I think there’s a 50% chance we went to the same theater, because I also went to see The Colors Within yesterday. I agree, great film. It’s interesting to me how Japanese entertainment tends to do a better job at telling a story where Christianity plays a role without being utterly obnoxious about it. Or maybe I’m just less suspicious about a Japanese creator’s intentions when it comes to this. Anyway, I did notice a slight plot hole, maybe?

But well, it’s not that big of an issue.

I already went to see Chainsaw Man a couple of weeks ago, which was great fun. I did like the first season quite a lot, but I enjoyed this different approach as well. Still a weird experience to go to the mainstream cinema and see an anime film in a packed house, though. That would have been unthinkable a few years ago.

Seems to me that the “market performance ratio” should weigh a lot heavier. The whole thing that makes something a bubble is that a lot of money is being put into it while very little is coming is coming out and there being very few prospects of that changing in the near enough future outside of religious conviction, yet this metric is the only one suggesting that investments creating real value should matter and it only accounts for 7.5% of the whole score. Then again, the site doesn’t actually properly define what “market performance ratio” means and doesn’t state its sources beyond a vague description.

Also, the person who made this, Mert Demirdelen, is “head of growth and product” at Mobiversite, an AI app maker. His skills listed on LinkedIn include “AI” and “Blockchain”. So maybe not someone who is completely devoid of the desire to invoke a particular impression of the state of the AI economy.

There are valuable uses of learning models, but I’d say they all have the following constraints:

• The relation between input and output is at most 1:1. So the output does not contain any information that cannot be derived from the input.
• The scope is sufficiently constrained so that the error rate can be meaningfully quantified.
• Dealing with the errors (including verifying that there are errors, if needed) takes less effort than just doing everything manually.

I think I’ve solved the main conundrum of this show. Hinako wants Shiori to eat her, but Shiori first wants Hinako to want to live, so that she’s more delicious. But if that happens, Hinako won’t want to be eaten anymore. Also, she’s worried about leaving Miko behind without a friend. Then the solution is simple: all Hinako has to do once she wants to live again is eat Shiori so that she becomes immortal (because of eating mermaid flesh). After that, she’s pretty much a youkai herself, so Miko probably won’t want to eat her anymore (at least not in that way).

MikoHina lives on forever, Shiori has become a beautiful martyr for the cause, it all works out!

If you go to the official Japanese website of a show and look up where you can watch it, almost every time you’re presented with a list of close to two dozen streaming services. The exception is when one particular service (always an American one like Netflix or Amazon Prime) has exclusivity rights to it, but they’re the minority.

Exclusivity deals aside, this seems to me like a much better setup, at least from a consumer perspective. Shows are for the most part not dotted across different services, but there’s no market consolidation. And even if something isn’t on the service you’re subscribed to, it will probably be available on a service where you can just rent an individual show or episode instead of having yet another subscription. And I imagine that if they’re not competing on hostage-taking, that would mean they’re competing more on price and quality of service instead.

Studios don’t have that power, they don’t usually own the distribution rights of the shows they animated.

Most animation studios do contract work; they get hired by a production company to do a job, and get paid for it irrespective of whether the product does well on the market. The problems here are more structural, which are actually explained in the article.

We’re not currently on a trajectory toward automata like that, at least not with the kind of AI that’s currently heavily being invested in, but even if we were, it would not lead to a positive outcome with the way society is set up right now. The problem is that someone would own the automata and therefore be in complete control over in whose benefit the automata would work. Unless the automata are easy to make (and the patents easily bypassed), making it difficult for someone to monopolise them, it would take a fundamental change to the way the economy works for this to benefit everyone, and that’s not an inevitability.

But this video isn’t really about that, it’s about the much more likely scenario that AI does not end up living up to its promises and the money eventually running out, and what the economic fallout of that will be.

The standard type aliases like uint64_t weren’t in the C standard library until C99 and in C++ until C++11, so there are plenty of older code bases that would have had to define their own.

The use of #define to make type aliases never made sense to me. The earliest versions of C didn’t have typedef, I guess, but that’s like, the 1970s. Anyway, you wouldn’t do it that way in modern C/C++.

If you’re directly interacting with any sort of binary protocol, i.e. file formats, network protocols etc., you definitely want your variable types to be unambiguous. For future-proofing, yes, but also because because I don’t want to go confirm whether I remember correctly that long is the same size as int.

There’s also clarity of meaning; unsigned long long is a noisy monstrosity, uint64_t conveys what it is much more cleanly. char is great if it’s representing text characters, but if you have a byte array of binary data, using a type alias helps convey that.

And then there are type aliases that are useful because they have different sizes on different platforms like size_t.

I’d say that generally speaking, if it’s not an int or a char, that probably means the exact size of the type is important, in which case it makes sense to convey that using a type alias. It conveys your intentions more clearly and tersely (in a good way), it makes your code more robust when compiled for different platforms, and it’s not actually more work; that extra #include <cstdint> you may need to add pays for itself pretty quickly.

I’m not an expert on making browser extensions, but I doubt they’d get direct access to the audio buffer just before it gets sent to the the OS. It should be possible to do this on the OS-level though, like with (on Linux) a PulseAudio module or something.

Interesting how they used the lighthearted side-story to prevent complete tonal whiplash with the practically denpa song ED.
Also, Fairouz Ai can really draw, wow.

In Japanese: 春夏冬
It means spring (haru), summer (natsu), winter (fuyu). What’s missing? Autumn. In other words, autumn (aki) is nonexistent (nai), so this is pronounced akinai, which means “not getting tired/bored of something”.

According to the website, it does not. But it also doesn’t support GPU passthrough yet, so it’s not yet really an option for most games anyway.

I imagine it’s also because the werewolves in this version of the game appear to be demons (which actually makes a lot of sense), so it also depicts the two sides in the game.

Steins;Gate gets quite dark and serious, but it starts out pretty goofy, so if you’re trying to avoid comedy it would leave a pretty bad first impression. I don’t think I would recommend pushing yourself through the earlier parts to get to the later parts either, because you do need a certain attachment to the characters to appreciate the latter.

Vinland Saga, from what you’ve written, seems more up your alley. In a similar vein (bloody serious historical fiction) I also recommend Orb.

Other than that, Pluto and Monster, both thrillers based on manga by Urasawa Naoki, are very straight-laced.

Actually, I wonder how light would interact with something that is infinitesimal in width, but does have a significant amount of depth. Have any experiments of this kind been done with graphene or something?

It’s weird, it feels kind of like watching a Japanese dub of an English-language show, which I haven’t felt even with other adaptations of works originally in English. I guess it’s because it also uses the visual language of the comic? Pretty luxurious cast, though.

Anyway, the writing isn’t very good. A bunch of things just don’t seem to make any sense; the dumb incident at the office it sends half the episode or so on, the whole deal with the rating of the protagonist’s game by the streamer. Still not sure what the show is about, either, but I don’t think I have the motivation to find out.