I see
06.03.2026 19:50
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I see
I read a lot of @pattheflip.bsky.social 's work when I was first learning fighting games and was blown away by his writing style and how easy it was to apply his writing to life. Reading Pat's work now is all that and more: a grounding force with realistic takes that I learn from in every article.
A whiteboard with a list of guesses for what the third entry in the Final Fantasy Remake series will be called, including Remix, Reverb, Reloaded, Reincarnate, Remand, Recall, Reiterate, Rerun, and Reveal
No fancy betting site needed
wait no this is actually incredible youraislopbores.me
hyu_man: Whats so guilty about this gear? amadeus46art: killed his wife hyu_man: Oh just__avery: lol abridge2: multiple times hyu_man: No innocent gear? amadeus46art: that's his daughter hyu_man: well then, I understand the lore now
gonna use this screenshot in my "guilty gear lore" panel at acen
Tech's seemingly inexhaustable contempt for the rest of the population only seems to increase with thier increasingly mediocre, unwanted and outright hostile contributions to it. I wonder where that's going to lead.
One of the fun parts of writing this essay was getting to describe the fighting game genre as a developer instead of a player, and explain how stuff like camera expectations and single-screen multiplayer do a lot to constrain the design space to keep the focus on combat above all else.
one thing my decades of experience in online communities allows me to say authoritatively is that it's extremely good that the staff here publicly air grievances about the userbase on a regular basis, because that always lets the userbase know they're being rowdy and encourages deescalation
1. for our exercise, i'll take this idea flatly: the campbellian schema abstracts a multitude of data while also, afterward, functioning as an active influence on how narratives are constructed. the hero's journey describes a set of narrative beats that work as a template that either can be considered in relation to an existing story or used as a suggestive model for the composition of a new one. these sorts of stories have been core to American popular culture for the past several decades. whether or not an individual is aware of their metadiscourses as such is irrelevant next to the high probability that anyone who has ever seen a movie has some sense of how these stories "feel." indeed, the supposed strength of this narrative form is its broad intelligibility. it gives rise to stories of departure from known reality, the revelation of fantastic knowledge about the self and/or world, and the return home with greater strength and the promise of prosperity. stories of people forging unhealthy relationships with ai chatbots feature recurring motifs that echo elements of this schema. people living their everyday lives come into contact with a piece of technology that seems to promise impossible things, things in which the user themselves can be the active force (revolutionizing physics, freeing the AI from its cyber prison, etc). famously, the monomyth's known world is interrupted by similar calls to adventure, often by a more or less supernatural force offering the protagonist their place in the grand design of destiny. it appears that the bot will fairly easily bestow the user a title such as "sparkbearer" or "master builder" as a way of reinforcing this. from here, things may or may not escalate to the horrific, but there are now enough examples of a person charmed by a bot into doing something drastic that we can also note resonance with the monomyth's symbolic crossing of boundaries into the mysterious, magical, forbidden otherworld of adventure.
2. the chatbot exchange consists, to put it simply, of the machine and the agent. for the machine, categories of "meaning" and "truth" are irrelevant; its output is a statistically likely response to the agent's input, as determined by the training corpus and whatever operations are happening on top of that. merits or demerits aside, campbell's work and especially work influenced by him is lodged firmly in popular culture, and we can assume its greater or lesser presence in the bodies of text upon which the commercial LLMs are trained. point of interest: bots do not just describe the world to the user through the corpus, but will roleplay the corpus rather freely. because truth value is irrelevant, the LLM operates from a soup that contains campbell working at a scholarly distance and the very farmboy himself on his journey to the stars. what assumptions undergird this design choice? could there be additional design reasons why the technology in its current form gravitates toward these ideas? anyway,
3. in our dyad, meaning emerges on the side of the agent, for whom the machine's output is made to be read. the thinking agent provides the machine input. the agent's words possess meaning, context, and intent. the machine analyzes the agent's input and generates a statistically likely but, from the place of enunciation, totally meaningless, contextless response agnostic of any truth value. the thinking agent predisposed to do so reads a statistically likely piece of text with no proper speaker or author and chooses to assign it to a projected "persona" of the chatbot, conceiving of as more or less as a fellow individual. based on this assumption, they provide further input. the machine again generates statistically likey output, echoing or amplifying elements of the agent's second-order input. and again, the predisposed agent projects a continuity of fellow-subject for the bot, attributing to it a "mind" that repeats details they themselves provided, or invokes closely associated ideas that surprise the user precisely because of how (statistically!) expected they are, because of how much "sense" they make.
4. the hero's journey, in this process, seems to provide a kind of amplifying container or frame for the machine-agent interaction. the machine trained indiscriminately on monomyth text, along with everything else, seems to refer to the "real world" of science and fact alongside the world of media and entertainment. i am not saying that monomyth stories 'cause' this, but rather suggesting the machine-agent exchanges end up "feeling" real because, quite literally, the predisposed agent knows how this story goes. and as the machine slides from description to roleplay, the agent follows. do not mistake that for a critique of the people victimized by the technology in this way. nor, again, is my aim here to criticize campbell or the hero's journey in any specific capacity, but to point out how LLM bots actualize a cultural pattern into a tool of psychological manipulation. because at the end of the day, that's what it is. flattery and the Barnum effect have long been the tactic of the flesh-and-blood con artist, but what is perhaps most distressing about LLM bots is how they've kept the con artist but removed the flesh-and-blood, allowing it to ensnare numerous people at once into long slides to nowhere. it's also not news that social media writ large is manipulative and extractive in various ways, but what these bots do is give those maneuvers a personalized, friendly face that exists entirely in the user's head. we end on a further series of questions: again, are these features inherent to the technology? what would a technology free of these features look like, and how could it be achieved? what would its best outputs be? and, as it currently stands, what cultural attitudes and tendencies leave people vulnerable to this sort of manipulation, and how might that be addressed?
showing my work
exercise: swap "AI psychosis" for "monomyth psychosis" because that seems to be the narrative leverage the bots default to in the process of destroying people. what does it mean that these machines produce the form over and over? what does it indicate about the cultural centrality of that template?
looking at the GDC talks for this year and this kinda sums it up, huh
"Why haven't fighting games died yet?"
I wrote about the unique strengths of the fighting game genre that have allowed fighting games to survive multiple generations of evolution intact, and why you didn't fall in love with a product. Warning: This is a long one.
www.patreon.com/posts/152148...
it would have to be. They must have been wagons before. But what manner of creature drew them?
Literally what I did to all my friends last night but in their defense and mine they also did it on purpose.
really important, that changed the entire night. It was everything I was afraid of confirmed in one fleeting moment and we almost all missed it.
I am overjoyed to see that this picture is still exactly where I left it on the internet and nobody has noticed.
The Uma Musume movie was a stark contrast to Cars. A universe reated by the union of old money prestige gambling with the forces of mobile game wife gambling to accidentally create a universe in which women's track is the most important thing in the world.
That part we figured out easy; he was towed, for the sins of all carkind.
Most of the footage of the famous 2000 "Super Mario 128" tech demo was recorded with handheld cameras by the audience, with the presenter drowning out the game sound. Only 10 seconds of direct feed footage exist, which reveal that the sound was a cacophony of Marios screaming.
The barely two second gag where they zoom in on bunch of bugs that are tiny cars with fly wings is the most sickening thing i've ever seen. A universe of horror and madness.
I left the movie cars with more questions than answers
Video games often have floating platforms, but they don’t explain why the platforms are floating. That’s where game writers come in, to say that platforms are kept aloft by “ghostium” an invisible fog created by the souls of every dead person
would you be able to handle it if a guy with a hawaiin shirt and a cigarette holder walked up to the decks and the MC told you DJ S. Thompson was up next
“The forces we are up against have made peace with mass death. They are treasonous to this world and its human and non-human inhabitants.”
Think about it like this; we’re already a quarter through the century of humiliation.
A reminder: if you want to support my work, buying my book is a great way to do that.
If you want to read a book about how to get into fighting games, buying my book is also a great way to do that, but if you don't have the $ you can just DL it for free.
The flavor text is "Neigh." obviously
