What platform are you on? I use Ungoogled Chromium on desktop (uBlock Origin still works if you install it from GitHub) and Cromite on mobile (some AdBlock built-in), mainly because both of these just give you a clean and compatible browser without any frills. I noped out of Firefox back whenever it was that they started prompting me to make an account to sync every time I opened it, but I still use LibreWolf at work to test compatibility.
I'm kinda strictly against Chromium because I first installed Chrome to break up a browser monopoly that threatened the long term future of the web. I uninstalled it once it flipped from "the browser that's making the web better" to "the browser that's making the company Google better at the expense of the web"
It's not really a political stance, but a pragmatic one. I appreciate that makes it hard to find alternatives, but I can't logically justify using Chrome.
I agree that mainstream games tend to feel more predictable in their mechanics than what we got in the 8-bit era, but I'm not sure that that means they're more boring. There were a lot of crap games that came out in the old days that only seemed interesting at the time because our access was so limited. Nowadays anyone can play thousands of games for free, on pretty much any device, so they can choose to spend their time in the kinds of games that they actually prefer.
I'm not sure it's worth lamenting that the most popular games today tend to have addictive mechanics and otherwise little novelty. Clearly that's what people enjoy. If you are interested in experimental or avant garde games, then that stuff is still out there in the indie scene. Lots of them are bad games, but they still might be good ideas.
There's plenty of examples I am sure people can share on the thread, but here's one that comes to mind for me as interesting but not very fun: Bokida - Heartfelt Reunion. It's a gigantic monochromatic world with impenetrable puzzles and weird geometry that reminded me of those old freescape games like Driller. I don't think I enjoyed it very much but somehow I did play it all the way through and it still sticks in my mind today because no other game I played really did the same stuff. But, then, it's possible that that's just my subjective experience and for someone who plays Minecraft or something similar, Bokida was just derivative and forgettable? I dunno.
There's a lot out there, though. I think we're in a golden age of games! As a kid I could never have imagined having a literal "backlog" of dozens of games I've already bought but not even started yet because there's so much to play.
Isn't this what MUDs are? I tried a few in the early days of the internet and even back then they were like much bigger and more dynamic versions of text adventures of the 80s. For me I bounced off the idea that I had to role-play with other humans - I thought it was far more interesting to chat with other humans about real-world topics - but if you are looking for a large, text-based role-play experience then it's probably worth trying out a few. There might even be some that can be soloed these days, there are so many.
I think the challenge of trying to make an "endless" game using an LLM is the same challenge that all procgen games face - they are boring for people who are seeking a well-paced narrative. There are players who enjoy the mechanics of looting/crafting/trading/etc who will gladly play games where the story is incidental or emergent, but if you're specifically looking for something with a bit more narrative depth, I'm not sure procgen will ever work. Even if there is a system that tries to project coherent storylines onto the generated world, you still need the player to do things that fit into a storyline (and not break the world in such a way that it undermines the storyline!), otherwise the pacing will be off. But if the system forces the player into a storyline, then it breaks the illusion that the world was ever truly open. So you can't have it both ways - either there is a narrative arc that the player submits to, or the player is building their own narrative inside a sandbox.
AAA games try to have it both ways, of course, but it's always pretty clear when you are walking through procgen locations and leafing through stacks of irrelevant lore vs when you are playing a bespoke storyline mission that meaningfully progresses the state of the world.
What I wanted in MUDs was a simple editor to allow people with little technical skill a means to create a world—or extend an existing one. And then I wanted a way to join MUDs together—like if you leave a forest by a certain path you are, unbeknownst to you, rerouted to a different MUD that picks up where the forest left off.
In this way I imagined in time a world larger and richer than any that had come before it—where you could really just keep going, keep playing, never see all of it.
I never got deep into it, but I remember reading magazine articles back in the 90s that that's exactly what the new generation of MUDs were. Wiki has pages on MOO, TinyMUCK, MUSH etc - these are basically platforms where the players themselves can expand out new objects and locations, presumably in a similar way to Second Life or other MMO sandboxes do today.
So the tools already exist, but it seems to me that they primarily appeal to a very specific type of gamer, one that doesn't have much overlap with the type of gamer who would like an "endless" open world or the type of gamer who would like a tightly-plotted narrative experience. I think it's more something that appeals to fans of table-top RPGs, people who are looking for a collaborative storytelling environment.
I think many gamers have the imagination of an epic infinite metaverse style game, but then when they actually get the opportunity to participate in one, it turns out that that's not really what they wanted after all, because it requires a level of creative labor that they weren't expecting. This is why I think the market has naturally segmented into sandbox builders, survival/roguelikes, traditional narrative adventures etc.
My experience was that in practice all that mapped-out world of most social mu*s was largely ignored by players; they'd all end up in a few gathering spots, or in private spaces disconnected from the main map, open only to their owners and people they teleported in.
MUDs are a low-tech version of what I'm describing. It relies on other people being available and generally leverages the usual tropes with repetitive killing-based gameplay.
LLMs are limited today, but one day they may be able to provide the well-paced narrative you're talking about. The LLM would be a skilled fiction writer that would introduce interesting events as I explore the world.
If I decide to go to a bar and talk to random strangers, it could give me interesting life stories to listen without any action. But, suddenly, a mysterious man walks in, gives me a sealed envelope and departs without saying a word... What is in the envelope?
You can do this with regard to a MUD too, but typically out of character
and not every MUD would allow OOC chatting within the game world, as that
is disruptive to those players who seek immersion.
It seems to me as if you may not have found a good roleplaying MUD back when
you played MUDs. You may be missing out on that experience. I retired from
playing MUDs about 11 years ago permanently, but the in-world roleplay was
the only thing that was interesting to me since it was the creation of a
unique storyline potentially involving many other playercharacters.
I think I just don't really vibe with roleplaying in realtime with other humans, to be honest. I grew up trying to play tabletop RPGs (my dad was a DM and used D&D mechanics as a way to make storytime more engaging), but while I really enjoyed making up characters, I never had much fun actually doing a campaign.
The thing I love about computer games is that I can go through them at my own pace, pause whenever I like, hang around looking at a cool visual, go back to an old save and try something different, whatever. Multiplayer takes all that freedom away because everything has to progress on somebody else's timetable, which isn't as fun for me. Nowadays being expected to perform on a time limit just reminds me of work, which is the last thing I want when I'm playing a game.
It is my understanding that muds (and all the flavors of Mush in particular) can sort-of do it, by letting players create their own story through roleplay, supported by an extremely open (and often player-modifiable) world, as well as good admins / GMs.
That is more like "computer tabletop", however, and doesn't scale beyond a small number of players.
This situation is so frustrating to me, and despite my attempts, nobody seems to get why it's problematic. I still have a Facebook account from over a decade ago that I use occasionally to access stuff that is only visible on Facebook, but by the time Insta kicked off I had already decided social media was bad, so I never got one, and it didn't seem like a great loss because I wasn't that interested in looking at other people's photos anyway.
Except now, apparently - and I'm still not exactly sure how - business owners and activist groups and event promoters communicate everything about what is going on via... photos?! I suppose it's the digital version of flyers, except you could see flyers posted up all over town, in all the record stores or cafes you already frequented, friends could hand you them when they saw you out and about, you'd get bombarded with them when you left related events... And none of those situations forced you to enter a heavily-surveilled gated community owned by a spectacularly wealthy foreign company notorious for enabling genocide, live streaming murder etc.
I was at some event a couple weekends ago and an organizer came up to me saying that there was going to be an after and just check the Insta for the address, and I'm like... But I don't have that? Can't you tell me now? And because the site is login-walled even when at some point later in the day the thumbnail did appear, trying to click on it to see the details resulted in the login block and so I missed out.
But I am well aware that I am a teeny tiny minority of people involved in this boycot and so I'm only really hurting myself. The way I've heard it described by activists is that using Insta (or X or YouTube) is like tacitly accepting that we already live in a panopticon and thus all resistance has to take place within full view of the authorities, it just needs to be smart and present itself as something that isn't actually resistance, or that works around censorship using codewords, or this, or that, "just like how it's done in China". And it's like, great, the new generation of western activists who actually still live in a society which grants them some civil liberties have decided they're all doomed to exist under the totalitarian jackboot and practice their resistance accordingly. After all, you can't build a movement out there on the actually free fediverse or the small web where there's only a smattering of nerds.
I don't know if I should be depressed or just suck it up and get that stupid Insta account.
I'm on the same boat as you. Trying to find word about where the good local popup restaurants are, and apparently the only way to do it is to follow a bunch of random Instagram accounts. I finally tried to relent and make an account just to be able to read that stuff, but they wanted me to take a video of myself holding my government ID in order to prove my... identity, I guess? Not sure why that's necessary for an account I never even plan to post with, but it was enough of a barrier for me that I said nevermind. Now I just mention it whenever I'm chatting with organizers/proprietors, but I'm never exactly sure what to suggest as an alternative.
Email newsletters are easy until you want to self-host and between Gmail, live, etc only 2/3 of providers will receive your messages at all and this one guy uses a corporate email address for everything for some reason and their antivirus blocks half the messages you send out despite none of them having attachments or suspicious links, even the ones that have no links at all. Then someone finds your personal email address to tell you that every time they try to confirm their email address by sending back the broken string, your server refuses the connection, so they can't even with up, and they've been trying for months. Meanwhile, someone's spamming people with fake emails sent (spoofed) from your server and opf rules are causing a transactional email sent to your own inbox for every rejected email, and you've given up on trying to respond to any real messages because you just can't find them.
It's depressing to me at least. I guess with things like this it works well if you fully buy in and don't understand or care about the privacy violations and psychological tricks they use. But even if I tried to ignore it, I just end up annoyed by the interfaces or workflows or stuff like that. I guess it's just the curse of having really non-standard preferences
Facebook simultaneously makes it hard for you to access anything without an account (connecting the world?) while also having been known to change people's privacy settings from Friends to Friends of Friends or Public
Zuck, you do not deserve to be spoken of in the same breath as actual internet pioneers
I have seen organizers get stuck in the dopamine loop of focusing on inspiring content that "increases engagement" and getting fixated on moderating trolls that it actually gets in the way of doing impactful work. I definitely on the depression train on this front. It's far worse than digital versions of flyers, people aren't incentivized to focus show up when they can just keep scrolling for their fix.
I "trade" my content in kind -- garbage in, garbage out style -- combining my short form renders on my commute with songs I think will match the rhythm then publish as a music video.
And I'm not chasing clicks, likes, nor monetization on that platform; I was fortunate to ignore FB's SSO with IG as I deleted that account a decade or longer ago.
The funny thing is that YouTube has now enshittified to the point where people routinely DO wait well over 5 seconds to watch the video they actually wanted to watch while interstitials and other commercials are jammed in. Even with adblock enabled, the latest YouTube code won't unlock the first frame of the actual video till some period of ad time has passed so you just sit there looking at a black screen. This on its own definitely isn't enough to get people to leave the platform, but it's still notable how much worse the experience has gotten compared to a few years ago.
On what setup? All YouTube videos load and start playing instantly for me. Every time I've experienced otherwise in the last couple years, it's been my first indication that e.g. AWS is exploding that day
I wonder if it depends what country you are in. I only notice it occasionally when the video won't play in FreeTube or PipePipe (which always has the pause at the start since the last few months) and I'm forced to open an incognito browser tab to watch, and then I realize just how many ads other people are being subjected to before they can even watch the video.
I bet you're using Chrome. Open a video in Chrome and the video is immediately playable, load the same video on the same machine in Firefox and you can expect to wait 5+ seconds for the video to be playable.
I suspect that non-Chrome browsers are being intentionally hobbled
I did a pretty low rigor test and just pulled up one of those 4K videos with the swirling ink in Firefox on my M1 Mac and it seemed to load just as fast. The only difference was that it didn't autoplay the video (because I'm logged out I think) but I clicked it as the page loaded and it played instantly.
I don't doubt at all that Google hobbles their sites on Firefox but at least on my machine they aren't doing a great job of it
I do pay for premium but my impression of the parent was that this was independent of ads. The test I did in the other comment didn't trigger an ad for some reason even though I was logged out, which may be why it loaded so fast.
Ah. The parent mentioned several frustrations that I am not familiar with (presumably since I also pay for premium and don’t block the ads), but my impression was that the delay was caused by the code refusing to play the video until the time slot for the ad had completed even if the ad failed to load (as would happen when blocking the ad http request)
FreeBSD + Waterfox, or Firefox for that matter. YouTube really likes to strangle those who are not in their domain.
If I set my user agent to something like Linux/Ubuntu, it loads just fine. If I set my user agent to some unheard Linux distro, it lags as the same with FreeBSD.
I see it as a neat way for nerds to nerd out about nerd stuff in an experiential way. Like, this is not going to headline a big time rave or festival or anything, but in a community of people who like math or programming or science, sure, why not introduce this kind of performance as another little celebration of their hobby?
Years ago I went to a sci-fi convention for the first time, because I had moved to a new town and didn't know anyone, and I like sci-fi. I realized when I was there that despite me growing up reading Hugo and Nebula award winners, despite watching pretty much every sci-fi show on TV, despite being a full-time computer nerd, the folks who go to sci-fi conventions are a whole nother subculture again. They have their own heroes, their own in-jokes, their own jargon... and even their own form of music! It's made by people in the community for the community and it misses the point to judge it by "objective" standards from the outside, because it's not about trying to make "interesting music" or write the best song of all time. The music made in that context is not being made as an end in itself, or even as the focus of the event, it's just a mechanism to enable a quirky subculture to hang out and bond in a way that's fun for them. I see this kind of live coded music as fulfilling a similar role in a different subculture. Maybe it's not for you, but that's fine.
Basically, this. My first tech job was IT support at the time and ordinary people using their computers for actual work liked them too. I remember the dog/puppy being particular popular. At worst the assistants were seen as charmingly naff, not actively hostile. They were simple for power users to disable and this weird retroactive hatred for them feels more like some kind of nerd bitterness over the fact that normies ever started using computers in the first place. There was plenty of reason to be critical of Microsoft in those days that wasn't their office assistant.
That is, the constitution written by the KMT dictatorship that was awarded the island as spoils of war after the Japanese surrendered to the Allies in WW2.
In the present day, neither the Taiwanese government nor Taiwanese people are in some kind of dispute with the CCP over who owns Gansu province or whatever, they just would like recognition of their already-existing sovereignty.
That's a little misrepresenting history... Taiwan was part of the Qing Empire and Japan took it in 1895 following China's defeat in the first Sino-Japanese War. China got it back after WWII.
Sure, and before the Qing armies invaded it was declared an independent kingdom by a Ming loyalist who was born in Japan to a Japanese mother, and before that there were a couple of European outposts and scattered settlers from Fujian, and before that there were indigenous peoples who themselves are part of an ethnic group that can now be found everywhere from Madagascar to New Zealand.
The point I was responding to was the misleading comment that the people of Taiwan are actually just engaged in some kind of internal dispute with the CCP, which is entirely a CCP framing of the issue. Few if any people in modern-day Taiwan believe that they are the true inheritors of the Chinese mainland. The pretense has to be upheld in order to preserve the status quo, but in practice there is no serious movement staking a claim to any part of China.
> the people of Taiwan are actually just engaged in some kind of internal dispute with the CCP, which is entirely a CCP framing of the issue.
This is broadly true, not just "CCP framing". Obviously because of history and external influence there is also an "independentist" faction.
I don't see why this should be hard to accept unless the aim is indeed a "reframing" to push the independentist narrative, which does not really need it as the status quo mean de facto independence. So perhaps the aim is actually more along the lines of an anti-China narrative.
This comment is so divorced from reality on the ground in Taiwan that it's hard to respond to. Certainly, someone can look at cherry-picked pieces of legislature or historical documents and imagine that they represent some kind of intrinsic truth, but in reality it is simply not the case that Taiwanese people understand themselves as locked in some kind of ongoing civil war with the CCP. The culture has long since moved on from 1940s era politics that even at the time were imported by a minority group from the mainland.
This is so stupid. It doesn't mean anything. History is history. What exists now is that Taiwan is an independent country with its own currency and military, and Taiwanese pay no taxes to China.
If you want to use history as some kind of justification, why don't we go all the way back to when the human race originated in Africa?
This change annoyed me too, enough to look up a solution, but not enough to actually install anything to work around it. I have this thread bookmarked, where someone implemented it in AHK, so if you're running that already it might be worth a try: https://www.elevenforum.com/t/classic-alt-tab-reincarnation....
I use MusicBee for everything too and sounds like my workflow is the same as yours. I basically take whatever is tagged on the file straight out of Bandcamp and then manually follow Discogs-like rules for normalization of the artist name so the directory structure works out, plus adding iTunes compilation metadata to deal with the "various artists" issue, adding BPM, customizing genre and comments etc.
I think I started all this fussiness exactly because back in the old days when you synced to CDDB, you'd get somebody else's useless record label classification for a reissue or international release that obscured the original label, which in certain genres of music is quite important to be able to better categorize the music for auto playlists. Original year is also critical for auto playlists where you're looking for tunes around a certain era. I also have a vague memory of old CDJs or Serato or some damn thing not displaying the name I wanted so having to shuffle stuff around to Composer or Album Artist or something to make it work, and now here I am with custom-tagged all the things.
My problem is I was considering replacing all my 320k MP3s with FLACs, which I have for all my Bandcamp purchases and most of my CD rips (although not from Beatport and other online stores)... but I realized it was going to be absolute hell to try and match the untagged files that I downloaded and put straight into cloud storage with the tagged files I already have in the library. It would need some kind of heuristics to fuzzy match the files with what's already there, then retag them with my preferred tags from the MP3, then move the file into the same location the MP3 is, then move the MusicBee proprietary metadata (play count, add date etc) across, then delete the MP3. I keep thinking there has to be a program or a plugin for this, but seems like not, so for now I've just given up and decided that 320k is good enough, actually, which makes me wonder why I'm keeping all these FLACs around in the first place. Not like I'm starting the Library of Alexandria here, I just like music.
> actually, which makes me wonder why I'm keeping all these FLACs around
Sometime last year, I actually redownloaded all my BC files, and reripped all my CDs (had to re-do genres, but that was fine, I wanted cleaner genres anyway). It’s simply archival. Lossless means you can convert it to whatever file you might want in the future without loss of quality.
This made extra sense for my CD rips, because many of those were from the early 2000s and I made questionable quality descisions ;)
I'm wondering about diminishing returns, because up until switching to FLAC about 10 years ago I ripped all my CDs to 320k and thus only have about 20 files in my "low bitrate" auto playlist that are weird indie or bootleg things that I couldn't bring myself to delete for nostalgia reasons. Is FLAC really all that much better? Can anybody hear the difference? I don't want to spend months awkwardly moving thousands of files around just because it's more useful to a hypothetical future archaeologist version of myself with hearing that got better with age instead of worse...
That said, I wouldn't mind going back and retagging my genres in particular because one of the annoying things is that over the years my perception of the genre of certain tracks has changed, so it might be easiest to just roll back to ID3v1 "we got both kinds: house and techno" genres for the broad category and then cram subgenre keywords into the comment field instead... but it's been so long since I used CDJs that maybe all these hacks to maintain compatibility with different players are moot now. I saw that the latest and greatest DJ equipment just hooks up direct to online streaming services so I wouldn't be surprised if it also had a feature to sync everything to MusicBrainz as soon as you plug in a USB, which makes all the fussing around with legacy tags kind of pointless for a casual who mostly just listens or mixes at home.
It seems like many people online say that there is no perceptible difference between e.g, 320kb/s mp3 and "flac" (which usually means CD-quality 44.1kHz 16-bit). Often sources say something about there being no way it sounds different and then talk about the Nyquist theorem [0].
Personally I don't get it as for me, there is a clear difference not only between mp3 vs. CD, but even between different bitrates beyond that. Maybe I'm not typical as I've been usually listening to stuff through studio monitors and also usually through a recording interface which handles 192kHz and >24-bit.
Definitely I noticed on certain systems you aren't going to notice a difference as the system itself is the bottleneck (i.e, bluetooth). In my experience though if you use the right driver, so ASIO or WASAPI in Windows (or anything in Mac and Linux nowadays), I can tell the difference instantly on recordings I know well.
Most music did not get released in ultra HD but some things are available in 96kHz and beyond. I recommend checking out Radiohead, Bob Marley, or Pink Floyd in ultra-HD ( >= 48kHz, >= 24-bit) as there have been releases. I have found Bob Marley - Legend in 192kHz 24-bit and it sounds incredible. You can hear each individual member of the percussion section.
Pioneer DJ, I mean AlphaTheta, probably don't even know MusicBrainz exists. They're too busy selling subscriptions for RekordBox. And they do nothing to help you with the metadata on your files, besides filtering in browser mode.
I can relate to the problem of revising genre or energy ratings over time. I've gone with custom genre tags for ages, ie "dub/house/techno" or "funk/disco/edits" with a sprinkling of extra qualifiers in the comment field and do bulk updates from MP3Tag/Foobar2k. The extras only really help when preparing "crates" for export to USB for outside use, or when just playing off the entire collection at home. I'm fast, but still not much time to read the comment fields when browsing on the players, much less input any words with the scroll wheel.
I keep every purchase around in FLAC, and the part I might realistically play out stays in AIFF, for minimum fiddling of tags (ie stars map a bit differently between Traktor and Rekordbox) - because of course Rekordbox will warn you you're exporting files you can't play anywhere, but won't do anything to transcode them.
Lossless whenever possible because I just want to give the sound quality as much of a chance as I can when recording sets, especially if they might get posted online and getting lossy-transcoded multiple times. I've tried the mp3 of mp3 thing, and you do hear it at home (out at a gig, most of the time, probably not).
I don't suffer from track bulimia, so the numbers work out - and disk space has gotten a lot cheaper in the last 20 years.
I let this thread go for a while, but just saw your reply and wanted to say thanks for your insight! I am a hobbyist DJ for whom "playing out" just means "on a friend's equipment from time to time" so I probably don't need to fuss as much as I do, but your experience has kinda reaffirmed for me that keeping stuff MP3 is going to be the least hassle.
It really used to annoy me that bringing along just a USB left me with a useless "filenames only" view on old CDJs, and then even when they did read the file they only cached the metadata of a fraction of the tags, which is how I ended up same as you - custom genres with modifiers in the comment. It's not the ideal data structure for organizing your collection at home, but it seems to work the best for bringing music to go.
The core benefit to me of FLAC is that it's lossless. I can convert the same file to an MP3 for the car and OPUS on my phone and don't have to worry about (compounding) losses in quality.
I stream FLAC at home because I already have it there but I can't say it's "better" than 320 MP3s.
I did a re-rip project during Covid because so many of my rips were 128 bit MP3 from back when storage costs drove all CD ripping decisions.
I started ripping before FLAC was a thing, and my first albums are all in 256k CBR mp3. I've never seen a big reason to re-do them. Yes, the files have gone through LAME's acoustic filter so they don't match the original bit-for-bit, but I mostly can't tell the difference. There have been a few times when I got annoyed by audio quality issues, but it's been 50/50 that it turned out those were also on the cd, so either a deliberate choice or a mistake during mastering.
As others say, there is an issue with compounding losses when you transcode mp3 to vorbis or opus, but I've never needed to do that -- and when I export, it's to move the files to lower-quality devices anyway.
320 vs FLAC: unless you are both a mutant and audiophile with the right equipment, you won't hear any difference at all. It's purely for archival purposes for me, that I have the "originals" or as close as possible.
Legacy tags: luckily not an issue for me, I only care about multiple (usually metal) subgenres and that my players show/filter them.
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