> Its like building a gigantic factory farm. And then realizing that environment itself is the birthing chamber and breeding ground of superbugs with the capacity to wipe out everything.
After seeing the news interviews with him, I thought the same. He did seem a little burned out to me after dedicating his entire life to Stardew for so long. Really impressive that he still has the energy to start an entirely new game!
Especially since he has been adding free content to Stardew Valley after its release, also adding online coop (with help from his publisher). I would have expected him to take a long break and enjoy the fruits of his labour, but as a gamer I'm happy to see him back and whatever is creating is a day 1, closed box purchase for me.
I have bought a few games purely out of support for how the developers approach making games. This will be one of them. Open Sewer by Loiste interactive was another one, INFRA was such a unique breath of fresh air that I bought Open Sewer even though it wasn't quite my kind of game.
It's crazy how they messed up, the original Toshiba press release is super clear and even leads with this list of key points for media to use right up top:
-New dual band stabilisation technique cancels the problem of temperature and strain fluctuations to allow long distance quantum communication
-Quantum key distribution demonstrated on fibres of record 600km length
-Significant advance towards building a global quantum internet
I don't see how the third follows from the second, wouldn't a Quantum internet that spans the globe always require point-to-point physical links between any two parties that want to trust each other?
Why would it need to be end-point to end-point? Just have routers continuously build up entanglement with their neighbors, do entanglement swapping along packet-switched paths, and then use the entanglement to teleport via the classical internet.
Unfortunately, even if they did that, a lot of their other products would suffer as things like Assistant etc. depend on the personalised data collected from their users internet traffic.
Yeah, no real need to worry about things like chromatic aberration etc, a cheap old manual focus telephoto would give similar results at much less cost. Something like an old Vivitar perhaps
@Synaesthesia, True. You could recreate the effects using Photoshop. And yet, you could create many more images in the same amount of time using the rig. With the rig you're working at the time of image capture to discover what's an interesting image in low-resolution without preconception. Magic! Conversely, using Photoshop you're working to draw, paint, this low-resolution style onto an existing photo.
This is why people use those same Game Boys to make chiptunes instead of using a good softsynth. It might be possible to make a perfect replica of a Game Boy sound chip in software, but it's still not the real thing.
Thanks to careful and dedicated developers like blargg and kode54, there are in fact fantastic, potentially perfect software replicas for many video game console audio chipsets. Game_Music_Emu comes to mind, with at least the SPC700 core featuring cycle-accurate emulation of the DSP and certainly near perfect audio output.
Even then, though... maybe 'perfect' is a misnomer. What one may have looked at as flaws initially, such as the phosphorus glow and curvature of a CRT, composite artifacts, low sample rate audio, and even the behavior of analog chips that could change depending on just about everything including room temperature are not really viewed as flaws or imperfections anymore; rather, they've become part of the personality of a machine. Software nowadays can emulate almost all of these aspects to some degree, but even so, the "feel" of a physical device is hard to replicate 100% in software.
When it comes to listening to audio, it makes no difference to me if the audio was produced by a highly accurate emulator or the original hardware; however, maybe for production, the feeling is different in some way. After all, humans are producing the music, not robots. The atmosphere of holding a Game Boy connected to a bunch of audio equipment is certainly a lot different than sitting in a DAW with an emulator (assuming software exists to marry those two kinds of things... maybe via MIDI or something?) - nobody doubts you can produce the exact same thing, or at least something that is nearly impossible to tell apart. But maybe the question is, would you? It's possible the environmental influence leads to different outcomes.
Right now I'm unsure. I know plenty of music I've listened to in the chiptune realm was written and produced in Famitracker, possibly using a combination of overclocking and special chips that would either be very difficult or impossible to rig up in the physical world. So I guess maybe the answer is that it depends on the artist, the song, and probably a host of other factors. But it's fun to think about, anyway.
>> The atmosphere of holding a Game Boy connected to a bunch of audio equipment is certainly a lot different than sitting in a DAW with an emulator (assuming software exists to marry those two kinds of things... maybe via MIDI or something?)
Most chiptune-inspired synths come in VST format. They run inside the DAW. I usually just put something together in Serum when I want a chiptune-esque sound, but I used various chip synth VSTs before I had Serum.
None quite match the feel of composing in Mario Paint on a friend's SNES decades ago.
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