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Of Carbon and Silicon
Wednesday, 22 December 2010
Nintendo DSi + Stylus + Extra Time = 1 subpar FlipNote

At about this time last year, I wrote about flipbooks, FlipNote Studio, and the animator, Yoichi Kotabe. Well, Kotabe-san has no relevance to this entry, but I would like to review the rest of that post.

As three days from now will have been one entire year since I've had my Nintendo DSi, I can now say without fear of contradiction that FlipNote Studio is not my favourite programme.
I anticipated that people would not take the application all that seriously, drawing stickfigures, bouncing cubes, stuff sprouting out of the ground -- but, I couldn't have been more incorrect. I forgot to take into account the sort of person Nintendo attracts: Japanophiles with knowledge of anime. Also, it seems that more than a few people have figured out how to use FlipNote Studio as I've done with Microsoft Paint -- how to make pixel art with it. People have managed to recreate sprites from Super Mario Bros., The Legend of Zelda, Metroid, Kirby's Adventure, and other NES games and used them to make demonstrations of their aptitude for level design. Some people use spriting to make dramatic serials involving characters from videogames.

...And, of course, there's a website to showcase all of this. When one finishes one's animation, one can connect to the Internet and post to FlipNote Hatena.

One year ago, I anticipated using FlipNote Studio in my spare time (that is, any time I'm not composing or improvising music). It seems to me as though more than a few people's lives have been wholly absorbed by FlipNote Studio. Me, I've done some stage-falling stickfigures and a lip-synching crash dummy. Someone else, they've done dramatic tales of Mario embarking on a Legend of Zelda-like quest to rescue Princess Peach from Bowser or Wario (or Luigi doing the same for Princess Daisy).

It's rather like hearing about so-called "homebrew" software for Wii. You know it exists and you've seen demonstrations, but you can't possibly fathom how it was accomplished, as the skill level required to make it is far above your own. There are things that I will never understand that others can do in their sleep.

Now that I've had a year to try it out, I've decided that FlipNote Studio is very much beyond my grasp.


Posted by theniftyperson at 10:52 AM CST
Tuesday, 21 December 2010
Addressing a reader's concern

I've recently received an e-mail from an Of Carbon and Silicon reader, expressing a concern about the advert banner. The issue at hand was the item/service shown there -- the banner's content was not, shall we say, "family-friendly".

Foremost, I am not in control of the advertisements you see on the blog or the website. Google Ads is used to show advertisements on this and most other websites. If I had it my way, there'd be no adverts at all, but that would require spending $X0.00 per month on the website, which is not something I'm prepared to do at the moment.

Anyway, back on topic. I should like to mention at this juncture that Google Ads' primary tool in determining what adverts to show you is your temporary Internet files folder. There are cookies there which tell the Google robots what sites you visit, allowing them to guess at the adverts to which you are most likely to respond. If you've been to, say, GameFAQs.com, you'll get adverts for gaming sites and software emulation. If you've searched Google Images for "Leonardo diCaprio", you'll get links to movie sites and rumour-mills. If you've gone to GirlsWithBigKnockers.net (is that even a real place?), you're going to see adverts for dating websites and certain 3D chat services (I'd mention which, but the robots would find it and display the particular advert which generated the concern in the first place)

My best advice to you, if you're using a household computer, is to clear out your temporary Internet files folder after every session. This can be done in Internet Explorer through Internet Options (Tools > Internet Options). I'm sure it's possible on Firefox, also.
On the Wii Internet Channel or the DSi Browser, this can be done from the Settings menu (on Wii, Settings > Delete Cookies; on DSi, the same and History > Delete All -- Wii Internet Channel does not keep a browser history list).


Posted by theniftyperson at 2:50 PM CST
Updated: Wednesday, 22 December 2010 11:25 AM CST
Thursday, 16 December 2010
On this, the 20th day of inactivity on here...

I thought I rather ought to post summat, as it's been ten days shy of a month since I posted last. Not that the last entry was all that interesting, of course... nothing you didn't already know.

Mostly, this entry today concerns Nintendo (as per usual -- though none of the usual things I talk about).

For several months, I had been tussling with a malfunctioning R button on my super-ultra-über M4D 1337 nifty Metallic Blue Nintendo DSi. Around-about the end of last month, I figured that, since I've gotten myself some DS games for Christmas, it would be in my best interest to have the console functioning within optimal parameters. So, I file a repair ticket with Nintendo and send it away for maintenance. Fast forward a couple of weeks. I get a notice from UPS that a parcel has arrived from California (where Nintendo's repair contractors have their HQ), so I get to the UPS customer centre and find that I have indeed received a box of the approximate size and shape of a Nintendo DSi, and that it is indeed from Minilec Systems LLC, and that the receipt that came with it has all of the necessary markings to prove that it was an authorised Nintendo shipment... however, it is not my Nintendo DSi. Oh, yes, it is a Limited Edition Mario Metallic Blue colour, it does have all of my DSiWare on it, it even has my screen name and motto. But, it is not my console. Someone saw fit to, presumably, dispose of the console I sent and then post me a new, identical one. Rather than send away to Nintendo's Chinese manufacturing house for new parts, they just replaced the entire console.
I don't claim to know how a DSi works, never having seen one with an open chassis, but are the shoulder buttons really so integrated into the console that they cannot be individually replaced?
Fortunately, as I had registered my original DSi with Club Nintendo, I had the extended warranty, which meant that I paid naught for anything -- the UPS shipping label, handling charges, repair charges, nothing. And, everything that I had sent to California returned to Nebraska: DSiWare, DSi Sound recordings, saved data of most kinds. It was just rather unnerving at first -- like I was in possession of someone else's DSi, which is a cardinal sin among 1337633k 64m3r n3rd2.
My mother put it best, I think, when she said this about it:
It's like, someone comes up to you, takes your handbag and empties it into an identical one, then gives you the new one and makes off with the old, empty one.
Not that I would know, of course, but I imagine there are parallels between the two scenarios. If one's attachment to one's handbag is anything like my attachment to my Nintendo stuff, then she's rather hit the nail on the head, I'd say.
Anyway, in retrospect, I do think that I've come out on the top end of the deal. My old DSi was looking a bit worn -- an adhesive blemish from where I applied and then later removed a Mario sticker, a scratch on the Touch Screen from the time I accidentally dropped my keys on it at KZUM last year, uber-fingerprints on the chassis -- and Nintendo were considerate enough to replace the entire console with a shiny new one, completely free of charge, mostly on my claim that the R button wasn't working.  Does your manufacturer do that? Eh? Eh? Five green asterisks for Nintendo! *****

Next, if you've seen the homepage recently, you'll be aware of my change-over from wired broadband to Wi-Fi. With this new change (summat I should've done years ago), I can now use my DSi and Wii consoles for their intended purposes! I must say that I've been hitting the DSi Shop and Wii Shop Channel rather hard lately... on Wii, I've recently acquired Super Mario Bros. (and 2), Super Smash Bros., and The Legend of Zelda: Majora's Mask. On DSi, I've only gotten another bad music editing programme (which is not Nintendo's fault so much as the developer, HB Studios'). I don't suspect anyone realises that there are composers out here who have DSis, rather than iPhones. Where are the notation apps for DSiWare?! NoWare! Er... nowhere.
Anyway, Wi-Fi has done wonders for my Wii console. Apart from the Shop Channel, I'm finally making use of the News, Forecast, and Internet Channels. The former two came with the console back in '07 and I downloaded the Internet Channel with Super Mario World, 1080, and Ocarina of Time back in March '09.
Also of note is the Netflix Channel. I've used it to watch several episodes of Monty Python's Flying Circus, Fawlty Towers, and Stargate Atlantis. Then, last night, I discovered Wallace & Gromit in a Matter of Loaf and Death on the Channel, too (which, I might add, is not quite as good as A Close Shave or The Curse of the Were-Rabbit -- still, it's the best we're going to get until at least 2015).

Right, then. Perhaps I'll have a new entry for January 1st...


Posted by theniftyperson at 11:23 AM CST
Friday, 26 November 2010
Trek Tech: It's here, so how do we use it to make our lives better?

First, a retrospective.
The year is 1964. The Cold War is in full swing and communist paranoia is at a fever pitch. The USSR and the USA have been competing for domination of Outer Space. Now, I'm sure that every politician from that era (were they not all dead by now) would tell you otherwise, but the spoils of the so-called "Space Race" was, indeed, to have been military conquest of Earth from Space. Of course, the scientists' main focus (at least those scientists without security clearance) was development of new technologies which would allow Man to explore Space, which, at this point, was the only thing Man could see which hadn't been completely explored and colonised. Propaganda films were being made on both sides, concerning the importance of launching new spacecraft before the other side.
However, in a strange land known as Los Angeles, far away from Moscow and Washington, D.C., a screenwriter by the name of Gene Roddenberry was in the process of creating what would become the single greatest  source of inspiration for inventors and innovators --Star Trek. Little did he know that, upon its premier two years later, it would eventually commandeer the entire genre of science-fiction, usurping such titles as 20,000 Leagues Under the Sea, Lost in Space, even The Jetsons.  Not only that, but people such as Steve Jobs (president of Apple), Will Wright (creator of Spore), and Stephen Hawking (possibly the smartest man on Earth) have all looked to Star Trek for inspiration.
Whilst many advances in medicine, theoretical physics, and sociology have Trek origins, the most well-known examples of Trek science-fiction-turned-science-fact involves computer technology. This will be the focus of this entry (which is bound to get a bit long at this point, so brace yourself or turn back now).

You can probably name three common electronics whose origins can be traced back to the original Star Trek or one of its spinoffs. For example, the standard-issue "clamshell" mobile phone. This design was clearly derived from the appearance of the original Star Trek's communicators, as well as both devices' tendency to make a sound when opened or closed. Many mobile phones (clamshell or otherwise) feature a set of navigation keys arranged in a round or ovoid configuration in the same general area as the dial on the communicators (though smaller and not at all knob-like).
Star Trek: The Next Generation introduced devices called PADDs (standing for "personal access display device"). PADDs came, mostly, in two sizes: general usage PADDs were the approximate size of a paperback novel, engineering PADDs were the approximate size of a DVD case. In 2001, Apple unveilled the iPod -- a device which bore distinct similarities to a general usage PADD (if somewhat smaller). Eventually, the iPod gained a touch-sensitive screen, making it more PADD-like. However, any Trek fan will agree that Apple's most recent invention, the iPad, is more like TNG technology than anything seen before -- right down to its name (amongst Trek fans, it has occasionally been referred to as the iPADD). Other PADD-like devices include the iPhone, most kinds of mobile phones, eBook readers, Palm Pilots, Nintendo's Game Boy, and electronic day-planners.
The voice of the Starfleet computer was provided by Majel Barrett-Roddenberry fairly consistently throughout the entire series (ending with J.J. Abrams' Star Trek in 2009, where she finished recording the computer's announcements mere months before her death). Many mobile devices, GPS devices, and automobiles are equipped with female speech synthesisers -- most of which are, tonally, quite similar to Mrs. Roddenberry's voice.
Other examples of Trek technology-turned-real technology include the Bluetooth earphone (TNG combadges, relocated from the chest to the ear), Skype (subspace video communication), PC and SD cards (original series's record tapes), and Actroid (TNG's Lt. Cmdr. Data).

The most likely reason why Trek technology transcended the fiction/fact boundary is because most of it has a practical function that doesn't require a starship to be useful. Trek isn't solely about space travel, meeting new species, and fighting the Borg. It's also about humanity's own advancements. Science, mathematics, the arts: how people use technology for things other than preventing warp core breaches. PADDs can show the schematics for a particle fusion generator, or they can display the text of Dante's Inferno. Combadges can be used to call for an emergency beam-out, but they can also be used to call people for naught but to see how they're doing.
That could also be used as an explanation for why the series is so popular -- it's not only about danger and problem-solving, but also the human condition.

And right now, in the 21st century, the human condition is "bad" to "worse" than it was in Roddenberry's time. However, the technology which he helped create (thanks to microcomputer research and development firms, such as Apple and Sharp, and communications development firms, such as Cisco) can now be used to make our own lives better, increasing the quality of life of every human in the process.

Consider, if you please, a school in middle America. Their most recent mathematics textbook was printed in 1969, a surplus consignment of which was acquired in 1970 through the passage of a 5,000-dollar bond. Through normal wear-and-tear, each book has been damaged. Some have pages missing, some have bindings held together with duct-tape, some have been damaged beyond repair, and a few have been stolen. The original consignment of 150 books reduced to 75 by 1990. By 2000, that number went down again... there are now only 60 books of the original 150. Not everyone who needed a book had one, causing lessons to become unclear for more students with each passing term. With the passage of President Bush's "No Child Left Behind" Act, which, in effect, punishes the school for the student body's failing aggregate test scores, most of this school's funding has been minimised. Bond issues have been put to the city council for years and have been defeated each time by a mayor who wants to improve the city libraries and parks. The school board convenes and decides that, if something is not done to help this hypothetical school by the beginning of the 2011-'12 term, the school will be shut down.
Now, consider the following. Through a grant from a philanthropic organisation, the school receives a consignment of iPads: one per student, adjustable per semester. Each iPad comes preloaded with eBook versions of texts for mathematics, American and world history, grammar, and foreign language, and also the eBook versions of several books which are on the school's required reading list.
Alongside the iPads, the philanthropic organisation has also provided a computer for each teacher. Using the iPads in tandem with the computers, students are now able to access, complete, and submit assignments electronically. Teachers no longer receive a pile of papers, but emails of assignments from their students' iPads.

Consider this. The director of a symphony orchestra struggles to find all of the parts to the pieces he has selected for the orchestra to play this season. The second violin part to the Bacchanale from Saint-Saens' Samson et Dalila is missing. The trombone part to the Dance of the Knights from Prokofiev's Romeo and Juliet is damaged beyond recognition. Someone stole the conductor's copy of Beethoven's Symphony No. 5.
Now, amend your consideration with this. A software developer has created a music practising programme for Nintendo DSiWare. Through MIDI, the programme is capable of separating songs into their individual parts and only displaying the relevant part to the instrumentalist. Also, the software can detect, through the DSi microphone, where the player is in a song and turn the page automatically.
Now, a conventional Nintendo DSi would be too small to see properly on a music stand, so a Nintendo DSi XL would need to be used.

Consider the following. A doctor admits a patient, Mr. X, complaining of chest pain. He manages to get Mr. X's pain under control, but is uncertain what medicine to prescribe because Mr. X can't remember the name of the medication to which he is deathly allergic. All he can remember is that his last doctor's name was Dr. Jones from Lincoln.
Now, consider this. The doctor goes to his computer and accesses a nationwide patient registry and looks up Mr. X's name. He sees that Dr. Jones noted Mr. X had adverse reaction to codeine.

These are only a few examples of how Trek technology can improve our existence. However, at this stage, even the situations described in these examples cannot, in fact, transpire. The principal problem is one of money. Whilst the technology is there, the means by which to obtain it is nigh unattainable for most people and organisations.
Short of doing away with money altogether, the most plausible and immediate way to make high technology available to the poorest areas is philanthropy. There are a number of philanthropic organisations with the necessary funds or resources to make feasible, at the very least, the first example (involving the school). At the most, these organisations can provide the same technology and the means by which to run it to the poorest areas of third-world countries. However, in this case, the organisation would also need a way to be alerted in case any of the technology requires repair.

Though it may sound simple, there are major obstacles to overcome before Gene Roddenberry's technological utopia can be realised. The first is security, both within the computer and in the physical plane. Security from hackers who seek to create unrest and security from those who are unwilling to see humanity move forward.
The next is sustainability. Though, in the United States, this is more of a political obstacle. The uber-wealthy oil industry spends millions, if not billions, of dollars every year to ensure that any alternative energy proposal is quashed before it can gain momentum in the political process. Of course, lobbying of this kind is not the only obstacle to sustainability -- there are some who believe (though in error) that alternative energy is a waste of resources ("solar energy fails when the clouds come in", "windmills are a danger to birds", et cetera).
The greatest obstacle, however, is philosophical. Are we, in the developed countries, really entitled to dictate how the rest of the world conducts its affairs? Do we have the right to barge into a so-called "third-world" country and force technology down their proverbial throats? Is technology the stock in which we really want to invest our planet?
Until these problems can be solved, Trek technology will remain fiction to billions of people.


Posted by theniftyperson at 5:15 PM CST
Tuesday, 9 November 2010
March 20th, 1964

I've always thought that I would prefer going back to the beginning of my life (1988) and starting over, doing everything again verbatim. However, I've started to think, perhaps, I should go earlier.

Why, exactly? Well, the thought occurred when I was researching Koji Kondo and the Super Mario Bros. aboveground theme last week. Another reason why the theme was so instantly contagious and, thus, eternally catching is because of its novelty. Nowadays, we take videogame musical scores for granted... there's even a specific set of awards given for excellence in videogame music.
Back when Kondo-san was a new hire, music wasn't a priority for arcade game developers. There was only so much memory available for storage of sprites, backgrounds, physics programming, and sound effects. Any music in the game would have been very, very short -- perhaps one or two measures and certainly only one "instrument" (typically a triangle wave).
Super Mario Bros. was, as far as I know, the absolute first side-scrolling adventure game the world had ever seen. Compared to Donkey Kong, the six songs in Super Mario Bros.' soundtrack would have seemed like Vivaldi's Four Seasons. No one had ever given serious thought to original music for a game before.
Without totally rewriting the previous entry -- suffice it to say, novelty did play an important part.
So, the thought that had occurred to me was, perhaps I would do better as a composer in the very early days of videogaming... say, early '80s?
I decided on this when I found myself striving to get my Roland Fantom X6 to faithfully recreate the original Mario theme, as performed by the NES's sound processor. In this day and age of stereo sampling and acoustic modelling, I managed to achieve the old square and triangle waves from the 1980s on a synthesiser containing a velocity-sampled acoustic grand piano sound. I daresay my recreation is passable, right down to the whitenoise cymbals (except I used an electronic pulse instead of a square wave for the melody line... but, I digress).

See, if, when I shuffle off this mortal coil in seventy years or so, I decide that I'd rather restart from 1964 (providing I still had the same environmental factors to lead me to composing music), I would be 18 in 1982. I could move to San Francisco or even Kyoto, then I could give 22-year-old Koji Kondo a run for his money! I wouldn't want to be better than Kondo-san, but I think I could compose fairly memorable music for games, too.

I guess the reasoning behind this is purely selfish in nature. I'm not making a satisfactory mark in the world as a self-published composer of new age music in the 21st century. If I manage to retain my music skills the next time 'round, I could achieve u83r m4d 1337 notoriety amongst g4m3r n3rd2. The only drawback is, I wouldn't have the advantage of my current musical influences -- Junichi Masuda, Jerry Martin, Mark Mothersbaugh, even Kondo-san, himself, 'cos all of the songs I like to reference in my own work will not have been written yet! I would still have my classical influences: Mozart, Chopin, Dvorak, Debussy, and Wagner -- I would have to draw from them almost exclusively (though I can think of a few disco and classic rock songs to reference, as well).

There is something to be said for starting over from 1988, though... there are still a few bugs need ironing out, some mistakes need righting.
Maybe the time after next...


Posted by theniftyperson at 10:30 PM CST
Updated: Thursday, 11 November 2010 9:38 AM CST
Friday, 5 November 2010
Ah... so that is how that works!

As has been mentioned before, Super Mario Bros. is turning 25 on the 11th (six days from time of post).  This is a rather nifty time here at SebasTECH -- it's not every day that the world's greatest game turns a quarter-century, after all.

Anyway, rather a lot's been going on concerning the Mario Brothers recently.

A. The new Luigi page went live a couple of weeks ago,
B. I'm currently working on the new Mario page,
C. Nintendo are re-releasing Super Mario All-Stars (that old Super NES game with the entire NES Mario series on it) for Wii
D. Thanks to the miracle of music pirating, I've been able to find seven new Mario game soundtracks... I wish I'd known about them last year, when I still had a radio programme (and one that didn't need to be micromanaged by SoundExchange at that).
E. The Super Mario version of The Mind's Rubbish Bin is coming along swimmingly.

Amongst other things.
But, the main reason why I'm writing this is the Super Mario Bros. Aboveground theme (also called the "Overworld theme", the "main theme", and the "Mario theme"), composed by Koji Kondo.

Yes, again.

I began this artistic quest to learn all there is to know about game music composition shortly after I had written my first song, Murder Mystery, back in 2002. I decided that the best way to go would be to learn how Koji Kondo wrote the Super Mario Bros. theme.

For quite some time now, I've been doing research into not only the theme, but the composer. Kondo-san, apparently, had no formal classical training in music. He had been interested in the electronic organ since he was five (1965) and had been taught how to use it, but apart from that, he had no particular dedication to the playing or composing of music. His primary course of study was in Osaka University's art department. Evidently, the only reason why he was hired by Nintendo in the first place was because they were desperate for new hires in the sound programming department and had to set their sights fairly low (no insult intended to Kondo-san, but Nintendo didn't even require any demo tapes -- as a composer, I pride myself on professional demonstrations of my skill). Regardless, he was hired in 1984 and was instantly immersed in scoring and SFX programming for the NES game, Golf... if you could call it "scoring" (meaning, drafting a piece of music involving several different instruments -- the Famiri Konpyuta could only produce three sounds at any given time, music or effects.

Still, despite all of this: technical constraints on sound programming, the man's lack of training in music theory -- he mananged, in 1985, to compose what would become the most popular theme in the world. In all of my research, my question remained the same...

"How?"

The answer to my question came in the form of an interview on the Super Mario Bros. 25th Anniversary website between Nintendo president, Satoru Iwata, and the three composers in charge of Super Mario Galaxy 2: Ryo Nagamatsu, Mahito Yokota, and Koji Kondo. According to the website, the Super Mario All-Stars Limited Edition (the one that you have to pre-order) comes with a soundtrack CD containing several of the Mario franchise's most influential pieces of music. Needless to say, the primary focus of the first part of the interview was how Kondo-san writes music. One of his methods, once he thinks he has finished a piece, is to put the MIDI sequencer on infinite loop and listen to the piece indefinitely, sometimes for hours. If, after that time, he can't find any problems with it, the piece is finished.
Also, speed and environment of gameplay is important as well. If the level in which the music is heard is meant to have a lot of running and jumping, Kondo-san will compose what he calls "athletic" themes (viz. the music to Yoshi's Island #3 in Super Mario World). If the level is to take place on an island, the music should reflect a tropical island atmosphere (referencing reggae, perhaps). He also stressed the importance of the first two measures of a song. In videogames, particularly those of the Third and Fourth Generations, the player wants to know what to expect from an unexplored level before he does any exploring. Particularly in Super Mario World, Kondo-san ascertained that the player could deduce what was coming simply by listening to the first one or two measures of the level's background score. A leisurely walking pace in Donut Land #1, a speedy jumping pace in Yoshi's Island #3, a stately swimming pace in Forest of Illusion #2. Plus, if something special was happening, such as a bonus level being reached, he wanted the song to reflect that as well. The Switch Palace themes, for instance.

Finally, after all of those revealing statements about how he composes music, Kondo-san addressed the Super Mario Bros. aboveground theme directly.
The beta gameplay demo for Super Mario Bros. involved Mario walking about in a wide-open (albeit, two-dimensional) field in front of a blue sky. The prototype aboveground theme which he composed for this setting was, as he described it, like a brisk stroll. However, once obstacles began to be added to the field, the strolling music no longer fit the environment. Ultimately, Kondo-san wanted the music to time well with Mario's necessary jumps. He wrote several more prototypes before arriving at the final score, which was heard in the game, itself.

So... my research has yielded the following answer to my question: "How does a man with no formal training in music compose the most popular theme in the world?"

He let the course designers dictate how the song should sound, simply by their placement of obstacles within World 1-1. If the first Goomba were placed on the other side of the first pipe, the song would sound drastically different. The song also needed to time well with Mario's necessary jumps, to clear walls and pipes and things. Next, the first measure of the song needed to convey what the player was likely to find in the level: were they going to be jumping a lot? Yes. Then, the song needed to be short enough to loop at least twice in a level that should take two minutes to clear, but long enough to stop it being repetitive. Finally, the song needed to be catchy enough, in the event that Mario should be defeated at the home stretch, for the player not to throw their controller to the ground and shout, "I quit!", but rather, "Okay, almost -- let's do that again!"

My artistic quest has come to an end. I now know enough about Koji Kondo's composing style to write game music, myself. Hopefully it's inspired you as well.


Posted by theniftyperson at 8:45 AM CDT
Wednesday, 3 November 2010
Oh, good graphics...

Hey, guess what, my astonished reader? Someone in California is making a great scene over "violent videogames" again. To borrow a phrase, "well, lah-dee-freakin'-dah!" It seems to be a regular quarterly cycle for these people: every holiday season, some new blockhead crawls out from the skirting-board and starts giving the standard outdated complaint about how violent games are corrupting our children... well, not my children -- I haven't got any. But just a few short years ago, I did qualify as one of the impressionable minors who was having his mental abilities suppressed by the playing of interactive gaming devices.
I suppose, in that respect, the argument has changed somewhat. What was, in the '80s and '90s, an umbrella attack on gaming in general has become more specialised to target only the "violent" ones.

Anyway, I shan't go into a great, long manifesto defending games and debunking bad science, 'cos I've already done that, probably twice in the past. A quick perusal through the nether pages will yield my thoughts on the matter.
Suffice it to say, there are just some people who are anti-gaming: typically middle-aged men of religion or science whose most recent gaming experience was the original Pong back in the '70s. Basically none of the people who come out with these decidedly one-sided anti-game studies or who support them in ill-fated legislation have any idea what they're talking about. They wouldn't know Mario from Master Chief. My suggestion when you consider getting your son that game for Christmas: don't listen to your priest or your congressman. This situation is exactly what the ESRB rating is for. What's in the game? The "E" or "T" or "M" will tell you exactly what you need to know, without divulging any of the game's plotline.

Don't let a faceless panel of pediatric psychologists and clergymen make your decision for you. End mannequinism!


Posted by theniftyperson at 12:01 AM CDT
Updated: Saturday, 6 November 2010 11:53 AM CDT
Tuesday, 2 November 2010
The sword on my wall

The sword on my wall, 
The mark of the otaku.
I'm now a true geek.

Though only plastic,
A Halloween costume prop,
A sword, it remains.

The status symbol
Of the nerdly pinnacle,
The height of geekness.

A greater effect
Even than the Post-It Notes,
The notecards and tacks,

The Sims advert leaf,
The crash dummy that I drew,
Violin keychain,

Mario pictures,
Tacks placed in star shape patterns,
Passwords on notecards.

The geekish icon,
Which nothing can hope to match.
Straight out of cosplay.

Cost but seven quid,
Still, I wrote haiku for it.
The sword on my wall.


Posted by theniftyperson at 12:23 AM CDT
Friday, 29 October 2010
Quarter-Century for Super Mario Bros.

In the United States, it will have been 25 years since the release of the original Super Mario Bros. on November 11th. For those who aren't keen on figures, that puts the US release date on November 11th, 1985. Since that time, the game has been re-released several times. In 1993, its graphics and sounds were updated (along with those of its two direct sequels) and released as Super Mario All-Stars on the Super NES. In 1999, it was ported to the Game Boy Colour with a few extra features as Super Mario Bros. Deluxe. In 2005, to co-incide with its 20th anniversary, it and several other NES games were ported to Game Boy Advance. And, most recently, it was re-released in its original form to Wii Virtual Console, where it is currently the service's most-downloaded game.

Now, one may think, "Twenty-five years? That's a quarter of a century! Two and a half decades! A Third-Generation antiquity!" Nonetheless, Miyamoto-san's ground-breaking adventure game remains mainstream in one form or another. For this reason, almost everyone of any age group is mostly familiar with either the original game or one of its innumerable spin-offs. I can prove it. We shall use my recent Halloween costume as an example.

Now, even though I wrote on Of Carbon and Silicon a few days ago that I would be the musical entertainment at a local Halloween party for kids dressed as Luigi, I changed my mind at the last minute and went as Mario, instead (sorry, Luigi mate -- I'll dress in green next year). I didn't need to explain my costume to anyone, I didn't need to explain why I was imitating Charles Martinet in speech, I didn't need to introduce my signature musical piece for any reason at all. Literally everyone in attendance (parents and pre-kindergarteners alike) immediately identified me as Mario and the piece of music I was playing as Kondo-san's Super Mario Bros. Theme.  And, yes, I was doing my impression of Charles Martinet's "Mario" character voice, rather than imitating, say, Bob Hoskins or Lou Albano or Toru Furuya. The kids all recognised the character voice because they weren't around for the pre-Martinet era (the oldest attendee, I worked out, was born in 2006).

But, the thing I really want to address is Kondo meijin's theme to the Super Mario Bros. overworld (informally known simply as the Mario Theme). In 25 years, many composers have had an opportunity to re-arrange the theme in some way (with Kondo-san, himself, being the most frequent contributor). In an official capacity (meaning, anything heard in a Mario game), I know of several games with at least one remix of the theme. I can recall eleven offhand: Super Mario All-Stars, Super Mario 64, Mario Golf, Super Smash Bros (64 through Brawl), Super Mario 64 DS, Super Mario Sunshine, Luigi's Mansion, Super Mario Galaxy, and Paper Mario. That doesn't count the number of times the unaltered Super Mario Bros. version has appeared. Sometimes Koji Kondo is the arranger, other times another composer is (Mahito Yokota was in charge of arrangements on Super Mario Galaxy).
Apart from that is the Starman's theme (informally known as Invincibility), which also originated in Super Mario Bros. The only times to my knowledge that this theme was not used in any capacity in a Mario game was in Super Mario Land and Super Mario Land 2 on the Game Boy (Super Mario Land's invincibility theme was the "can-can" from Jacques Offenbach's Orpheus in Hades; Mario Land 2's was a remix of Totakeke's Super Mario Land 2 theme). Otherwise, it has made an appearance somewhere in most games which bear the Mario franchise name.
That's the mark of a good videogame composer -- that he can write music that everyone will recognise for years, decades, centuries after the first release. Most game music just falls into obscurity. A jolly decent tune to whistle along with whilst you play the game, but once the connector pins on the cartridge break and you don't play for years, are you going to remember the overworld theme to Princess Tomato in the Salad Kingdom? Rather unlikely.
Huh? "Toejam & Earl"? They were a pop group from the '60s, right?

One quarter-century after the first four noise banks were heard to squelch out the Super Mario Bros. theme, it's still recognisable and fairly popular. 25 years after Mario picked up the first Super Mushroom, people still know who he is.
Amazing stuff, really.


Posted by theniftyperson at 10:40 PM CDT
Updated: Saturday, 30 October 2010 12:45 AM CDT
Monday, 25 October 2010
Quite a number of updates lately

Y'know what? Adobe really ought to sell the ITC Benguiat typefaces to Microsoft. I'm getting tired of using Verdana and Trebuchet MS all the time. But, that's not why you're here...

I've made quite a few updates to the website recently... The Sims page, which is entirely new; a few small rewrites to the Inspector Gadget  and Mario pages; and an overhaul of the Luigi page. All of these occurred within a few short weeks of each other.

Also, I've decided not to release The Mind's Rubbish Bin on a single page or series of pages, but rather to integrate them into new pages regarding the same subject (Star Trek TMRB would go on a Star Trek page).
In fact, that's pretty much what I'm doing already. I talked a few months (maybe nearer to a year) ago about giving the website a singular focus. I realised yesterday, as I was scouring the Internet for Luigi trivia, that it already has one.
The purpose of the rather long-winded articles that I have on the site isn't to be a second Wikipedia. Rather, each page has a set of otherwise worthless trivia on it (the "Trivial Information" sections). In fact, there's a lot of trivia to be had in the articles, themselves.
The site's focus is trivial, inconsequential information. In effect, a giant TMRB.
For that reason, I think that Spiny McSpleen's Nifty Website v.3.0 will be called The Mind's Rubbish Bin. Nothing will really change but the name.

"Select a chapter": Mario, Luigi, Charles Martinet, Star Trek, GoldenEye 007, Weird Phobia Names, Haiku Error Messages, pick one and knock yourself out... with knowledge!


Posted by theniftyperson at 3:16 AM CDT
Saturday, 23 October 2010
The Eighth Generation edges nearer

As you may recall, back in June was this year's Electronic Entertainment Expo (also, more commonly known as "E3"). A number of forthcoming games for Wii and Nintendo DS were announced, as well as the unveiling of the first Eighth Generation console, the Nintendo 3DS.

Some people might argue, "No, it's not the Eighth Generation -- it looks practically the same as the Nintendo DS Lite, but with a wider upper screen and a thumbstick, it's backwards compatible with DS games and with the DSi Shop, and it has 'DS' in the name."
All of these statements are true (except, perhaps, the DSi Shop one... no one really knows at this stage). However, all who saw the 3DS testimonials and the interview with Miyamoto-san from E3 will know that the 3DS has an enormous number of technological advancements, relative to its predecessor, the Nintendo DSi.
Apart from having a new menu screen and a pair of cameras, DSi was identical in technology to the DS Lite, which was a condensed version of the Nintendo DS. Still very much a Seventh-Generation device.
However, the 3DS will have a thumbstick (akin to the "controller nub" on Sony's PSP), video-recording capabilities, new games which will not be compatible with previous DS models, and (the star of our show) the 3D display. All the glitz of 3D films, but without the glasses. Definitely an Eighth-Generation device. But, I digress.

Somewhere on the order of thirty-five new games were unveilled at E3 as well, intended for the aging Seventh Generation consoles. In particular, Donkey Kong Country Returns, Kirby's Epic Yarn, GoldenEye 007, The Sims 3, Epic Mickey, Metroid: Other M, and The Legend of Zelda: Skyward Sword for Wii.
Well, a fair amount of time has passed since E3. Enough time, some would speculate, for the design and programming crews to finish their work on these games. This has proven to be the case on many of the E3 games.  Metroid and Kirby have been released now. Toys R' Us claims an in-store stocking date of November the 2nd and 9th for GoldenEye and The Sims 3, respectively. Nintendo's website returns a release date of November 21st and 30th for Donkey Kong and Mickey, respectively.
Fortunately, no further information on the subject of Zelda: Skyward Sword has been provided. "Fortunately?" Yes, for those who don't think Wii has overstayed its welcome just yet.  As I mentioned on that entry of mine back in July, the trend over the past two generations has been to release two Zelda games per console. DS has had its games: Phantom Hourglass and Spirit Tracks. Wii has had only one thus far: Twilight Princess. When Skyward Sword is released, Wii will be living on borrowed time.

Of course, there is no cardinal set of rules governing when gaming consoles will be obsolete. That's entirely up to the crew who work on the new consoles. Wii could have ten more Zeldas released for it before the "Nintendo 512" comes out. If the crew needs more time to shoehorn all that technology into less real-estate, Wii could last until 2020 (an unprecedented lifespan for a gaming console, of course -- 14 years).  Then again, Nintendo could announce Wii's successor at E3 2011 and release it a month later.
The point is, Nintendo is highly unpredictable in this field. Looking at "typical" stuff, ever since Super Mario World, there has been only one Mario platformer per console. Wii has had two: Super Mario Galaxy and Super Mario Galaxy 2 (an exception, I guess, would be Super Mario Land and Six Golden Coins on the original Game Boy -- both are platformers).  Nintendo could surprise everyone yet again with a third Zelda. We just really don't know.

All we do know is that the Nintendo 3DS inches ever closer to completion.  Anticipated games are being released like bullets from a Gatling gun. The Eighth Generation is upon us!


Posted by theniftyperson at 1:23 AM CDT
Wednesday, 20 October 2010
Various things that I typed today

Descartes, Bastonia... The sun rose in the east and the clock tower in the square chimed 8:00. Spiny McSpleen woke up with the idea that today would be just like any other day...
...but, what he didn't plan for was... that... er... he was right.

Not a very exciting plot for a novel, eh?

Anyway, linking mentally to 10/10/10's post, I forgot to mention something of monumental importance. Whilst there are only twelve triple numbers every 100 years, one of those happens to be a sextuple number.  Now, those who are familiar with certain "reality shows" where women have "sextuplets" (very real, that) will know that the prefix sex- means "Six" (as opposed to the homonym, which means something completely different). Next year, on November the 11th, will be this century's only sextuple number -- 11/11/11.  And, of course, all of those other obscure mathematical days afterwards.

Next, did you know that Toys R' Us runs the most thorough background check on potential employees than any other firm or government entity? This is, most likely, because registered paedophiles ought not to work in toy stores. On the application, it even says that people's attempts to hide their past from Toys R' Us Corporate will fail.

I think that's all...


Posted by theniftyperson at 7:37 PM CDT
Updated: Thursday, 21 October 2010 6:06 PM CDT
Tuesday, 19 October 2010
Today... er, yesterday. Tomorrow?

It's not really a proper blog, this, is it? Most people use their blogs for stuff like game reviews or news articles. The crap on this blog is what Facebook, MySpace, and Twitter are for. Mind you, none of those websites even existed when Of Carbon and Silicon went live for the first time back in 2005!

Anyway, onwards to lesser and greater things. Wait... never mind.

So, it's a jolly good thing that I've finally chosen which new mobile phone to get... because my current mobile phone died today. Not like "dead battery", like "time for a hardware upgrade". Like "no longer capable of functioning within established parameters". Cue the Marche Funebre by Frederic Chopin.
Well, between the time when I actually get my new mobile and now, I had to have a stopgap. An emergency mobile. A Tracfone from Walgreens fits the bill. I had to initialise it today in order for it to work... which meant forty-five minutes on the line (the land line) with a series of computer prompts and access codes.
That's really why I bring this up. I mean, you don't care about my mobile phone -- you come here to read about my own experiences with and opinions of life in general.

I'm quite used to dealing with computerised answering services, through experience with my college loan debts. Banks and lending firms seem to enjoy having their customers pressing buttons and saying "Yes", "No", and "English" in response to prompts. That way, they get more money at the end of the pay-period not having to pay actual people to do that kind of tedious work.
So, I ring up the number with which I was provided on the little leaflet thing with the initialisation code on. At first, it sounds like just another run-of-the-mill pre-recorded set of computer prompts. But, as I listen to the announcer, I start getting more and more creeped out by the minute. At the end of the deal, that announcer's voice is now firmly entrenched in the uncanny valley.
"Why?" you might ask...
I thought I noticed an odd thing about the way the announcer would say words. I finally figured out, he was saying the word "Tracfone" exactly the same way each time. Whilst pitch would fluctuate depending on the usage, inflections would not.
It finally hit me when I was receiving my activation code. The announcer was providing the code in nonsegmented strings of numbers. "Nonsegmented", in this case, meaning that it sounded as though the announcer was reading it from a leaf of paper. Pre-recorded prompts use short voice clips -- announcers for these will be asked to recite numbers as though they are all in the middle or end of a sentence. In effect, when you get on the line to a recording and it lists numbers, it will be segmented, as though each number is its own sentence. The Tracfone announcer was not doing this. I was provided with strings of three numbers at a time, read as though the entire string was a sentence. I came to one inescapable conclusion...
The Tracfone answering system announcer is a speech synthesiser.
The only other alternative was that the numbers in all Tracfone activation codes come in the same strings of three numbers, only arranged differently. In this way, a human announcer would be given a list of each 3-digit number and asked to read them all like a list. That seems rather unlikely. If that were the case, then Tracfone activation codes would be supremely easy to crack (provided one had the right equipment).

I remember from research I did into robotics for a high-school project that AT&T have been working on a natural-sounding speech synthesis programme. The most readily-accessible one to the public is on NOAA weather radios -- most markets use a voice called "Craig". This particular synth has been undergoing constant debugging, using the weather band as a testing platform (the public don't care about vocal inflections or whether this phoneme or that phoneme is processed correctly -- they just want to know if they're going to be struck by lightning). To that end, "Craig" is now able to change the pitch and tone of voice depending on the urgency of the situation (it might say, "Severe thunderstorm warning until 3:47 AM," as though it were reading a passage from an instruction booklet, whilst it might say "Tornado Emergency for the Omaha/Council Bluffs area!", as though it had just witnessed the Second Coming). Also, there is currently an endeavour to have it simulate breaths between sentences -- a feature currently available on the latest version of MacInTalk.
So, I guess AT&T have made more progress than I thought in the relatively short stretch of time since my sophomore year of high school. Whatever this voice was that I heard on the line with Tracfone certainly had me fooled. And I like to think that I'm quite good at distinguishing acoustic and artificial sounds (I work with sound, after all).

As I mentioned before, it's really sort of creepy when you think about it. Not creepy like "cemetery at midnight" or "cold, dark room"... it's more like "nightmare that you remember the next day" creepy.
Now that Man has succeeded in creating an indiscernable artificial voice using phoneme sampling from acoustic speech, the next step is what we in the music trade call "acoustic modelling". In this case, creating an artificial vocal tract in a computer, using no speech samples at all.  This is what I find totally disturbing -- up to this point, computers have always been reliant on humans for everything. Taking the human element out of speech synthesis is just one of many stops on the road to total computer supremacy.
In fact, with this (so far, theoretical) acoustic model, Man can begin taking liberties with the voice. At this stage of evolution, Man is the only species capable of vocal speech. A simple CT scan of any vertebrate's airway will provide the synth's programmers with enough information to begin adding human vocal parameters, thus providing voices to any non-human (and, verily, non-primate) animal.

Here's a bit of trivia from The Mind's Rubbish Bin that I find to be apropos...
From the middle-ages all the way through to the 1700s, creating an apparatus capable of speech was considered witchcraft.  Of course, most fields of modern scientific endeavour were considered witchcraft... however, I'm inclined to agree with them on this.
Soon after vocal modelling is perfected (perhaps even before), conversation simulators will be all the rage. I first became aware of these during downtimes in the 2003 school play. There was (and maybe still is) a programme on the internet called, I think, "Oliver". It was a text field that one could type a statement or question into and the programme would return an appropriate response. Of course, its "attention span" was not all that great -- it didn't carry on with a single subject at length, frequently asking random questions of its own ("What's your favourite colour?", "Where are you right now?", "Do you play an instrument?" -- conversations could easily turn into interviews with "Oliver").
Of course... puh-shaw, man: 2003! A lot can happen in seven short years when it comes to technology.  After the conversation simulator is perfected, used in tandem with vocal modelling synthesis and artificial intelligence, the computer becomes its own life-form. Depending on how it is programmed, it can become either Data or Lore. Interacting with humans to try and become human, itself... or become bent on universal conquest.

At this point, I would like to remind our eminent computer scientists of Asimov's First Law: a robot may not injure a human being or, through inaction, allow a human being to be harmed.
"Wait, robots? I thought we were talking about speech synthesisers!"
We were. However, all of these technological advancements will all eventually culminate in the creation of a highly intelligent independent electromechanical agent. Robots. Androids. Consider, for a moment, the following: the Star Trek: The Next Generation character of Data is not, in fact, a human actor, but a fully-functional android. This is, of course, incorrect, but just think about it for a couple of ticks. Consider that without vocal tract modelling in computer software that Data would be incapable of speech... and, if you don't have a robot that can speak, why should you have a robot at all?

Hm. I guess I go off on tangents enough to justify calling Of Carbon and Silicon a "blog" after all.


Posted by theniftyperson at 2:08 AM CDT
Updated: Thursday, 21 October 2010 7:53 PM CDT
Monday, 18 October 2010
A longer update now...

I would have written more last time, but I had been awake for 20 hours at that point. To think, there are some people who can stay awake for days at a time! The longest time I've managed at one stretch was 40 hours, give or take.  Irrelevant to the matter at hand, however.

First, I've managed to decide on a new mobile phone. At one point, I'd had it down to three candidates: a Droid, a BlackBerry, or an iPhone. After due consideration, iPhone was removed from the list. Next to go was the Droid line, mostly because of price. BlackBerry is the winner -- specifically the model known as "Curve". The newest model, Torch, is much too expensive for the starving artist... I don't want to be one of those lower middle-class blokes who chooses the newest piece of technology over eating for a month (though I might make an exception when the Nintendo 3DS is released).
Anyway, I figure I'll need its myriad features eventually. Especially as I've sent away two more voice-acting and composing demos for professional consideration -- the Z-list celebrity needs a way of communicating his whereabouts to his fanatic stalkers, after all.

Next, I've managed to secure a booking for the role of piano-player at the College of St. Mary in Lincoln's second annual children's Halloween costume party... mostly because my mother happens to be the school's admissions counsellor. As with last year, I will be dressed as Luigi. It's a closed event, however -- there's a bouncer and everything. However, if you should happen to be driving northbound on Cotner Avenue between Vine and Holdrege streets, look into the window of the strip-mall on the left side of the road and you'll see a man dressed as Luigi, sitting at a desk with a synthesiser on it.

Finally, I dislike it when food companies mislabel their products. This pint of Ben & Jerry's Coffee Heath Bar Crunch that's sitting opposite me right now clearly contains Half Baked.


Posted by theniftyperson at 5:16 PM CDT
A short update for now...

I wish I had known of this quotation in 2008...

"A delayed game is eventually good. A bad game is bad forever."
--Shigeru Miyamoto

That is all.


Posted by theniftyperson at 4:23 AM CDT
Monday, 11 October 2010
The End of an Era: EA Disowns The Sims Classic

Flashback: January 2000. It's the turn of the century, the beginning of the new millennium, and TheSims.com goes live. The Sims, itself, is still a month away from release, however.

Flashforward: June 2009. The Sims has become a gaming legend and some now refer to it as The Sims Classic, The Sims 1, or The Sims Original to distinguish it from its sequels. Its second sequel, The Sims 3 is released this month also. Some months ago, the original URL, TheSims.com, redirects the user to a directory of Sim games -- The Sims Original and 2; SimCity 3000, 4, Societies, DS, and Creator; SimAnimals; and MySims.

Unflash to the present day. The ten-year-old Sims Original website has now been deactivated. Entering and searching for the URL ("thesims.ea.com/us") redirects the user to The Sims 3's website. Attempting a workaround, I went to Google and searched generically for "the sims", which returned several hits for the original website. Clicking on one of them, I was directed to a "404'd" type page on TheSims3.com.

On a related note, I went to Walmart the other day and perused the PC software section, as I generally do. Walmart is good about keeping old electronics hardware and software in stock for a long while (for example, Microsoft Office 2007... I think. Or '06... whichever one exists).  I got my copy of The Sims Complete Collection from them in 2007 (it was released in 2005). I've seen it for sale on every subsequent visit... until last month. The Sims Complete Collection was nowhere to be found. There was The Sims 2 Deluxe Edition, The Sims 2 combination Open for Business-H&M Stuff-Ikea Stuff, The Sims 3 World Adventures, The SimCity Box, but The Sims Classic was glaringly absent. On every visit since, I have not seen The Sims Complete Collection for sale at Walmart. GameStop doesn't have it, either. Target, Best Buy, Shopko, even Office Depot -- places where I'd seen it for sale in the past -- were sold out.
At Best Buy, I even asked a clerk about it: checking his computer terminal, he said, "Well, it doesn't look like we have it in stock. But, The Sims 3 is the newest version."
Having played The Sims 3 and finding it inadequate in comparison to The Sims Original, I replied, "The Sims 3? Have you no respect for the dead?"
That's 633k5p33k that you use when you talk about outmoded electronics. Clearly, this man was not a 7rü3 633k, 'cos he totally missed the joke.

Of course, what I said in jest turns out to be the case. As far as EA is concerned, The Sims Classic may as well be dead. I don't believe they even offer technical support for it anymore. I should test this theory by coming up with a fictional problem with my copy of Livin' it Up (which I haven't owned since 2004) and send it off to EA tech support.
I guess I should have noticed the downward trend that Sims Classic was taking when it showed up in a SimMania pack a few years ago. This pack had The Sims, SimCity 4, and SimGolf in it.

Of course, in tech terms, a decade is a long time. After all, 2000-2010 represents the end of the Nintendo 64, all of the GameCube, and the first four years of Wii, to put it into perspective. Really, anywhere, ten years is a long time. Someone who was born in 2000 would now be in the fourth or fifth grade. An automobile of typical workmanship would now have accumulated so many trips to the mechanic's shop that it would be more economical to buy a new car. Windows ME was the newest operating system in 2000. Now, it's gone through XP and Vista, with the newest being Windows 7.
But, for some reason, The Sims Classic seems newer to me than, say, Windows XP, or a 2000 Pontiac Grand Am, or a copy of Luigi's Mansion. To borrow a cliché, it seems like just yesterday that The Sims: Makin' Magic was released... okay, maybe more like a couple of months. In any case, it doesn't seem as antiquated as EA's recent actions would have me believe.

I suppose, if I were still into conspiracies, EA could see The Sims Classic as a threat. Players who traded in their old Sims expansions and bases for the new ones may have been rediscovering just how much better it was back in the day, making blog entries on much more popular sites than this about how Sims division will never measure up to Will Wright's original vision, shown in Sims Classic. So, EA could have severed all ties to the original Sims -- stopping production of The Sims Complete Collection, shutting down the original Maxis website for the game, redirecting people who want to go to the old site just over a few servers to The Sims 3 website ("Don't look back at old crap like that! Look forward to new crap like this!").

But, I don't get into that anymore. Conspiracies are based on conjecture, wild assumptions, and outright paranoia. The simple truth of the matter is that The Sims Classic has had its day, lasting six years beyond its original date of obsolescence by The Sims 2. The servers couldn't stand the strain of supporting three independent Sims exchanges, forums, and downloads pages any longer.

It really is the end of an era. The end of, if one may be so bold, the niftiest era in recent history. One that I won't soon forget. Hopefully you shall remember The Sims Classic as well.

R. I. P.
THE SIMS
"The People Simulator From The Creator Of SimCity"
February 2000 - October 2010


Posted by theniftyperson at 11:59 PM CDT
Sunday, 10 October 2010
Random calendar dates

I nearly let today slip past without recognising it as October the 10th, 2010 -- 10/10/10. I've always been interested in co-incidences like that, ever since I could read a calendar. Sequential numbers, triple numbers, numbers that spell stuff in 13375P33K, that kind of thing.

In fact, today is the tenth of only twelve triple-numbers in the 21st century! Since there are only twelve months in a Gregorian year, only the first twelve years of any particular century apply to the triple-numbers. The first was January the 1st, 2001 -- 1/1/01. The last will be December the 12th, 2012 -- 12/12/12.
I remember 6/6/06 because my quasi-goth mate, Jonas, from high school identified it as the Devil's Day (666 being the mark of the beast). There won't be another such day for 94 years! Hopefully by Devil's Day 2106, Zephram Cochrane or someone of his ilk will have successfully tested the first faster-than-light propulsion system.

Also going out the door for 100 years are the sequentially-numbered dates. Days like 01/02/03 or 08/09/10. December the 11th, 2013 -- 11/12/13 -- will be the final number sequence for 88 years (the next being February 1, 2103).  Of course, if you use the American dating sequence, the final day for you will be December the 13th, 2014 ('cos Yankees put the date down month/day/year, whilst everyone else puts it down day/month/year).

Also, talking of random calendar stuff, I totally missed this century's Mario Month!  In the dating sequence used everywhere but the US, March 2010 appeared as MAR/10! I was consciously aware of Mario Day, but Mario Month slipped my notice... I still had a radio programme at that time, too! Talk about one's excuse for having an all-Nintendo OST programme!

Anyway, if you're feeling depressed at the prospect of losing your sequentially-numbered dates and triple-numbers, consider the following. There are numerous other obscure mathematics to look forward to.
Take, for example, a Fibonacci sequence: 0,1,1,2,3,5 (the sequence is done by adding the next number to the previous one -- 0+1=1, 1+1=2, 2+1=3, 3+2=5, et cetera). Fibonacci Day will be on 01/12/35 (either December 1st or January 12th, 2035).
Next, prime numbers: in the non-American dating sequence, May 23rd, 2071 (23/5/71) will be Prime Day. In the American sequence, though, Prime Day will fall upon February 3rd, 2057 (2/3/57).
We can't forget the highly cototient numbers, either! In the non-American sequence, August 24th, 2023 (24/8/23) is Cototient Day. However, the US will have to wait 59 more years for Cototient Day, as the American sequence puts it on February 4th, 2082 (2/4/82)... at that rate, one may as well wait until January 1st, 2101.
If one happens to use the American sequence exclusively, though, Pi Day will be quite a grand day in 2015 -- March 14th, 2015 (3/14/15) expresses more digits of the Pi decimal than any other such day since 1592 (in which the year could be displayed in full and still be valid: 3/14/1592).

If you still need reassurance, though, look up integer sequences on Wikipedia. There are loads more that you can use to make yourself look either really smart or really lonely.


Posted by theniftyperson at 9:56 PM CDT
Updated: Friday, 15 October 2010 6:45 PM CDT
Saturday, 9 October 2010
More random stuff to waste my dexterity, Tripod's storage space, and your time.

It's been a while since I wrote anything here.  Not like other times, when I went for months without making new entries, but still... what is the purpose in having a blog without writing in it, eh?

So, as I have nothing better to do, I'll just start typing and see how far I can get.

Right. So, last time, I addressed The Sims 3 being a capitalist monolith. Well, you know how Google will search an HTML document for a word or phrase, then display an advert or three in the margins that have to do with the word or phrase it chose? In an interesting bit of irony, Google found that post and is displaying links to the EA Sims 3 for consoles site. Funny how that worked out, i'n'it? A corporate disestablishmentarian ranting post attracting official links to the very game I ranted about!

Next, I've become rather good at drawing Okudagrams. LCARS displays. Star Trek: The Next Generation? Still no idea? Here's an example, then...

 

 

That is an okudagram I made for an SKP (Google SketchUp document) of a TNG PADD. Now, I'm sure that some Trek anorak is going to find fault with something in that display, but, I don't really care. If the only thing you have to do all day is troll obscure blogs looking for problems in fan-created Star Trek material, you probably don't have a job or a girlfriend and you live in your parents' basement.
Yes, well, anyway... that took a nasty turn, didn't it. The point is, that I've gotten rather good at drawing those, both in CGI and on paper. It's even better in CGI, really, 'cos I recently managed to track down the LCARS font. Amazing thing, the search engine. Typing "star trek font" into Google can send one to the most interesting places.

Next: there are finally clouds in the sky! For nearly two weeks, here in Lancaster County, we've had naught but cloudless blue skies for as far as sincerity goes in a pumpkin patch: as far as the eye can see.  I'm probably a freak of nature in this manner, but I find clear skies with lots of sunshine to be terribly uninspiring. To me, sunshine means sunburn, heat, UV rays, summer-time, spiders, big bugs, sweating, and wasting money on air-conditioning.  When the clouds come in, though -- particularly cirrostratus and cumulonimbus -- there's no better source of inspiration. Autumn and winter are my two favourite seasons... cor, I've even done piano improvs with "autumn" and "winter" in the title ("An Autumn State of Mind" from the self-titled album and "Early Winter" from Utopia). I'm something of a cloud enthusiast -- not only as their being a harbinger of cooler temperatures, but also just as things to look at. I have a rather extensive collection of cloud photographs on my mobile phone and my DSi, ranging from whispy cirrus to tornadic cumulonimbus.

Finally, today's nifty word is, "basalt".
Look it up, why don't you?


Posted by theniftyperson at 10:55 AM CDT
Sunday, 3 October 2010
Not like I've got anything new to say about this, but...

Many's the time when I used to come here and post some thousand-word complaint about Electronic Arts' The Sims division... it became commonplace, in fact.
For a while, I thought I'd covered all the main points about The Sims 3 -- uncustomisable community lots, substandardly-textured objects, insufficient quantity of hairstyles, no piano, blah-blah-blah. But, it seems as though a new issue has arisen since my last "Sims 3 is worthless" post. In fact, it's an issue which I never thought in my ten years as a Sim geek would ever become a problem...

Corporate takeover.

It would appear to me that Electronic Arts has totally taken over The Sims franchise, transforming it from Will Wright's long-time project for a people simulator into a corporate monolith. A monument, if you will, to high profits by selling a fundamentally substandard product to unsuspecting consumers, who are lured in by shiny new graphics and the names of iconic bands.

That's really what I wanted to address here: the music issue.
Back in the early days of The Sims Classic, no one at EA was particularly certain that this new game, which primarily was about house-building, was going to be any good. So, Jerry Martin, Robi Kauker, Kent Jolly, and Michael Cormier were the game's entire music team. In-game songs were written entirely by them and performed at one of EA's studios. The singers who performed the stereo songs were not well-known -- downright obscure, in fact. Just people who were looking for work in California.
So, a few months later, the game is released and, hey presto, it's a million-seller!

The Sims 2 -- it started out innocuously enough. Just a ragtag group of TV and cinema composers, headed by the Mothersbaugh brothers, late of Devo. Then, about halfway through the series, good old Rod Humble comes onboard and insists they start using local bands. Y'know, people who were not yet household names whose posters could be found on bulletin boards and lampposts all over L.A.  So, The Sims 2 turns out to be a great success, too!

The Sims 3 -- in this case, we start out with the original score taking a backseat to the bands who make the "music" (feh -- anti-music is more like it) for the stereo. Let me repeat that...

The stereo! A single object in the Electronics sort of the Buy Mode catalogue. One which most people aren't going to get for their Sims.
This single object has works from the likes of Nelly Furtado, Leanne Rimes, and Lady Antebellum. Now, as I don't typically listen to anything composed after 1899, unless it was written by Jerry Goldsmith, John Williams, Koji Kondo, or Jerry Martin, I don't claim to have a great deal of knowledge on this point... but, you've got to figure that, if even I've heard of them, they must be famous enough to demand a six-figure paycheque.
If the price of the stereo object in The Sims 3 accurately reflected the amount of money spent to have the music made for it, Malcolm Landgraab, himself, wouldn't be able to afford it! A cheater would have to type "motherlode + Enter" so much, the keys involved would stop working! An honest player would have to play the game nonstop for 700 years to have their Sims earn enough!

Of course, one cannot forget Steve Jablonsky's contribution to The Sims 3... or can one? Let's face it -- he'll never be Jerry Martin. His original score for this game seems to have been engineered for total ignorance. It's just a cacophony you have to get through in order to hear the stereo stuff.
Speaking strictly as a composer, Jablonsky's Sims 3 BGM is half-remixes of Mutato Muzika's Sims 2 score, half-Desperate Housewives. It's easily the weakest OST in franchise history.

An extrapolation. Assuming Sims division remain on their present course, the fourth Sims installment will have no original score at all, relying completely on jam-bands and pop groups for the background noise.
And, you know what? That's fine with me. The Sims 3 isn't nifty. I'd go so far as to say that it's right on the borderline between "not nifty" and "complete rubbish".  I used to fantasise about what kind of OST I'd write for The Sims series. Hell, I've got an entire flashdrive full of Sims-inspired piano improvs!
Now, though... I wouldn't compose for The Sims if a hot girl with a suitcase full of money begged me to.

The Sims is a corporate sell-out. One wonders how Will Wright feels about it. I mean, it must be gratifying to see one's own idea become a multi-million-dollar franchise... but, at the same time, to see the company responsible for it taking the shortest path to money, even if it means squashing game quality like an insect in the process.


Posted by theniftyperson at 1:31 AM CDT
Friday, 1 October 2010
The Mind's Rubbish Bin

You remember TMRB, right? Once a candidate for the website's title, The Mind's Rubbish Bin has been condensed into a single page on Spiny McSpleen's Nifty Website...

...at least, until now!

TMRB has spent the last several months (nigh on a year, actually) being expanded to include many different fields of study. Thus far, I've found trivial stuff regarding Star Trek, Super Mario, and of course, general miscellanea. It's not ready for publishing just yet, but here's an idea of what will be found therein...

Miscellaneous
Every possible move in the game of Chess has a name.

A traditional doorbell sound is comprised of the first two notes of the Westminster Quarters (in music theory, a major third).

The Chinese translation of the former KFC slogan, "Finger-Lickin' Good" approximates to "eat your fingers off".

Snow has been falling on planet Earth for millions of years. During that time, no two snowflakes have ever been identical to one another.

Super Mario
The arcade version of Mario Bros. is the only build in which Koopas leave their shells. In all other versions, they simply wobble on their backs for a bit before repositioning and becoming hazardous again. In the Game Boy Advance version (built into the Super Mario Advance series), Koopas were replaced with Spinies.

Luigi did not appear in any games during the year 1994. He also did not appear in any original platformers for the Game Boy (his only side-scroller appearance being Super Mario Bros. Deluxe for Game Boy Colour). Mario, on the other hand has appeared in no fewer than two games per year since his introduction in 1981.

The 1993 Japan-only release, Mario & Wario, contains no Japanese text. All game text is in English.

Luigi did not appear in any original first-party platformers during the fifth generation. (Nintendo 64, Game Boy Colour).

There have been more Mario games released with Charles Martinet as the voice of Mario than there have been without.

Star Trek
The USS Enterprise-D has made more onscreen appearances than any other Starfleet ship. It appears in every episode of The Next Generation, one episode of Deep Space Nine, one episode of Enterprise, and the film Star Trek: Generations: 181 appearances in total.

The franchise's tag-line, "...To boldly go where no one has gone before," contains a split-infinitive. The proper way to phrase it would be, "...To go boldly where no one has gone before".

Two characters from as many Trek programmes have been named after Gene Roddenberry in some way. In The Next Generation, Wesley Crusher derives his first name from Roddenberry's middle name. In Voyager, Thomas Eugene Paris derives his middle name from Roddenberry's first name.

Vasquez Rocks, a park near Agua Dulce, California, has been used to portray alien planets on every Trek series but Deep Space Nine. Its first appearance was in the original Star Trek's episode, "Arena", where it served as the stage for Kirk's fight with the Gorn. It most recently appeared in Star Trek 2009 to portray Vulcan (creating continuity with Star Trek IV: The Voyage Home, where it was used for the same purpose).

The End... for now.

I was quite surprised to find just how much minutiae exists in the Star Trek franchise. I suppose with all those Trek anoraks out there, who could argue the meaning of "petaQ" with Gowron, himself, it's to be expected. Of course, TMRB isn't a dumping-ground for uninteresting bits of OCD crap -- anachronisms, continuity and character errors, inconsistencies. Y'know, stuff that only an ub3r633k who shows up to film premiers in costume could find redeeming.

There's quite a lot of Mario trivia as well. Needless to say, what's listed up there isn't even the half of what I've found on any of those subjects. It's more like half of a fraction of a decimal. Invalid! Does not compute! Boom! There goes R2D2.
Oh yes, almost forgot -- I'm currently working on the Star Wars TMRB and Zelda TMRB, also.

Give it, perhaps, five more months -- then, I'll be finished. Or not. Who knows, really?


Posted by theniftyperson at 9:16 AM CDT

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