28 March, 2019

Dark Souls 3 Hitless Tournament Schedule/Rules


















The hitless tournament is HERE! Matches begin Tuesday, Sept. 18.

Round Schedule:

  • Tuesday, Sept. 18 - Winner's Round One
  • Wednesday, Sept. 19 - Winner's Round Two, Lower Round One
  • Thursday, Sept. 20 - Lower Round Two
  • Friday, Sept. 21 - Lower Round Three
  • Saturday, Sept. 22 - Winner's Finals, Lower Finals
  • Sunday, Sept. 23 - GRAND FINALS
    Rules:
    • Original DS3 hitless run rules apply, such as staggers count as hits, deaths count as hits, and jailer damage count as one hit per occurrence.
    • No quit outs/glitches/out-of-bounds.
    • Environmental damage from swamps (e.g. poison) do not count as hits.
    • Run is any%, but optional bosses break ties (more below).
    • Storyteller staff is banned.
    • Three pre-vordt resets are allowed. No others.
    • Magic/bows are banned, unless you do not use a melee weapon at all (pure pyro build, for example). Spook/hidden body banned regardless of build.
    • 3 hour maximum time limit for any%.
    • Ties are decided by optional boss "pools". More info available via !bosspool command at twitch.tv/McRapt0r.
    • In the event of an "overtime" match (due to a tie), the match ends when each runner has completed a boss and the tie is broken. For example, if it goes into overtime, each player fights Greatwood. If player 1 takes no hits, but player 2 takes a hit, player 1 wins.

    King Saul

    Here is King Saul with his men of valour. They are ready to fight the dreaded Philistines, confident in victory. The day will not end well for defeat will come and King Saul will fall on his own sword. Figures are Castaway Arts mainly with Newline Designs and Miniature Designs. Saul is converted a Eureka upcoming Trojan Wars figure. The figure shaking fist is Ral Partha.

    27 March, 2019

    Going To Rapier Con Febuary 8-10

    My son and I will be going to Rapier Con in Jacksonville, FL during the weekend of February 8-10. It's the first time I'll have played real miniature games in years. We're looking forward to it. Plus, I got a new cell phone (S9+) over the holidays, so I actually have an awesome camera again to shoot photos. It's been years since I had a good camera, hence the lack of photos and articles here. I'm edging my way back into miniature gaming. :-)

    26 March, 2019

    Pascal's Scams

    Beware of what I call Pascal's scams: movements or belief systems that ask you to hope for or worry about very improbable outcomes that could have very large positive or negative consequences. (The name comes of course from the infinite-reward Wager proposed by Pascal: these days the large-but-finite versions are far more pernicious).  Naive expected value reasoning implies that they are worth the effort: if the odds are 1 in 1,000 that I could win $1 billion, and I am risk and time neutral, then I should expend up to nearly $1 million dollars worth of effort to gain this boon. The problems with these beliefs tend to be at least threefold, all stemming from the general uncertainty, i.e. the poor information or lack of information, from which we abstracted the low probability estimate in the first place: because in the messy real world the low probability estimate is almost always due to low or poor evidence rather than being a lottery with well-defined odds:

    (1) there is usually no feasible way to distinguish between the very improbable (say, 1 in 1,000) and the extremely improbable (e.g., one in a billion). Poor evidence leads to what James Franklin calls "low-weight probabilities", which lack robustness to new evidence. When the evidence is poor, and thus robustness of probabilities is lacking, then it is likely that "a small amount of further evidence would substantially change the probability. "  This new evidence is as likely to decrease the probability by a factor of X as increase it by a factor of X, and the poorer the original evidence, the greater X is.  (Indeed, given the nature of human imagination and bias, it is more likely to decrease it, for reasons described below).

    (2) the uncertainties about the diversity and magnitudes of possible consequences, not just their probabilities, are also likely to be extremely high. Indeed, due to the overall poor information, it's easy to overlook negative consequences and recognize only positive ones, or vice-versa. The very acts you take to make it into utopia or avoid dystopia could easily send you to dystopia or make the dystopia worse.

    (3) The "unknown unknown" nature of the most uncertainty leads to unfalsifiablity: proponents of the proposition can't propose a clear experiment that would greatly lower the probability or magnitude of consequences of their proposition: or at least, such an experiment would be far too expensive to actually be run, or cannot be conducted until after the time which the believers have already decided that the long-odds bet is rational. So not only is there poor information in a Pascal scam, but in the more pernicious beliefs there is little ability to improve the information.

    The biggest problem with these schemes is that, the closer to infinitesimal probability, and thus usually to infinitesimal quality or quantity of evidence, one gets, the closer to infinity the possible extreme-consequence schemes one can dream up,  Once some enterprising memetic innovator dreams up a Pascal's scam, the probabilities or consequences of these possible futures can be greatly exaggerated yet still seem plausible. "Yes, but what if?" the carrier of such a mind-virus incessantly demands.  Furthermore, since more than a few disasters are indeed low probability events (e.g. 9/11), the plausibility and importance of dealing with such risks seems to grow in importance after they occur -- the occurrence of one improbable disaster leads to paranoia about a large number of others, and similarly for fortuitous windfalls and hopes. Humanity can dream up a near-infinity of Pascal's scams, or spend a near-infinity of time fruitlessly worrying about them or hoping for them. There are however far better ways to spend one's time -- for example in thinking about what has actually happened in the real world, rather than the vast number of things that might happen in the future but quite probably won't, or will likely cause consequences very differently than you expect.

    So how should we approach low probability hypotheses with potential high value (negative or positive) outcomes?  Franklin et. al. suggest that "[t]he strongly quantitative style of education in statistics, valuable as it is, can lead to a neglect of the more qualitative, logical, legal and causal perspectives needed to understand data intelligently. That is especially so in extreme risk analysis, where there is a lack of large data sets to ground solidly quantitative conclusions, and correspondingly a need to supplement the data with outside information and with argument on individual data points."

    On the above quoted points I agree with Franklin, and add a more blunt suggestion: stop throwing around long odds and dreaming of big consequences as if you are onto something profound.  If you can't gather the information needed to reduce the uncertainties, and if you can't suggest experiments to make the hope or worry falsifiable, stop nightmaring or daydreaming already. Also, shut up and stop trying to convince the rest of us to join you in wasting our time hoping or worrying about these fantasies.  Try spending more time learning about what has actually happened in the real world.  That study, too, has its uncertainties, but they are up to infinitely smaller.

    Video Game Music Class: An Overdue Update.

    It's been forever since I've updated what's been going on in class and today's time to catch up!

    For the class I missed in early October while traveling to GameSoundCon, I asked my students to watch some of my videos (linked in the right sidebar) about Leitmotifs in Final Fantasy 7, idée fixe in Super Mario World, and musical form in Super Mario Bros and then answer some questions about what they saw.  The class is also a pilot trial of Canvas for UM, so I used that to administer the quizzes while I was away.  It worked pretty well, except that-- as least, at of my writing-- it's not possible to have an audio file be an answer in a multiple choice quiz question in Canvas.  The tech staff gave me a workaround, but it wasn't as streamlined and didn't allow the level of control I was hoping for.  For instance: I want to have the question: "which of these themes is NOT one of the Leitmotifs discussed in the video" where A, B, C, and D are audio files with a maximum of two plays each.  Seems basic to me, and I think language teachers would see advantages of this as well.  However, not possible.  The challenges of modern music teaching...

    I tried out a new class on South Park: Stick of Truth that went very much in line with my blog entry about playing the game.  I'm thinking more strongly about the connection between my blogging and teaching this semester, and am seeing the powerful connection between the two.  Using my blog this way was a big moment for me because it was the first time that I realized my notes here are easy and convenient ways for me to construct lesson plans for game music class.  Most of the time, I've got links to the audio and all my notes on the game's audio are collected right here.  Super convenient for creating a lecture.  Now, even though I enjoyed creating the class, I'm not sure I'll do a SoT class again because the material is racy.  Teaching this course is always a balance between finding modern games and franchises that the students know while keeping the material appropriate for the classroom.

    We had a photographer come to class to get some pictures for UM's biannual magazine, Muse.  (I'll throw the link up once it's out.)  VGM will be getting a little publicity in the Winter edition.  I asked several members of the class who have created games to show them during the class period so that we could hear and react to their audio.  Really an interesting exercise that's valuable for these game creators as they get feedback about their creations, and also for the students in class who have never made a game --and may never-- because they see their peers' creativity and the work that goes into it.  Really awesome discussions this day.  Also, note to self: brilliant toss to the students regarding the photo op.  It's always better to showcase them!

    Last week, we covered music games (Parappa, Vib Ribbon, DDR, Guitar Hero, Rock Band, Wii Music, etc) and "live" performance of game audio via YouTube.  This took the form of a "party" day where we watched a few videos of Smooth McGroove and other game music covers before seeing a chunk of a Video Games Live concert.  I baked cookies for them.  97 cookies for this class!  Also encouraged the students to dress up (as is the fashion with game music shows) and a couple of students wanted to take a picture with me afterward as we were all Zelda related.



    This Tuesday I did an in-class tutorial about creating audio with GarageBand.  Not that GB is the greatest software, but it's prevalent, free, and user friendly.  Also, it's fairly common for students to have used GB either through their own experimentation or in a high school music class.  Experience tells me that some will use other software: Logic, Ableton, ProTools, and FL Studio come to mind as professional level tools some serious music lovers in class will learn/already know.  I've also had students work with an online chip tune music program, or a DS music maker and these work just fine too.  My point in asking the students to create game audio is in part to realize that game audio can be anything.  New theme songs for Pac-Man?  Great.  Beach Boys sound-a-like to avoid licensing fees for BioShock 7?  Awesome.  Get creative.

    Tomorrow we'll have our last Skype conversation of the semester with Alexander Brandon.  It's awesome to talk with a game composer at the point when the students are thinking about their own projects.  I know the discussion will be great.  Really looking forward to it.

      

    Lemmings - Commodore Amiga - 1991

    Along with Tetris, Lemmings has to be one of the most ported games out there.  Originally released in 1991 for the Commodore Amiga, it has been ported to 30+ devices ranging from the Nintendo Gameboy to the Playstation 3 and Mobile Phones.

    For me, the game is best controlled with a mouse which leaves us with the initial versions from 1991 for the Amiga, Atari ST and DOS.  Although all three versions play the same, the original Amiga game has the best graphics and sound in my opinion.

    The concept of the game is simple - guide a specified percentage of Lemmings through the exit portal within the time limit.  

    There are 120 levels split across four difficulty settings.  FUN is the easiest and is mainly there to get you used to the controls.  The game gets progressively more difficult through TRICKY and TAXING, with MAYHEM being the most demanding.  There is a password system so you don't need to repeat completed levels.  
    One of the TAXING levels.  Note the lack of available skills.

    Each level starts with the Lemmings dropping out of a trap door.  Their release rate is shown at the bottom left of the screen.  This can be increased or decreased using the + and - icons, but cannot be set lower than the initial rate.  Left to their own devices the Lemmings will move in a certain direction until they reach an obstacle, at which point they will turn around and walk the other way.  If they encounter a long drop, water, lava, a trap or anything else lethal to them, they will walk mindlessly to their deaths like, er, lemmings.

    You do not control the Lemmings directly but give them actions by using the skill icons.  The Climber icon allows the Lemming to scale a vertical surface.  Using Floater on a Lemming allows it to survive a high fall. The Bomb causes the selected Lemming to self destruct taking a chunk of the landscape with it.  Blocker stops other Lemmings passing and sends them in the opposite direction.  A Bridge Builder constructs a set of twelve steps to cross chasms or climb to higher platforms. The Basher icon orders the chosen Lemming to dig horizontally if in front of a suitable surface.  Use the Miner or Digger skills and the Lemming will respectively tunnel diagonally or vertically down.
    Building a stairway to heaven.

    The final two icons are 'Paws' and Nuke 'Em.  Paws obviously pauses the game.  You can still scroll around the level to plan a route or quickly get to a Lemming that's about to die, and becomes invaluable in later levels with the tight time limit.  Nuke 'Em causes all your Lemmings to explode if a level is obviously lost.

    Some parts of a level can be made of metal and can't be dug through, blown up or damaged in any way.  Some walls can only be tunneled through from a certain direction.
    This obstacle can only be tunnelled through in the direction of the arrows.  The metal floor prevents digging under.

    When Lemmings was released in 1991 it was a totally original concept - there was nothing else like it.  In 2016 it is still fun to play.  The graphics are still acceptable and the tiny Lemmings are well animated despite being only 8 pixels high.  The soundtrack is good for the most part, mixing some original songs with music from other Psygnosis games and some well known tunes (March of the Mods on the intro, the Can Can and the like in game).  Sound effects are limited in number but are effectiveThe learning curve is pretty good too, ranging from very simple on the lower levels to practically impossible in the MAYHEM stages.  Like Tetris it's a game the that stands the test of time.

    A couple of FUN levels....
      

    23 March, 2019

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