are so precious.
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Added more graphics settings. Default = everything on = hits 90Hz on Steam Deck OLED and 60Hz on iPhone 15 Pro. This video shows how all the lighting settings impact the image. Sky occlusion is the most impactful. Claybook didn't have it.
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At Ensemble Studios, a coworker (who later went to id) and I would work on laborious, janitor-like tasks for months on end. A lot of mind numbing low-level console porting work, asset optimization, shader and engine optimization, etc. AI would have made this much faster. The Age 3->Xbox 360 port and especially the low-level networking rewrite/bring-up (which I did) was particularly brutal.
I'm not sure a lot of people understand what game coders actually do. We're not spending 9 hours a day finely hand crafting artisan software and expressing our inner dreams... 90% of the time we are fighting compilers and existing architecture, having to work out how undocumented code works, and tracking down obscure bugs and behavioural issues. Most of game programming is just difficult, tedious, laborious grunt work, and the cognitive load we have to endure to get anything done is tiring and frustrating. No game coder is doing it for this 90% of the job. We make games because the 10% that IS actually about making things fun and expressing ourselves is so incredibly rewarding it makes the other 90% bearable. Now imagine if there was a tool, some kind of AI agent maybe, which could do most of the 90% grunt work for you, leaving you to just make all the decisions and express your creativity. How amazing would that be. How completely revolutionary would that be.
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Devwill, para ZX Spectrum. Trabalho que venho fazendo nos últimos meses, desde antes de finalziar a versão de Master System, na qual esta é baseada. Devido as limitações da máquina optei por outra estética: predominantemente preto e branco lembrando o cinema Mudo PB.
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22 kilobytes. I often think about the technical limitations that game designers had to work with in the 80s - both in terms of software and hardware. To me, the game that stands at the very top is Elite (1984). Elite is smaller in data size than many modern text files or desktop icons, yet it lets you freely explore a multi-galaxy-spanning universe that felt gigantic and virtually limitless. Think about this for a second: The core game code on the BBC Micro version has roughly 22 KB of memory. The C64 version from 1985, which I played as a kid, isn't much bigger. Now think about what Braben and Bell turned those few kilobytes into: a massive universe with eight galaxies, each containing 256 star systems (for a total of 2,048 planets per system). Each system featured unique details: government type, economy, technology level, population, commodity prices, and even descriptive text. Oh, and by the way, the game also rendered 3D wireframe ships, stations, and planets in real time on a 2 MHz 6502 processor. This is no slight on today’s game designers. They work with what they have, and that's okay. But when I think about the worlds that some old school programmers created with the tools they were given, it sometimes breaks my brain trying to to even remotely understand how they did it. Not megabytes, not gigabytes... kilobytes!
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Replying to @ClassicAdvertz
Chocolate before they ruined it with palm oil
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Cobra is one of my favourite #movie tie-ins on the #ZXSpectrum The smooth, parallax scrolling still holds up today and the humour and spot-effects are equally brilliant. It's just a superbly crafted game courtesy of the genius of Jof. #retrogames
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Hidden in plain sight. 80s developers often went beyond what was generally accepted as a system's limit. They were true pioneers, pushing systems way beyond their initial hardware restrictions. Geoff Crammond is probably best known for his stroke of genius when designing the Formula One Grand Prix games. However, his talent was visible much earlier when his game Revs (1985) was released. The most remarkable thing about it was how it hid code in the sky and used extreme memory-packing tricks on a 32KB 8-bit machine. Because of the BBC Micro’s memory limits, Crammond stored part of the actual game code inside the screen memory area. Normally this would show up as garbage pixels. Instead, he used timer-based palette tricks so those “garbage code pixels” were forced to blue. They disappeared into the sky and became invisible during play.This is the famous “code in the sky” technique. Revs is widely regarded as a landmark of 8-bit programming efficiency and a key ancestor of modern sim racing.
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⚡️ Google DeepMind just unveiled Genie 4, an AI model capable of generating photorealistic, interactive 3D worlds in real time, complete with physics, sound, and human dialogue. The next great leap in AI is the industrialization of experience. And it changes how intelligence evolves. For billions of years, intelligence developed through contact with reality. Organisms acted, encountered consequences, adapted, and survived. The physical world determined which behaviors worked. That process was extraordinarily slow because experience was expensive. AI is beginning to separate the acquisition of experience from the passage of physical time. A machine can enter a generated environment, make decisions, fail, adapt, and repeat. Thousands of simulated lifetimes can be compressed into the time required for a fraction of one human lifetime. Now consider what happens when the intelligence generating those environments is also improving. Agents become more capable. More capable agents encounter the limits of their training worlds. World models become more sophisticated. Those improved environments support another generation of agents. Intelligence begins participating in the construction of the conditions that produce its successor. But the deepest mechanism lies beneath that feedback loop. Evolution has always depended on an external judge: reality. Organisms cannot negotiate with gravity, rewrite chemistry, or persuade nature that a failed adaptation succeeded. Synthetic worlds introduce a new vulnerability. Their rules come from models. An intelligence can become extraordinarily successful inside an environment whose assumptions are wrong. The civilization that masters this technology will need two things simultaneously: virtually unlimited synthetic experience and a relentless connection to physical truth. That combination is the prize. A system encounters reality, learns its causal structure, generates millions of variations, tests interventions, and returns to reality with increasingly effective strategies. Every physical experiment becomes the seed of countless computational experiments. Every discovery expands the range of experiments worth attempting. The bottleneck shifts from how much intelligence can remember to how quickly intelligence can discover which actions actually change the world. That is the larger significance of Genie 4. The path now leads toward machines that develop capabilities through experiences no human ever had, test strategies no human ever conceived, and compress years of trial and error into computational cycles. And the most consequential implication is this: Human civilization advanced because intelligence learned to manipulate its environment. The next phase begins when intelligence can also manufacture the environments through which it learns to manipulate reality. That is a fundamental change in the mechanism of technological progress.
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Other work by the Ladybird artists ‘Autumn scene’ Artist: Ronald Lampitt
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