As a student, of the order of 12 years ago, I received a 256mb flash mp3 player from my brother. You could fit a few ripped albums on there, but it wasn't worth ripping all my cds to use for that; rather what drove me to mp3ise my album collection was the desire to randomise my tracks and make compilations easier to make.
So it ended up being a pack-horse to listen to freely-downloaded tracks from myspace and record label websites. It seems to have been the way back then that a couple of songs would be downloadable here and there, so I remember having a few Elliot Smith songs, a couple of songs by The Dwarves, an Anaal Nathrakh ditty, some American guitar indie that I've forgotten the names of... individual songs that were listened to probably more than they deserved (at some point I upgraded this to a portable cd player, that I got from argos. It didn't have jog correction so I had to walk with an odd gait and take care over curbs).
What I want to talk about is streaming services; moving through the growth and decay of last.fm and soundcloud, to a situation where I've ended up uploading everything to google music and now just listen to that. Which is like having the original, massive mp3 player, but I have to worry about bandwidth charges.
Pandora came first for me, in terms of being able to tune a radio station to your own tastes, and thereby coming up with unexpected recommendations. I made a station called 'small fingers', that played tracks along the lines of Radiohead's 'treefingers' and John Martin's 'small hours', and fell in love with a Brian Eno track called 'Thursday afternoon'. But they cancelled it in the UK.
Since Peel died, Last.fm has provided me with more reasons to part with cash than any other single institution (possibly excluding acts associated with Ephel Duath and Gorky's Zygotic Mynci). Here's how:
I put 'digital hardcore' in as a tag, and drumcorps came up, who became the new best thing ever, and who I eventually went to an all-nighter in order to see live.
I investigated drumcorps, bought the album 'grist', and heard his remix of Genghis Tron's 'relief'.
I (eventually) bought all three Genghis Tron albums and saw them live on their last tour.
Grist was released through Ad Noiseam, and by listening through a couple of label samplers, I came across Igorr.
I (eventually) bought all four Igorr albums, as well as records by side projects Whourkr and Oxxo Xoox.
I noticed Drumcorps remixes on two remix albums, and bought both AND the works they were remixes of (52 Commercial Road, and Obsidian Kingdom), as well as picking up an ambient album by drumcorps AKA Aaron Spectre. All this from that one link; what would have happened without it?
Another time, I started a 'post-prog' tag radio, and found a track by Kayo Dot that floored me - a 15 minute post-neo-classical epic that ended with the most brutal blastbeat I can recall (or so I inaccurately remember the experience). I've since picked up 4 of their records.
Fall of Efrafa, The Lovely Eggs, Venetian Snares, and probably loads more I've forgotten about have come up just on recommended radio and been accrued. But last.fm doesn't feel right anymore; now it seems to use dodgy youtube videos of varying quality uploaded by anyone, instead of the accurate library it once had.
And I thought, what score could you give this as a reviewer? Eurogamer gave it a no-surprises 8/10; the same score as Shadow of Mordor.
Now 8/10 from eurogamer is so default that it has become a joke. And giving the same 'pretty good by all accounts' score to two games so massively different in scope seems to be silly.
Consider an equation like y = 4x + 2. That's fine isn't it? There's no divide by 0 in there, nothing undefined.
If we differentiate this, to find the gradient at any point, we get dy/dx = 4. Why? Because simple differentiation means knocking the power of x down by 1, and multiplying by that power.
btw, if you don't know your differentiation, and are wondering what happens to the 2, well 2 is 2x^0, so it becomes 0*2x^(-1) - and no matter how difficult that exponent is, the 0 it is multiplied by ensures we can just forget about it.so 4x^1 becomes 4*1x0, and as we know, x^0 = 1, all the time, no matter what x is, because x^0 means x/x = 1.
Except when x is 0, right? Because when x = 0, 0^0 is still undefined, because 0/0 is not 1, it is undefined.
A graph of y = 4 should be a straight flat horizontal line, cutting the y axis at 4. And it is, but if y = 4 is the same as y = 4x^0, then SURELY at the exact moment when x = 0 this graph will become instantaneously discontinuous?
In other words, for any value of x, y = 4; but when x = 0, the power of that 0 leaps into an equation it doesn't have anything else to do with and smashes it to pieces.
Can this possibly be correct? Any thoughts, jot them b'low.
I've got an idea for a game that I'd like someone to make:
You play an infiltrator, a government spy aiming to work your way into an organised resistance force, gain their trust and work your way up their ranks while supplying information to your fence (that's not the right word for a spy handler, but what is?). The higher up you go, the more difficult it is to remain hidden as you have more eyes on you, you're leaking bigger secrets, and you're decisions inside the organisation have greater impact. You'll need to tow the line to a certain extent; at which point are your colleagues going to realise you're deliberately making a hash of their work? When are they going to realise that crushing defeats they face are due to facts only you could have let slip? How can you dispose of people who suspect you without raising more suspicion?
Perhaps it is an evil empire and a heroic rebellion, like in star wars; perhaps a peaceful democracy and a warmongering insurgency; perhaps not even so black and white. Perhaps you could have the choice of infiltrating the government or the rebellion; perhaps you could even have the choice of playing as a double agent and defrauding your fence. I think there would need to be a cut and run option, where you end the game and reveal how close you were to being caught. There would probably be a dwarf fortress style 'built to spill' mechanic, where it's really just a case of not if but when you are caught. Or gain control of the organisation, and set your mining in secret missions against each other and hope they don't talk to each other in the mean time. You'll have to build up enough trust in them, and under mine their trust in each other, to achieve that sort of victory.
I see the game as being fairly procedurally generated, with freeform and unpredictable gameplay emerging from particular choices you make and randomised NPCs. It could be anything from a text adventure to an open world sandbox city/country. There might be structured missions along the way, which might have their setup affected by the current works you inhabit.