60 hour work week deserves down time....no code, just immersion...feel like I'm being watched though

My dream project? A full immersion Virtual Reality... Like the NerveGear in Sword Art Online... *-*

Embedded app design resources?

We have a device that is currently controlled through buttons and knobs. We are rethinking this design. We want to have a mix of buttons and knobs and in addition have a touchscreen. The controls must be redundant. So if we turn off the touch screen it must be able to control everything.

Does anyone know of any design resources for non-touchscreen embedded control?

I have been looking into how gaming console controls work. I like how they have the idea of controlling the game vs breaking the 4th wall. We have a similar constraint as we want the operator focused on what they are controlling and not the controls or even sometimes the screen. So immersion is definitely a concept for us. I have been toying with the idea of adding a d-pad for some controls. We have not solidified the hardware controls yet. That is still up to me to come up with some ideas to make it more intuitive.

I'm not a dev, but I want to be. There's a lot of ways to become a developer from what I can tell, but the one I chose was a coding bootcamp.

I was accepted to Thinkful with an Income Share Agreement and a Living Stipend.

I'll be in the full time Engineering Immersion cohort starting this upcoming February.

So I just wanted to share my small accomplishment. Wish me luck, fam.

The source engine is interesting, because it has reached that stage of life where it's old enough to be remarkable-- in the sense that it could be called 'legacy', a sort of milestone in development practices and thinking, both in software, and design.

That said, a better look at it might be from the lense of *uses today*.

A lot of former source engine (SE) devs are now going to unity or unreal, I don't blame them.
But it's interesting to examine examples of games that haven't.

One such game is the freeware "No More Room In Hell". A couple online play throughs shows a wealth of well designed maps (and an even greater horde of shovelware maps, but hey, you take the good with the bad).

The age of the engine itself shows. Even in games like Left 4 Dead the engine's age can be seen. This, in some respects has been a drag, but also a blessing. Where other games could rely on their effects, shaders, and other tech, modders, map makers, and designers have had to rely on wit and creativity.

Enter "situated environments."

In an age where many people desire to travel, to go places, and have grown up doing the exact OPPOSITE, there is a great desire for variety of locations in games: not merely 'environmental' in the shallow sense of a 'theme' such as 'lava', 'tundra', etc. But in the sense of setting in general.

We want places that are both out of reach and yet familiar. Fire-fights happen in city streets. Apocalypses happen in neighborhoods where the skyline is both broken and at once something we know by sight. Open air markets, grocery stores, neighborhoods, all of these provide the back drops of popular games and series such as COD, Battlefield, The Last of Us, and yes, the example game, NMRIH.

I call this idea of 'familiar but out-of-reach level design', "situated environments", because familiarity with them, but *lack of real life experience* with them, on a day to day basis, allows people's expectations to fill in the gaps.

No one for example would argue the layouts of 7 Days To Die are familiar, but most of us don't spend all day in a junkyard or a high rise hotel.
So they *feel* familiar. Likewise with Skyrim, the villages and towns, both iconic and strange, our expectations formed by cultural inheritance, hollywood films, television shows, stories, childrens books, and yes, other games.

In a way, familiarity-without-real-in-person-experience is a shortcut for designers, one that lets them play with the player's head-space, the players subconscious idea of how a space and setting *should* work, what to *expect* out of the area, how to *operate* within the area. And the more it conforms to expectations, the more surprising an overdesigned element appears to be, rather than immersion breaking. A real life example of this is people's idea of chernobyl. When they discover the amusement park and ferris wheel they're blown away by the juxtaposition of the wasteland that surrounds them and the associations ('nostalgia' as it were) that such a carnival ride carries for many of us. It simultaneously *doesn't belong* and is yet all at once *perfectly situated in the environment*.

It is to say 'surreal', which is adjacent to the idea of *being real*, in terms of our "perception of what is and isn't plausible, if not possible."

This is at the heart of suspension of disbelief, because in essence, virtual worlds are a lie, like fiction, and good fiction violates expectations in order to tell us truths about reality. As part of our ability to differentiate bullshit from reality, there is to say an element in our bullshit detectors (doubtless evolved over many 10's of thousands of years), that is designed to not merely detect what is absurd in our limited experience, but to incorporate absurdity into everyday experience. In that sense part of our rationality is the acceptance of irrational experiences, learning from it, and discovering 'a proper place for each thing' in the "models of the world" we all carry around in our heads. Eventually we normalize the absurd, it becomes the new reality, and what remains unassimilated becomes superstition (real or otherwise), a figment, or an anomaly.

One of the best examples I've encountered is The Last of Us: Left Behind, a good chunk of which is spent in a mall. And they nailed the environment perfectly I would say.

Or for those who don't own a PS4, a more accessible example is a map in NMRIH aptly called "the museum", and few words better do it justice than to go play it yourself--that is, if you really want to know what I mean by a 'situated environment'.

What better way, during this pandemic, to get out of the news cycle and into your own head? Sometimes the best way to escape isn't outside, it's within.

Wrote this on another thread but wanted to do a full post on it.

What is a game?

I like to distinguish between 1. entertainment, 2. games, 3. fun.

both ideally are 'fun' (conveying a sense of immersion, flow, or pleasure).

a game is distinct (usually) from entertainment by the presence of interaction, but certain minimalists games have so little decision making, practice, or interaction-learning that in practice they're closer to entertainment.

theres also the issue of "interesting" interaction vs uninteresting ones. While in broad terms, it really comes down to the individual, in aggregate we can (usefully) say some things, by the utility, are either games or not. For example if having interaction were sufficient to make something a game, then light switches could become a game.

now supposed you added multiple switches and you had to hit a sequence to open a door. Now thats a sort of "game". So we see games are toys with goals.

Now what is a toy?

There are two varieties of toy: impromptu toys and intentional toys.

An impromptu toy is anything NOT intended primarily, by design, to induce pleasure or entertainment when interacted with. We'll call these "devices" or "toys" with a lowercase t.

"Toys", made with the intent of entertainment (primarily or secondarily) we'll label with an uppercase T.

Now whether something is used with the intent behind its own design (witness people using dildos, sex toys, as slapstick and gag items lol), or whether the designer achieves their intent with the toy or item is another matter entirely.

But what about more atmospheric games? What about idle games? Or clickers?

Take clickers. In the degenerate case of a single button and a number that increases, whats the difference between a clicker and a calculator? One is a device (calculator) turned into an impromptu toy and then a game by the user's intent and goal (larger number). The second, is a game proper, by the designers intent. In the degenerate case of a badly designed game it devolves into a really shitty calculator.

Likewise in the case of atmospheric games, in the degenerate case, they become mere cinematic entertainment with a glorified pause/play button.

Now while we could get into the definition of *play*, I'll only briefly get into it because there are a number of broad definitions. "Play" is loosely: freely structured (or structured) interaction with some sort of pleasure as either the primary or secondary object, with or without a goal, thats it. And by this definition you can play with a toy, you can play a game, you can play with a lightswitch, hell you can play with yourself.

This of course leaves out goals, the idea of "interesting decisions" or decision making, and a variety of other important elements.

But what makes a good game?

A lot of elements go into making a good game, and it's not a stretch to say that a good game is a totality of factors. At the core of all "good" games is a focus on mechanics, aesthetics, story, and technology. So we can already see that what makes a good game is less of an either-or-categorization and more like a rating or scale across categories of design elements.
Broadly, while aesthetics and atmosphere might be more important in games like Journey (2012) by Thatonegamecompany, for players of games like Rimworld the mechanics and interactions are going to be more important.

In fact going a little deeper, mechanics are usually (but not always) equivalent to interactions. And we see this dichtonomy arise when looking at games like Journey vs say, Dwarf Fortress. But, as an aside, is it possible to have atmospheric games that are also highly interactive or have a strong focus on mechanics? This is often what "realistic" (as opposed to *immersive*) games try to accomplish in design. Done poorly they instead lead to player frusteration, which depending on player type may or may not be pleasureable (witness 'hardcore' games whos difficulty and focus on do-overs is the fun the game is designed for, like roguelikes, and we'll get to that in a moment), but without the proper player base, leads to breaking player flow and immersion. One example of a badly designed game in the roguelike genre would be Early Access Stoneshard, where difficulty was more related to luck and chance than player skill or planning. A large part of this was because of a poorly designed stealth system, where picking off a single enemy alerted *all enemies* nearbye, who would then *stay* alerted until you changed maps, negating tactics that roguelike players enjoy and are used to resorting to. This is an important case worth examining because it shows how minor designer choices in mechanical design can radically alter the final quality of the game. Some games instead chose the cheaper route of managing player *perceptions* with a pregame note: Darkest Dungeons and Amnesia TDD are just two I can think of.

!devrelated

I just have to vent somewhere about how I'm SO DAMN SICK of the effin' cross-realm BS in World of Warcraft. Nothing breaks immersion like having to stand in line for some mob with 10 min respawn timer. I joined a low-pop server for a reason!!!

Headphones, Spotify (Deadmau5, Simon Viklund, Power of Trinity, Wolf Parade, Mr. J. Medeiros) or some podcast, coffee, inspiration, "Do not disturb" on phone and let's rock 😎

I enjoy reading the arcane language of devs, although I haven't a fucking clue what you're talking about. It's the instinctive rise and fall of emotion that I find gripping.
There's one thing I may be better at than most of you; since 1967's first episode of "Time Tunnel," I have been enamoured of RMS Titanic. So, two things. Today is the birthday of Jack Phillips, the senior wireless operator who lost his life the night of the sinking. There's a memorial garden in his birthplace, Godalming, Surrey, UK. The second is my recent immersion in enhancing images. I'm attaching a work in progress of RMS Titanic sailing past the Isle of Wight on her maiden voyage. Stay dry lol.

!rant
Experienced devs please tell help me.

Learning software development has been a challenge. Many times it's frustrating.

I also learn languages and I find them to share one trait with software development, which is complexity.

At first I looked at languages the way I'm currently doing with software. I'd look in a new language and after decided it's cool to learn it, I would stare at it for a few weeks trying to realize what the heck I was going to do. I wouldn't even know how to get started.

Eventually this stage goes away and I think that is about to happen with me with software.

But then a new challenge would come, which is me not making progress as I wanted. That's sort of happening with me by learning software as well, bit in language I now know how to deal with it.
That's because I work full time with something that isn't in my interests and when I arrive home Im tired and want to relax. So I decided my language learning had to go slower as long as I have this job, meaning no hours spent in front of books or a pc studying - that's what I could do with English, I was a teenager and had 12 hours a day to do whatever I wanted.

So I usually spent 5 minutes here and there learning something in my target language when I can, no frustration needed, my only rule is: practice everyday, even if I don't learn anything new.

With software, that doesn't apply though.

So, what I mean by tracing a parallel between these to fields is that I have a strong conviction is that once you get the principles on how a certain kind of learning works, you can apply it everywhere in the field. But with software it's been harder.
Anyways, I see that are some principles that apply, cause trying to learn software is changinge and teaching a lot of things like:

*you have to read a lot (of documentation) . At first I thought all documentation was painful to read and understand, but I found out some software are well documented and one can use those only to get used with it.

*immersion / discipline are important. I'm not very disciplined, I'm better with immersion but both are important if you need to acquire complex subjects/skills

*how to deal with complexity. I installed Arch Linux a few days ago. Just to install it I ended up reading more than 20 pages of documentation (install guide, Wpa supplicant, systemd, networkd, xorg, etc etc). Gradually I'm realizing that when you have to install/tweak something in that distro you necessarily spend a bunch of time trying to understand how it works, otherwise you don't get too far like in Ubuntu or Debian.

*and lastly the one that bothers me. Constantly getting frustrated and feeling crap about my poor skills. No matter how much I progress, it still seems like I'm stuck.
(that's when I ask your help/opinion :) )

Fiddled since the days of DOS, fell in to the world of Linux ~15 years ago, fiddled some more.

In 2010, though, I jokingly/enthusiastically commented on @anderwebs twitpic about how he was adding theming to the ADW Android launcher and I was excited about a BuuF theme for Android.

He replied with something like, "cool, you gonna do it?". And I thought to myself, sure why not...and I did. Great learning experience.

Since then, I've stuck doing more of the systems/backend side of things...and I still, to this day, wouldn't consider myself a programmer as I'm not proficient in any one language....I'm a copy/paste weekend coder. I take advantage of software and my skills to manipulate it whenever/however I can.

I need some inspiration to move forward with my education and immersion with programming. I continue to take intro courses, but have not gotten to an advanced level.

Any recommendations for getting started with Android programming, without using much Java? I'd imagine I would have really gotten in to it if it had been Python, for some reason.