I'm keeping myself busy working on my BitGrid architecture, I aim to route around the 80 years of technical debt started by John von Neumann. One of his first casualties was ENIAC, which was slowed down by about 80% when it was "improved"[1]
BitGrid[2] is a green field approach, and I need an accountability buddy to keep me focused. Replacing everything is hard.
I've got a backlog of games I want to make, both board and video games. Working on a couple smaller video games right now, but I'd be able to spend more time on them, and maybe even hire an artist and/or musician to make assets for them.
Also I might finally have the time to get back into making music and learning art that I could eventually make games with good enough art/music of my own that can actually attract people's attention, instead of just sometimes being serviceable enough that it doesn't look like a tiny step above programmer art (and the music isn't just kinda boring)... I've released games with both before, and I will again, but it'd be nice to have the time to actually make them kind of decent without resorting to a minimalist art style (flat textures and basic shapes and typography).
Besides that, I would love to have the time to start learning something a bit more academic, maybe climate or environmental science. Maybe I can figure contribute there in some tiny way.
Thanks for sharing. Really interesting projects. I myself had some fascination about game dev but it's just too much of effort to create art assets. Nowadays it's a lot easier for artists to create games instead of programmers, unless I don't care about art, which makes it even harder.
You can pay for art or team up with an artist, or just stick with minimal art styles and games that can get away with it (like puzzle games can often get away with it, although they also tend to make less money on average).
A pitfall with teaming up with an artist is there's no guarantee they're going to stay motivated to work on the project (it can happen for me too, I take long breaks sometimes, why I haven't really tried to team up with anyone lately even though I have years ago). I've had a couple games I've had to scrap because the artist lost interest or had things going on in their personal lives.
There's also paying for art, but that's a bit of a risk, especially with a lot of people either reselling the same art assets with slight tweaks to a bunch of people, using generative A.I., or just selling you art assets they took from elsewhere. So you need to do your due diligence and verify the work of an artist and their skills before you employ them. I have a couple friends that I know that I'm planning to hire to fill in some gaps of my art when I nail down the rest of two of the games I'm working on.
You can do a minimalist art style too, but that doesn't always grab people's atention, so it's a risk. You can make things look more interesting with a lot of movement and animation 'juice' though, instead of making everything static. Two of the games I'm working on use a pretty minimalist art style. One is a modern refresh of a game I released 20 years ago that got millions of plays as a Flash game that I released with (frankly not great) art, so it's possible to make games people will enjoy without amazing art.
But you're really not wrong at all that artists seem to have better luck learning just enough code to use a modern game engine like RenPy or something than vice-versa nowadays, and seem to enjoy a lot more success. Or they can just make beautiful board games, which don't require coding at all and gamers are even more drawn to great art than they are in video games, imo.
If I did not need to work and was financially secured, I would dedicate my time to learn and master the craft of parsers, compiler design and implementation, and research new design patterns and algorithms for Garbage Collection.
projects which give an immediate return, and not the mediate return of the salary.
leisure/schole != lack of projects
(my project, like mikewarot's, is to greenfield Informatics as if we hadn't incurred the path-dependent legacy of [pragmatically driven by miniscule machines of the time] decisions made in the 1960s; unlike his I'm making a totally different likely-wrong set of other decisions :-)
EDIT: hnthrowaway0328, finding fossils (in the right strata) is nearly trivial. Challenge: find some Ediacaran fauna!
With a little luck I'll get ~3 decades more than JvN did, so I have a slim hope that schlep with chutzpah* can make up for lack of brilliance over time!
(that'd be ~8 startups/doctorate programs, so the goods are odd even if the odds are not good)
Should be somewhere in The Origins of Order (as if that narrows anything down!) — keep in mind that I may not even have the original vocab correct, just the basic idea that recombination keeps a population from getting stuck in local minima. (Combined in my head with bacterial taxis: tumble while you're in a food-rich environment, pick a direction if not, and keep straight while gradient is increasing)
I think finding them has the most fun. I'll probably also collect some good trilobite fossils if I can find some. But I believe reading reports -> figuring out where the location is in modern map -> finding exactly the same spots -> finding some fossils mentioned in the reports is the best part.
I'm keeping myself busy working on my BitGrid architecture, I aim to route around the 80 years of technical debt started by John von Neumann. One of his first casualties was ENIAC, which was slowed down by about 80% when it was "improved"[1]
BitGrid[2] is a green field approach, and I need an accountability buddy to keep me focused. Replacing everything is hard.
[1] https://en.wikipedia.org/wiki/ENIAC#Improvements
[2] https://github.com/mikewarot/Bitgrid
Sounds very interesting, it reminds of an NPU. Any visualization of how it works?
I've got a backlog of games I want to make, both board and video games. Working on a couple smaller video games right now, but I'd be able to spend more time on them, and maybe even hire an artist and/or musician to make assets for them.
Also I might finally have the time to get back into making music and learning art that I could eventually make games with good enough art/music of my own that can actually attract people's attention, instead of just sometimes being serviceable enough that it doesn't look like a tiny step above programmer art (and the music isn't just kinda boring)... I've released games with both before, and I will again, but it'd be nice to have the time to actually make them kind of decent without resorting to a minimalist art style (flat textures and basic shapes and typography).
Besides that, I would love to have the time to start learning something a bit more academic, maybe climate or environmental science. Maybe I can figure contribute there in some tiny way.
Thanks for sharing. Really interesting projects. I myself had some fascination about game dev but it's just too much of effort to create art assets. Nowadays it's a lot easier for artists to create games instead of programmers, unless I don't care about art, which makes it even harder.
You can pay for art or team up with an artist, or just stick with minimal art styles and games that can get away with it (like puzzle games can often get away with it, although they also tend to make less money on average).
A pitfall with teaming up with an artist is there's no guarantee they're going to stay motivated to work on the project (it can happen for me too, I take long breaks sometimes, why I haven't really tried to team up with anyone lately even though I have years ago). I've had a couple games I've had to scrap because the artist lost interest or had things going on in their personal lives.
There's also paying for art, but that's a bit of a risk, especially with a lot of people either reselling the same art assets with slight tweaks to a bunch of people, using generative A.I., or just selling you art assets they took from elsewhere. So you need to do your due diligence and verify the work of an artist and their skills before you employ them. I have a couple friends that I know that I'm planning to hire to fill in some gaps of my art when I nail down the rest of two of the games I'm working on.
You can do a minimalist art style too, but that doesn't always grab people's atention, so it's a risk. You can make things look more interesting with a lot of movement and animation 'juice' though, instead of making everything static. Two of the games I'm working on use a pretty minimalist art style. One is a modern refresh of a game I released 20 years ago that got millions of plays as a Flash game that I released with (frankly not great) art, so it's possible to make games people will enjoy without amazing art.
But you're really not wrong at all that artists seem to have better luck learning just enough code to use a modern game engine like RenPy or something than vice-versa nowadays, and seem to enjoy a lot more success. Or they can just make beautiful board games, which don't require coding at all and gamers are even more drawn to great art than they are in video games, imo.
I think a better title would be "What would you do if money is not a concern for you"
If I did not need to work and was financially secured, I would dedicate my time to learn and master the craft of parsers, compiler design and implementation, and research new design patterns and algorithms for Garbage Collection.
Teach physics to geology enthusiasts so i can land a government contract involving fossils..
(I dont need those contracts, i just desire them. Which gov is interested in fossils? The right gov)
Marginalia Search: a non-profit amateur search engineer
The same ones I work on now, just without the need for a day job.
Thanks, glad that you like what you are doing.
I dont get it. projects that don't involve work? projects without need?
projects which give an immediate return, and not the mediate return of the salary.
leisure/schole != lack of projects
(my project, like mikewarot's, is to greenfield Informatics as if we hadn't incurred the path-dependent legacy of [pragmatically driven by miniscule machines of the time] decisions made in the 1960s; unlike his I'm making a totally different likely-wrong set of other decisions :-)
EDIT: hnthrowaway0328, finding fossils (in the right strata) is nearly trivial. Challenge: find some Ediacaran fauna!
Challenge 2: if you haven't already, work through the Feynman Lectures: https://www.feynmanlectures.caltech.edu
Hopefully one of you will supersede von Neumann, in one mega Step
With a little luck I'll get ~3 decades more than JvN did, so I have a slim hope that schlep with chutzpah* can make up for lack of brilliance over time!
(that'd be ~8 startups/doctorate programs, so the goods are odd even if the odds are not good)
* to get SAK's long jumps in fitness space
Citation for SAK? (Im getting hints that the keyphrase is “Big Step (vs Small Step) semantics)
Case study here of phoneboothknifefight elevated to a streetside assassination attempt? Positively Getting holyroman here…
You may be familiar with the following characters :)
https://news.ycombinator.com/item?id=42135916
CH should be optimally hilly for the Odding in the next 3 decades :)
(More frank/brian herbert refs TK)
Should be somewhere in The Origins of Order (as if that narrows anything down!) — keep in mind that I may not even have the original vocab correct, just the basic idea that recombination keeps a population from getting stuck in local minima. (Combined in my head with bacterial taxis: tumble while you're in a food-rich environment, pick a direction if not, and keep straight while gradient is increasing)
if you don't need to work (professionally)
What would you do with the fossils?
I think finding them has the most fun. I'll probably also collect some good trilobite fossils if I can find some. But I believe reading reports -> figuring out where the location is in modern map -> finding exactly the same spots -> finding some fossils mentioned in the reports is the best part.