Jan 092026
 

Been a while since I blogged about politics. Not because I don’t think about it a lot… but because lately, it’s become kind of pointless. We are, I feel, past the point when individuals trying to raise sensible concerns can accomplish anything. History is taking over, and it’s not leading us into the right direction.

Looking beyond the specifics: be it the decisive US military action to remove Maduro in Venezuela (and the decision to leave Maduro’s regime in place with his VP in charge), the seizure of Russian-flagged tankers, yet another Russian act of sabotage against undersea infrastructure in the Baltics (this time caught red-handed by the Finns), the military situation in Ukraine, the murder of a Minnesota woman by ICE agents, more shooting by US customs and border protection agents in Portland…

Never mind the politics of the day. It’s the bigger picture that concerns me.

Back in the 1990s, I was able to rent a decent apartment here in Ottawa, all utilities included, for 600-odd dollars. It was a decent apartment with a lovely view of the city. The building was reasonably well-maintained. Eventually we moved out because we bought our townhome. The price was well within our ability to finance.

Today, that same apartment rents for three times the amount. Our townhome? A similar one was sold for five times what we paid for ours 28 years ago. Now you’d think this is perfectly normal if incomes rose at the same pace, perhaps keeping track with inflation. But that is not the case. The median income in the same time period increased by a measly 30%, give or take.

This, I daresay, is obscene. It means that a couple in their early 30s, like we were back then, doesn’t stand a chance in hell. Especially if they are immigrants like we were, with no family backing, no inherited wealth.

In light of this, I am not surprised by daily reports about rising homelessness, shelters filled to capacity, food banks struggling with demand.

What I find especially troubling is that we seem hell-bent on turning cautionary tales into reality. For instance, there’s the 1952 science-fiction novel by Pohl and Kornbluth, The Space Merchants. Nowadays considered a classic. It describes a society in which corporate power is running rampant, advertising firms rule the world, and profit trumps everything. Replace “advertising” with “social media”, make a few more surface tweaks and the novel feels like it was written in 2025. When the narrative describes the homeless seeking shelter in the staircases of Manhattan’s shiny office towers, I can’t help but think of all the homeless here on Rideau Street, just minutes away from Parliament Hill, in the heart of a wealthy G7 capital city.

Or how about a computer game from the golden era of 8-bit computing, one of the gems of Infocom, the leading company of the “interactive fiction” (that is, text adventures) genre? I am having in mind A Mind Forever Voyaging, a game in which you play as the AI protagonist, tasked with entering simulations of your town’s future 10, 20, etc., years hence, to find out how bad policy leads to societal collapse. When I read their description of the city, I am again reminded of Rideau Street’s homeless population.

In one of his best novels, the famous Hungarian writer Jenő Rejtő (killed far too young, at 37, serving in a forced labor battalion on the Eastern Front in 1943, after being drafted on account of being a Jew) has a character, a gourmand chef, utter these words: “The grub is inedible. Back at Manson, they only cooked bad food. That was tolerable. But here, they are cooking good food badly, and that is insufferable.” The West is like that today. It’s not “bad food”: our countries are not dictatorships, not failed states governed by corrupt oligarchs, but proper liberal democracies. Yet, I feel, they are increasingly mismanaged, unable to deliver on what ought to be the basic contract between the State and its Subjects in any regime.

What basic contract? Bertold Brecht put it best: “Erst kommt das Fressen, dann kommt die Moral“, says Macheath in Kurt Weill’s Threepenny Opera: “Food is the first thing, morals follow on.” A State must deliver food, shelter, basic security, a working infrastructure, and a legitimate hope that tomorrow will be better (or at least, not worse) than today.

A State that fails at that will itself fail. A State that succeeds at this mission will survive, even if it is an authoritarian regime. In fact, if the State is successful, it does not even need significant oppression to stay in power: it will, at the very least, be tolerated by the populace. (I grew up in such a state: Kádár’s “goulash communist” Hungary.) The liberal West may only forget this at its own peril.

What happens when the basic contract is violated? People look for alternatives. They may become desperate. And that’s when populist demagogues arrive on the scene, presenting themselves as saviors. In reality, they have neither the ability nor the inclination to solve anything: they feed on desperation, not solutions.

In contrast, successful States, liberal democracies and hereditary empires alike, share one thing in common: the dreaded “deep state”. That is to say, a competent meritocratic bureaucracy, capable of, and willing to, recognize and solve problems. A robust bureaucracy can survive several bad election cycles or even generations of bad Emperors. Imperial China serves as a powerful example, but we can also include the Roman Principate and later, Byzantium. Along with other examples of empires that remained stable and prosperous for many generations.

No wonder wannabe despots often target the “deep state” first. A competent meritocratic bureaucracy, after all, stands in their way towards unconstrained power. Thinning out the ranks, hollowing out the institutions is therefore the top order of the day for the would-be despot. It’s not always true of course. Talented despots learn to rely on the competent bureaucracy as opposed to eliminating it. But talented despots are not myopic populist opportunists. They are that rare kind: empire builders. Far too often, the despots we encounter lack both the talent and the vision to build anything. They just exploit the pain, and undermine the very institutions that can alleviate that pain.

This is what we see throughout the West in 2026. Even as the warning signs get stronger—among them rising wealth and income inequality, an oligarchic concentration of astronomical wealth in just a few hands, rising homelessness, decaying infrastructure, an increasingly fragile health care system, rising indebtedness, lack of employment security—there appears to be way too little appetite for meaningful structural solutions. Instead, we get easy slogans. “It’s the damn immigrants,” says one side while the other retorts with a complaint about “white supremacism,” just to name some examples, without implying moral equivalence. The slogans solve nothing: they do create, however, the specter of an “enemy” that must be eliminated, an “enemy” from whom only the populist can protect you.

One of the best records of one of my favorite bands, Electric Light Orchestra, was the incredibly prescient concept album Time, released in 1981. In addition to predicting advanced, well-aligned AI in such a way that feels almost uncanny in detail (“She does the things you do / But she is an IBM / She’s only programmed to be very nice / But she’s as cold as ice […] She tells me that she likes me very much […] She is the latest in technology / Almost mythology / But she has a heart of stone / She has an IQ of 1001 […] And she’s also a telephone“) they also describe a future that is… hollow: “Back in the good old 1980s / when things were so uncomplicated” – in other words, when Western liberal democracies still understood how to deliver on that basic contract, Brecht’s “basic food position“.

 Posted by at 1:03 am
Jul 272025
 

I have added some new apps to my Web site. One, a bit serious, the other, less so.

The serious one: a technology demonstration, showing that it is not black magic to use a Web camera and try to extract from its feed an estimate of a person’s heart rate and (less reliably) respiratory rate. The measurement is not perfect, of course, but it works surprisingly well at least some of the time.

Meanwhile, I also resurrected an old project of mine, one I initially did in 1993: itself a resurrection of an even older game from back in the heroic 8-bit days. I was inspired by a DOS version on Usenet, itself derived from an earlier X11 version; it became my first “full-featured” Visual C++ project, originally developed for Windows 3.1. A 32-bit version followed two years later, and that was the basis of my current, Web-based reimplementation. I called my version Rubble Rush, to avoid infringing on the original’s (still extant, as far as I know) trademark.

These implementations also showcase how easy it is, using modern JavaScript, to develop solutions with real-time interactivity, also using real-time media streams to boot.

 Posted by at 5:08 pm
Dec 212024
 

For years now, one of my favorite pastimes when I needed some downtime was to play one of the Fallout games. I still cannot decide if I like Fallout 3 or Fallout New Vegas more. Fallout 4 would be less likable, except that it has settlement building which gives the game a whole new dimension. I know, I know, building settlements is not every gamer’s cup of tea, but I enjoy it.

But then, there are the extensions. And no, I do not mean the “official” DLCs (downloadable contents) that are provided by the game publisher, but rather, the “mods” that are offered by third parties, individuals and groups of enthusiasts alike. Mods can improve a game, fix bugs, add to the experience, but in the case of the Fallout games, they reached a whole new level: Some mods rival the DLCs, or perhaps even surpass them.

Take Fallout New California. Years in the making, this mod rivals in size the very game itself, Fallout New Vegas, that it extends. Set years before the events of New Vegas, it puts the player in the shoes of a young protagonist who grew up in a Vault, only to find himself out there in the western wastelands of the New California Republic, amidst rival factions and a deadly search for some disastrous pre-war technology. The mod is just amazing: a main quest that retains some of the trademark moral ambiguity that always characterized Fallout, numerous side quests, a richly textured world, a memorable radio station from Sandy Hills, unique companions… What a game! And it seamlessly transitions into New Vegas, providing a robust back story for the player’s later identity as a Courier, and offering some perks and companions that the player can retain.

For a while, I thought New California was it, the new gold standard when it comes to fan-made mods. But then, there were rumors of yet another mod on its way: A mod of Fallout 4, that would be set overseas, in the great city of London, England.

*** WARNING: Some spoilers follow ***

I have now completed Fallout London, and the impression I came away with is that despite its rough edges, despite the fact that it still has numerous small but annoying bugs and suffers from frequent crashes, it nonetheless surpasses even New California in its breadth, depth, originality. And details and nuances! A Big Ben that chimes at 6 AM (yes, six times). A bona fide TARDIS (that, sadly, vanishes the moment you acquire the loot that it offers). A crosswalk at Abbey Road with four permanent shadows, with a pair of round glasses found in the first of the four. A “British Broadcasting Ministry” radio station that is really as pretentiously British as it can be, is just one of three unique in-game radio stations. Not to mention a post-apocalyptic British society with its snobbish Gentry, cannibalistic Beefeaters, mutant Thamesfolk and numerous other factions, in particular those Tommy conscripts who resemble in so many ways the grunts of the NCR military in New Vegas.

Yes, the elephant is in FOLON, too.

Then there’s the voice acting. It is superb, probably the best in all the Fallout universe. And the side quests? That Lovecraftian side journey that you get into after collecting those Cutethulhu dolls feels like a full-blown DLC on its own right, and a very unique and quirky one at that. Oh, and did I mention that you get a canine companion… no, not the lovable Dogmeat but an equally faithful four-legged friend, Churchill the English bulldog? (The human companions are also amazing, with rich, touching backstories.)

But then, I only have one real complaint. Namely that, after having explored all three endings of the main quest line, I concluded, like the computer WOPR in the movie War Games, that the only winning move is not to play. That is, leave the main quest unfinished. Just explore, find every location, turn on all mariner beacons, find all unusual call boxes, read all the writings Sid has to offer… but leave the main quest alone.

Why? Because no matter which side you pick, they destroy London. The London in which you wake up is far from pefect, but it is a functioning city and Westminster is in decent shape. Sure, the city could use more vertical mobility and the Gentry could be a little bit less snobbish and more accommodating, but that’s not what you get with any of the chosen outcomes. Should you side with Smythe, you end up with a city that’s intact but soulless, governed by clones and subject to unethical science experiments. The Fifth Column turn it into a kind of a fascist nightmare. Arthur’s Camelot may have more pleasant intentions, but the end result is nearly the same: Westminster is mostly destroyed, the city is in ruins, and there’s no reason to believe that anyone’s life improved as a result.

So this, then, was my favored outcome: after doing my part, helping Smythe set off an explosion at the tournament in Westminster, after freeing Reggie the crab (against Smythe’s wishes), I just let the phone continue ringing outside the London Aquarium, I avoided visiting the Fifth Column and making friends with Eve at Cable Street, and I also avoided getting better acquainted with Arthur. I now mind my own business, discovering the few remaining locations that I have not yet visited (yes, you can actually get to Blight Crater even without completing the Scylla quest—which I was never offered, due to a bug I believe—if you have the right stats and equipment, and know how to cross the radioactive waters minimizing damage), still finding amazing little details and oddities here and there, like at the Greenwich Observatory that I just finished exploring. And of course I return to my few settlements from time to time, continuing to improve them despite the somewhat broken settlement mechanics in this amazing, astonishing mod.

Or just go back to Westminster, take a taxi ride or board the city’s one remaining functional Underground line. Just for fun. There is something special about being able to ride a subway, some 160 years after global nuclear Armageddon, in one of the most iconic cities of the world, Ol’ Blighty, while listening to a worthy cover of the iconic We’ll Meet Again

Mind the gap.

 Posted by at 2:07 am
Oct 232024
 

Today is October 23.

In my native Hungary, they’re celebrating the 68th anniversary of the failed 1956 anti-Soviet revolution, which began on this day.

Elsewhere in the world, this is Fallout Day. In the universe of the Fallout game franchise, the Great War that ended civilization began (and also concluded) on October 23, 2077.

I asked DALL-E and Midjourney both to produce an image. Midjourney created several images and I loved most of them but in the end, I am opting in favor of this DALL-E image after all. Its serenity captures the atmosphere of the game better: we are, after all, centuries after the catastrophe, in a mostly quiet, abandoned Wasteland.

Also, while the famous Power Armor may be an iconic in-game accessory, a wanderer wearing little more than a thin Vault jumpsuit better captures the vulnerability a player feels, especially when entering the Wasteland for the first time.

I hope sights like this remain firmly in the realm of computer game fiction. Well, as much as possible… some of the sights that we’ve seen from Ukraine in the past two and a half years unfortunately come close.

 Posted by at 9:26 pm
Sep 252024
 

Look what the mailman just brought. Or rather, the Amazon delivery person:

It’s the third volume of Richard Bartle‘s amazing Dheghōm trilogy.

I am proud to call Richard a friend (I hope he does not object) as I’ve known him online for more than 30 years and we also met in person a couple of times. He is a delightful, very knowledgeable fellow, a true British scholar, one of the foremost authorities on virtual worlds, the world of online gaming. He is, of course, along with Roy Trubshaw, credited as one of the authors of MUD, the Multi-User Dungeon, the world’s first multi-user adventure game, which I proudly ported to C++ 25 years ago, running it ever since on my server for those few players who still care to enjoy a text-only virtual world.

When he is not teaching, Richard also writes books. Delightful stories. Among them this Dheghōm trilogy.

Dheghōm is the reconstructed Proto-Indo-European name for the Earth goddess or mother Earth. In Richard’s story, told in the form of recovered fragments from documents, blog entries, and other notes, we gradually find out more about the nature of our (real? virtual?) reality and its connection with the roots of a great many of our languages.

Someone used the word “unputdownable” in their Amazon review of the first volume and I quite agree. I know that for Richard, these books were labors of love, but I honestly think they deserve to be published by a major publisher. Until then, all I can hope for is that many people will do as I did and buy a copy. Being a bit old-fashioned when it comes to books, I actually bought the paperbacks, even though I already read the third volume in electronic form when Richard first made the draft manuscript available online.

Thank you, Richard, for such a read, a trilogy that has the best qualities of good science-fiction: entertaining, memorable, thought-provoking and, ultimately, also a bit of a cautionary tale.

 Posted by at 6:46 pm
Aug 012024
 

I mentioned this before: A Mind Forever Voyaging, a computer game from the 1980s, one of the text adventures of the legendary Infocom, a game in which you play an AI protagonist, sent to simulations of the future to explore the factors behind the decay and collapse of society.

As you venture further and further into the future, things get worse. Inequality, homelessness, violence.

I was again reminded of this game this morning when I saw the news: New mortgage rules are in effect, allowing borrowers less down payment and longer terms. As a result, the monthly mortgate payment for a $500,000 home is “only” around $2,700, give or take.

Has it occurred to anyone that perhaps the problem is not on the borrowing side but on the supply side? That if we lack affordable housing, making it easier for people to borrow money that they cannot afford to repay is not really a solution?

The same newscast again mentioned an increasingly frequent problem, “renoviction”, when people are evicted from their rent-controlled apartments because the landlord renovates, only to learn that they can no longer find a place of residence that they can afford.

Also on the news: yet another old business (opened 1954) is shutting down at the ByWard Market. In their case, it’s the changing nature of the business post-COVID but for many others, it’s the deteriorating public safety. Increased police presence only pushes the problem elsewhere, like Centretown. I had to drive across town today to our car dealership, for an oil change. I saw panhandlers at every major intersection. Not too long ago, such sights were rare, dare I say even nonexistent here in Ottawa. Now, downtown sidewalks are full of homeless folks.

I have said it before when I lamented about AMFV here in my blog: It’s a piece of (interactive) fiction. Please do not mistake it for an instruction manual. Let’s come back from the brink before it is too late. Unless it is too late already…

 Posted by at 10:48 pm
May 272024
 

One of the catch phrases of the famous computer game, Bioshock, is “would you kindly”. It’s only near the end of the game that we learn that the protagonist is compelled to respond to this phrase and act accordingly. Presumably, omitting this phase would have had unpleasant consequences for the game’s antagonists.

I was reminded of this as I was playing with the “behind-the-scenes” setup instructions that I have for the language models GPT and Claude at my site wispl.com. The models are instructed on how to use tools, specifically Google (for searches) and Maxima (for computer algebra). I was perplexed as to why both models tended to overuse Google even when the conversation began with a question or request that should have required no searches at all.

The relevant part of the instructions sent to the chatbot at the beginning of a conversation used to read as follows:

If your answer requires the most recent information or current events, respond solely with CSEARCH(query) with no additional text. For general queries or fact-checking that is not time-sensitive, respond solely with GSEARCH(query) and no additional text.

In a moment of inspiration, however, I changed this to:

If your answer requires the most recent information or current events, respond solely with CSEARCH(query) with no additional text. If your answer requires general queries or fact-checking that is not time-sensitive, respond solely with GSEARCH(query) and no additional text.

Can you spot the tiny difference? All I did was to repeat the “If your answer requires” bit.

Problem (apparently) solved. The chatbot no longer appears to do Google queries when it doesn’t really need them. I just needed to make sure that the magic phrase explicitly accompanies each request. Much like “Would you kindly”, in the world of Bioshock.

 Posted by at 6:56 pm
Apr 172024
 

I just finished watching the first (but hopefully not the only) season of the new Amazon Prime series, Fallout.

There have been three modern game franchises that I became quite fond of over the years, all of the post-apocalyptic genre: S.T.A.L.K.E.R., Metro, and Fallout. Metro has incredible storytelling: For instance, meeting the last surviving theater critic or the shadow artist at the half-flooded Bolshoi station of the Moscow Metro are moments I’ll never forget. And the S.T.A.L.K.E.R. series has its own incredible moments, foremost among them when I finished the main storyline of the third installment, Call of Pripyat, by accident in the middle of the night, in-game time, and found myself alone, in the dead silence, near the center of a deserted, pitch dark Pripyat, with my comrades gone. The relief I felt when I retreated to the Laundromat and found that it was now full of lively stalkers like myself, eating, listening to music, sleeping… A reaffirmation of life in that dead city.

And then FalloutFallout is in a league of its own. I admit I only played the 3D open world installments of the franchise, starting with Fallout 3. A game that begins with The Ink Spots singing how they don’t want to put the world on fire… with the burned-out, post-nuclear ruins of the DC Mall serving as background scenery. A game in which, after “growing up” inside an underground Vault, you experience true daylight for the very first time, with eyes that never saw anything other than artificial lighting.

So it is this Fallout universe that was turned into a television series on Amazon Prime, and what a series it is. It captures the vibe of the game franchise perfectly, but it also stands on its own as a darn good television series.

The first five minutes of the first episode already contain an instant classic: The line uttered by a little girl as she, horrified, is looking at the growing mushroom cloud enveloping Los Angeles, trying to measure it by holding out her thumb, as taught by her dad. “Is it your thumb or mine?” she asks innocently.

But the real motto of the series is a statement made by one of the main protagonists, Maximus, in episode five. “Everybody wants to save the world,” Maximus observes, “they just disagree on how.”

Doesn’t that perfectly capture our present-day world of 2024, too, as we are slowly, but inevitably, stumbling towards a new “chaotic era” (to borrow an expression from another recent television adaptation, the 3 Body Problem)? I can only hope that we don’t all end up like Shady Sands, the one-time capital city of the New California Republic, pictured above. Because, as all Fallout players know, war… war never changes.

 Posted by at 4:32 am
Aug 072023
 

The game’s Web site may be dated (hey, it’s a nearly 20 year old template… yes, we’ve been around that long, a lot longer in fact) but it now has a new feature: it is again possible to play MUD1/British Legends from the browser.

The feature is experimental and may still need to be disabled if it glitches but here’s to hoping that it doesn’t.

 Posted by at 2:57 pm
Apr 112023
 

So I am playing this iconic computer game, Bioshock, and its sequel Bioshock 2. The games are set in a magnificent underwater city that is in an advanced state of decay and societal collapse: a consequence of unconstrained, unregulated capitalism, Ayn Rand style. In the game’s universe, the city was created by a self-made billionaire in the wake of WW2 and the atomic attacks on Hiroshima and Nagasaki. A way for the talented, the willing to escape from a world in which their wealth, the fruits of their labor were taken in the name of government, in the name of a deity, or in the name of the people. The founder’s name, not coincidentally, is a near anagram, a play on Ayn Rand’s name: Andrew Ryan.

As I watch the Twitter saga unfold, increasingly Andrew Ryan’s tragic (for that’s what it is, even if it is self-inflicted) fate reminds me of Elon Musk and his ever wilder shenanigans. And Twitter is beginning to feel like a digital equivalent of Ryan’s once striving city of Rapture: many of its corridors are now flooded, increasingly abandoned except for the remaining gene-altered freak show who still call Rapture home.

As of today, there’s a new alternative in addition to the decentralized world of Mastodon: Substack Notes. Will it be able to pick up the tab as Musk’s Twitter self-destructs? We shall see. Ironically, I would not even know about Substack Notes were it not for Musk’s tirade against it on, well, Twitter…

 Posted by at 10:39 pm
Apr 072023
 

Computer games are often seen as a means to escape reality. But every so often, they come uncomfortably close to modeling reality.

Take Bioshock. In this game, the player explores in a glorious underwater metropolis… A metropolis founded by a billionaire who follows a version of Ayn Rand’s positivist philosophy. Fiction? As I walk around in that underwater city, now on the brink as its society collapsed due to extreme poverty, drug use, reckless medical experiments and worse, and as I listen to the rants of its founder, Andrew Ryan (a name that is an obvious play on Ayn Rand’s) I cannot escape the eerie sensation that I am listening to an alter ego of Elon Musk. While Ryan offers his “plasmids” for gene manipulation as he rants about the “parasites” (basically, anyone who needs any help from someone else), there’s Musk playing around the virtual metropolis of Twitter, now his personal playground, peddling his dogecoin (even swapping out Twitter’s logo for that stupid dog symbol) and labeling NPR as “state-affiliated media”.

And then there’s this classic text game, now nearly forty years old, from the legendary Infocom: A Mind Forever Voyaging. What an incredible experience it was to play that game, playing as an AI (!) protagonist, exploring simulations of a city ever further into the future, trying to find the causes of societal collapse. I read words like, “There is a factory on the eastern corner, and on the northern corner a boarded-up soup kitchen. To the west is a vacant lot, and south of here are some dilapidated apartments. The smell of stale urine wafts from a stairway leading down to a gloomy Tube station,” and suddenly I am reminded of very real images of present-day streets of San Francisco full of homeless tents, or the ever rising number of beggars at major intersections or downtown streets even here in shiny Ottawa. Please, folks, AMFV was supposed to be fiction, a cautionary tale, not a manual.

Homeless in San Francisco (2021)

Of course the Elon Musks of the world have a point: having grown up in a country with a communist regime, I know it only too well. But those who warn about the rising income and wealth gap, the vanishing of affordable housing must also be heard. Their concerns are real and pressing.

Perhaps, like Captain Kirk in the famous Star Trek episode, The Enemy Within, our societies also need both: a little bit of statist communism and a little bit of corporatist fascism to stay healthy, open, welcoming and, ultimately, stable and democratic?

 Posted by at 3:13 am
Jul 282022
 

So I’ve been playing this cyberpunk cat game (how could I possibly resist? The protagonist is a cat. I am quite fond of cats. And the game is set in a post-apocalyptic dystopia, my favorite genre, so to speak.)

But first…

* * * Spoiler alert! * * *

As I said, I was playing Stray. Beautiful game. The visuals are stunning, the story is engaging (reminds me of the quality of writing that went into the classic Infocom text adventure games in the early 1980s) and the cat is an orange tabby that looks and behaves just like our Freddy. What more can I ask for?

But then I realized that the story of Stray is incredibly sad. Even the ending can at best be described as bittersweet.

Because… because for starters, in Stray there are no humans. Only robots, which look very obviously robots, with display screens as faces showing cute emoticons.

The reason why there are only robots has to do with humans, and something unspeakably evil that these humans must have done in the distant past. The result: A walled city (“safest walled city on Earth!”) devoid of human inhabitants, infested with evolved trash-eating bacteria that now eat cats and robots both, and inhabited by kind, naive, incredibly gentle, almost innocent robots, former Companions, cleaning and maintenance staff who have become somewhat self-aware, mimicking the behavior of their former masters.

A few of these robots dream of the Outside, which is where the cat protagonist comes from, after falling off a broken pipe. His drone buddy, who turns out to carry the consciousness of a human (quite possibly the very last human), helps him navigate the dangers and eventually open up the city. He does so at the cost of his own life.

When the game ends, the cat is free, again walking under a blue sky chasing a butterfly. And this cat may very well be the last representative of our once great civilization. Because the robots do not form a functioning society. They go through the motions, sure, even running, rather pointlessly, barbershops and bars with robots for customers. They are so innocent, they are almost completely free of malice (apart from a few security robots and their drones) and they are incredibly polite: “What will it be today, little sir?” asks the robot bartender of the aforementioned bar, “Our world must seem gigantic from your little eyes. Wish I could be as tiny as you, so I could explore new hidden places.”

Yet their society is non-functional. They don’t make things, they just make use of the leftover remnants of a collapsed civilization.

The world of Stray, then, is more depressing than the various Wastelands of the Fallout game franchise. At least in the Wastelands, humans survive. Sure, the societies that emerge are often evil (the Enclave, the Institute) yet they present a path towards a better future. But the world of Stray, as far as humans are concerned, is irreversibly dead (unless a sequel introduces us to surviving enclaves of humans, but I sure hope that won’t happen, as it would ruin a great, if depressing, story.)

Hence my sense of melancholy when I was ultimately successful opening up the city, at the cost of losing my last NPC companion, the drone B-12. While it was hidden behind its impenetrable walls, the city of Stray preserved at least an echo, an image of the civilization that created it. Now that the city is open, what is going to happen as the robots disperse? What remains (other than lovely colonies of feral cats) after the last robot’s power supply runs out or the robot suffers some irreparable damage?

Not much, I think. The little eyes of Stray, the cat, may very well end up as the final witness to that echo of our existence.

 Posted by at 9:41 pm
Apr 272022
 

Someone reminded me that 40 years ago, when we developed games for the Commodore-64, there were no GPUs. That 8-bit CPUs did not even have a machine instruction for multiplication. And they were dreadfully slow.

Therefore, it was essential to use fast and efficient algorithms for graphics primitives.

One such primitive is Bresenham’s algorithm although back then, I didn’t know it had a name beyond being called a forward differences algorithm. It’s a wonderful, powerful example of an algorithm that produces a circle relying only on integer addition and bitwise shifts; never mind floating point, it doesn’t even need multiplication!

Here’s a C-language implementation for an R=20 circle (implemented in this case as a character map just for demonstration purposes):

#include <stdio.h>
#include <string.h>

#define R 20

void main(void)
{
    int x, y, d, dA, dB;
    int i;
    char B[2*R+1][2*R+2];

    memset(B, ' ', sizeof(B));
    for (i = 0; i < 2*R+1; i++) B[i][2*R+1] = 0;

    x = 0;
    y = R;
    d = 5 - (R<<2);
    dA = 12;
    dB = 20 - (R<<3);
    while (x<=y)
    {
        B[R+x][R+y] = B[R+x][R-y] = B[R-x][R+y] = B[R-x][R-y] =
        B[R+y][R+x] = B[R+y][R-x] = B[R-y][R+x] = B[R-y][R-x] = 'X';
        if (d<0)
        {
            d += dA;
            dB += 8;
        }
        else
        {
            y--;
            d += dB;
            dB += 16;
        }
        x++;
        dA += 8;
    }

    for (i = 0; i < 2*R+1; i++) printf("%s\n", B[i]);
}

And the output it produces:

                XXXXXXXXX                
             XXX         XXX             
           XX               XX           
         XX                   XX         
        X                       X        
       X                         X       
      X                           X      
     X                             X     
    X                               X    
   X                                 X   
   X                                 X   
  X                                   X  
  X                                   X  
 X                                     X 
 X                                     X 
 X                                     X 
X                                       X
X                                       X
X                                       X
X                                       X
X                                       X
X                                       X
X                                       X
X                                       X
X                                       X
 X                                     X 
 X                                     X 
 X                                     X 
  X                                   X  
  X                                   X  
   X                                 X   
   X                                 X   
    X                               X    
     X                             X     
      X                           X      
       X                         X       
        X                       X        
         XX                   XX         
           XX               XX           
             XXX         XXX             
                XXXXXXXXX                

Don’t tell me it’s not beautiful. And even in machine language, it’s just a few dozen instructions.

 Posted by at 1:21 am
Feb 262022
 

This piece of news caught my attention a couple of weeks ago, before Tsar, pardon me, benevolent humble president Putin launched the opening salvo of what may yet prove to be WWIII and the end of civilization. Still, I think it offers insight into just how sick (and, by implication, how bloody dangerous) his regime really is.

We all agree that planning to blow up a major institution, even if it is a much disliked spy agency, is not a good idea. But this is what the evil extremist, hardliner Nikita Uvarov was trying to do when he was getting ready to blow up the headquarters of Russia’s FSB, its federal security service.

Oh wait… did I mention that Mr. Uvarov was 14 at the time, and the FSB building he was planning to demolish was, in fact, a virtual version that he himself and his buddies constructed in the online computer game Minecraft?

It didn’t deter Mother Russia’s fearless prosecutors, intent on restoring law and order and maintaining the security of the Russian state. A couple of weeks ago, Mr. Uvarov was sentenced, by a military court no less, to serve five years in a penal colony.

 Posted by at 12:25 am
Jul 162020
 

I met Gabor David back in 1982 when I became a member of the team we informally named F451 (inspired by Ray Bradbury of course.) Gabor was a close friend of Ferenc Szatmari. Together, they played an instrumental role in establishing a business relationship between the Hungarian firm Novotrade and its British partner, Andromeda, developing game programs for the Commodore 64.

In the months and years that followed, we spent a lot of time working together. I was proud to enjoy Gabor’s friendship. He was very knowledgeable, and also very committed to our success. We had some stressful times, to be sure, but also a lot of fun, frantic days (and many nights!) spent working together.

I remember Gabor’s deep, loud voice, with a slight speech impediment, a mild case of rhotacism. His face, too, I can recall with almost movie like quality.

He loved coffee more than I thought possible. He once dropped by at my place, not long after I managed to destroy my coffee maker, a stovetop espresso that I accidentally left on the stove for a good half hour. Gabor entered with the words, “Kids, do you have any coffee?” I tried to explain to him that the devil’s brew in that carafe was a bitter, undrinkable (and likely unhealthy) blend of burnt coffee and burnt rubber, but to no avail: he gulped it down like it was nectar.

After I left Hungary in 1986, we remained in sporadic contact. In fact, Gabor helped me with a small loan during my initial few weeks on Austria; for this, I was very grateful.

When I first visited Hungary as a newly minted Canadian citizen, after the collapse of communism there, Gabor was one of the few close friends that I sought out. I was hugely impressed. Gabor was now heading a company called Banknet, an international joint venture bringing business grade satellite-based Internet service to the country.

When our friend Ferenc was diagnosed with lung cancer, Gabor was distraught. He tried to help Feri with financing an unconventional treatment not covered by insurance. I pitched in, too. It was not enough to save Feri’s life: he passed away shortly thereafter, a loss I still feel more than two decades later.

My last conversation with Gabor was distressing. I don’t really remember the details, but I did learn that he suffered a stroke, and that he was worried that he would be placed under some form of guardianship. Soon thereafter, I lost touch; his phone number, as I recall, was disconnected and Gabor vanished.

Every so often, I looked for him on the Internet, on social media, but to no avail. His name is not uncommon, and moreover, as his last name also doubles as a first name for many, searches bring up far too many false positives. But last night, it occurred to me to search for his name and his original profession: “Dávid Gábor” “matematikus” (mathematician).

Jackpot, if it can be called that. One of the first hits that came up was a page from Hungary’s John von Neumann Computer Society, their information technology history forum, to be specific: a short biography of Gabor, together with his picture.

And from this page I learned that Gabor passed away almost six years ago, on November 10, 2014, at the age of 72.

Well… at least I now know. It has been a privilege knowing you, Gabor, and being able to count you among my friends. I learned a lot from you, and I cherish all those times that we spent working together.

 Posted by at 2:04 pm
Sep 262017
 

Lately, I’ve been spending my free time playing post-apocalyptic computer games. Most recently, Fallout New Vegas, from which this screen shot of a full moon rising is taken.

I’ve now played a couple of Fallout games, the two Metro games and the S.T.A.L.K.E.R. game trilogy. Sure there are some common traits but these games are nonetheless quite different. Yet they all have their poetic moments.

The Metro games left the deepest impression on me, to be sure. The characters in these games were perhaps the most realistic, their despair as they clung to life in the tunnels of the Moscow metro under a dead city, almost tangible. S.T.A.L.K.E.R. was something else… for starters, these were games set not in a dead world, only a dead zone in a world that was otherwise alive and well, presumably. And then, Fallout 3 and Fallout NV. When I began playing Fallout 3, I thought that the game lacked soul. Soon, I realized how wrong I was. While the message of the Metro games was that often, it was more satisfying to be merciful (indeed, you can pretty much play through both games without ever killing a human), the message of Fallout is that often there are no good options, only a choice between bad and worse. Killing bad guys or monsters is easy. Killing good guys because they must die for the greater good… Not the choice I’d care to make in real life.

 Posted by at 5:50 pm
Jun 212017
 

I just finished watching a 2016 Hungarian documentary film about the early days of the computer game industry in Hungary.

I was also interviewed via Skype for this film, albeit not much of my conversation with the filmmaker remained in the final cut. But that’s okay… it is, in a sense, fitting, because after the first few “heroic” years, I was no longer taking part in games development, whereas others continued and produced some amazing software.

Anyhow, I enjoyed this film. I met familiar faces (though I admit I would not have recognized all of them on the street after 30-odd years) but I also found out details about those days that I just didn’t know. I don’t necessarily agree with everything that was said in the film, but by and large, I think it paints an interesting, reasonably complete, accurate and balanced picture of what computer game development was like, what it meant to us in the early 1980s behind the Iron Curtain.

For what it’s worth, I bought my downloadable copy. (No DRM.) I think films like these deserve our support.

 Posted by at 5:35 pm
May 162017
 

In my copious amounts of free time (yeah, right) I’ve been playing with the second installment in the Metro 2033 game franchise, Metro Last Light. Like its predecessor, it is set in (or mostly, under) post-apocalyptic Moscow, in what remains of the tunnels of the Moscow Metro, with stations acting as city states, and the protagonist fighting mutants, aliens and human enemies alike.

My only complaint about these games is that the gameplay is very linear: you just advance the story, your actions do not alter it in any meaningful way, apart from contributing to the choice of ending that is shown after the final battle.

But the atmosphere of the game is brilliant. Brilliantly dark, that is. And the game is beautifully crafted.

Here is one example: midway through the game, you find yourself in a station named Venice, so called because it is half-flooded. (Or was it the station under the Bolshoi Theatre? Not sure.) As you wonder around, you encounter… a shadow play artist, entertaining a small group of children, showing shadows, some of which are quite recognizable as the monsters of the game.

This character plays no role in the story. You do not interact with it. It does not advance the game in any which way. It’s just… there. Because… well, what would a post-apocalyptic subway station be like without a shadow play artist?

It was when I encountered this scene that I became fully hooked by the atmosphere of the Metro games. This is no more just entertainment… this is a form of art.

 Posted by at 1:47 pm
Oct 302016
 

And the most maligned game of the year award for 2016 goes to… undoubtedly, No Man’s Sky. This game was much hyped by its creator in the months leading up to its release, hugely disappointing its fans when the released version lacked many of the features that they anticipated.

I was not part of this lot, though. I have not even heard of No Man’s Sky until I was asked to review it by a customer.

I spent a bit of time playing with it. I actually found the game quite enjoyable, albeit a bit monotonous after a while. Game play, in the end, boils down to landing on a planet, collecting resources, upgrading your ship, suit, or weapon, and moving on. There is a very thin storyline about some perpetual conflict between the three alien races that you meet, the mysterious “sentinels”, and the even more mysterious Atlas that ultimately reveals that the galaxy which you explore is just a simulation (d’oh!) but I found it uncompelling. Still, I found the game strangely attractive. Perhaps because it is the ultimate sandbox environment: You are not confined to a building, a cave, a city, a country, or even to a whole planet: you have an entire universe to explore!

Still, I’d love to have seen more races, signs of civilization, alien cities covering entire continents… or for that matter, just continents and more variety in the landscape within a planet, differences between mountains and plains, polar and equatorial regions and the like.

In short, I have to agree with those reviewers that No Man’s Sky feels a little unfinished; it would make an excellent indie game, but it is a bit of a letdown when it is released at a premium price under a major label (SONY).

Like all other games, No Man’s Sky has its glitches. I certainly ran into a few of them. The most annoying is when the game slows down unexpectedly, for which the only remedy is to restart the game and reload the last save. Fortunately, the remaining glitches were much easier to overcome. Like, when I managed to land my spaceship on top of a freaking plant.

I also managed to land once on top of a tower, with my spaceship precariously balanced on one end, making it quite a challenge to get back on board.

Or how about my starship, which I swear I previously left on the ground, ending up high, way high up in the sky? Thankfully, by this time I knew how to call my spaceship back.

I once managed to fall out of the world. It is a bit disconcerting, but easy to solve by reloading my last save.

And once I happened upon a building that was mostly floating in the air. As it turns out, building floors are transparent from below. I was hoping to be able to enter areas that were previously inaccessible to me (I have not yet obtained the appropriate Atlas pass), but alas, the transparency did not go that far.

Speaking of spaceships, here is the cutest-looking ship that I managed to acquire during my travels:

Unfortunately I had to trade it away when a spaceship with a bigger cargo capacity became available. Maybe one day I’ll find another one like this, with more cargo space.

In the end, it seems to me that No Man’s Sky will not appeal to everyone, but to those who like it, it can be quite enjoyable with decent replay value. I still fire it up from time to time.

 Posted by at 2:24 pm