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is-wonder-mainline-yet · 24 days ago

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A certain paragraph caught my attention in the recent Super Mario edition of TIME Magazine:

Considering game sales alone, the Mario video game franchise has sold more than 900 million units worldwide across more than 200 games, making it the best-selling video game franchise of all time. The primary Super Mario series has sold more than 495 million copies worldwide.

The article (Still Super After All These Years, by Courtney Mifsud Intreglia) clearly distinguishes the sales of the Mario video game franchise and the primary Super Mario series. And since an actual number was provided, this implies it's based on some list of games. Where did this number come from? Did the author source it from somewhere, or does TIME keep an official list of mainline Super Mario games? It's likely the former from what I've found, but the probable source does have some interesting inclusions! (Long post below the fold.)

The source

I'm pretty sure this number comes from the Video Game Sales Fandom Wiki page for Mario:

This wiki does provide a list of sources, in the form of a table totalling to 497,719,019 unit sales. Where this is the top result when Googling "Super Mario series sales" I have little doubt this is the source of the TIME article's claim. (To cover my bases, I confirmed that the summary text in the wiki was updated in August 2024, so it pre-dates the TIME article's release in March 2025.)

So, what games does this wiki article include as part of the mainline Super Mario series? Full list incoming, followed by some inclusions I find notable:

The list

Super Mario Bros. (NES, 1985)

Super Mario Bros. (Game & Watch, 1986)

VS. Super Mario Bros. / VS. Mario's Adventure (Arcade, 1986)

Super Mario All-Stars (SNES / Wii, 1993)

Super Mario Bros. DX (GBC, 1999)

Classic NES Series: Super Mario Bros. (GBA, 2004)

Super Mario Bros. (Wii (VC), 2006)

Super Mario Bros. (NES Classic Edition, 2016)

Super Mario Bros. 2 / The Lost Levels (FDS, 1986)

Yume Kōjō: Doki Doki Panic (FDS, 1987)

Super Mario Bros. 2 / Super Mario USA (NES, 1988)

Super Mario All-Stars (SNES / Wii, 1993)

Super Mario Bros. DX (GBC, 1999)

Super Mario Advance (GBA, 2001)

Famicom Mini Series: Super Mario Bros. 2 (GBA , 2004)

Super Mario Bros. 2 (NES Classic Edition, 2016)

Super Mario Bros. 3 (NES, 1988)

Super Mario All-Stars (SNES / Wii , 1993)

Super Mario Advance 4: Super Mario Bros. 3 (GBA , 2003)

Super Mario Bros. 3 (Wii (VC) , 2007)

Super Mario Bros. 3 (NES Classic Edition, 2016)

Super Mario Land (GB, 1989)

Super Mario Land (3DS (VC), 2011)

Super Mario World (SNES, 1990)

Super Mario Advance 2: Super Mario World (GBA, 2001)

Super Mario World (Wii (VC) , 2006)

Super Mario World (Super Mario All-Stars: 25th Anniversary Edition) (Wii, 2010)

Super Mario World (SNES Classic Edition, 2017)

Super Mario Land 2: 6 Golden Coins (GB, 1992)

Wario Land: Super Mario Land 3 (GB, 1994)

Super Mario All-Stars (SNES, 1993)

Super Mario All-Stars: 25th Anniversary Edition (Wii, 2010)

Super Mario World 2: Yoshi's Island (SNES, 1995)

Super Mario Advance 3: Yoshi's Island (GBA, 2002)

Super Mario 64 (N64, 1996)

Super Mario 64 DS (NDS, 2004)

Super Mario 64 (Wii (VC), 2006)

Super Mario 64 (Super Mario 3D All-Stars) (Switch, 2020)

Super Mario Sunshine (GCN, 2002)

Super Mario Sunshine (Super Mario 3D All-Stars) (Switch, 2020)

New Super Mario Bros. (NDS, 2006)

New Super Mario Bros. 2 (3DS, 2012)

Super Mario Galaxy (Wii, 2007)

Super Mario Galaxy (Super Mario 3D All-Stars) (Switch, 2020)

New Super Mario Bros. Wii (Wii, 2009)

Super Mario Galaxy 2 (Wii, 2010)

Super Mario 3D Land (3DS, 2011)

New Super Mario Bros. U (Wii U, 2012)

New Super Mario Bros. U Deluxe (Switch, 2019)

New Super Luigi U (Wii U, 2013)

Super Mario 3D World (Wii U, 2013)

Super Mario 3D World + Bowser's Fury (Switch, 2021)

Super Mario Maker (Wii U, 2015)

Super Mario Maker for Nintendo 3DS (3DS, 2016)

Super Mario Run (Mobile, 2016)

Super Mario Odyssey (Switch, 2017)

Super Mario Maker 2 (Switch, 2019)

Super Mario 3D All-Stars (Switch, 2020)

Super Mario Bros. Wonder (Switch, 2023)

how many Super Mario games are there (according to this specific wiki article)?

While each game is listed in its own line in the table, this doesn't necessarily mean the wiki is suggesting there are 59 distinct Super Mario games. The table groups reissues into 20 categories, which seems reasonable given that the goal is to count sales of specific versions. So, is it saying there are exactly 20 games? ...probably not.

It doesn't seem like every category is meant to represent a distinct game. (Why are Super Mario Lands 2 and 3 in the same category, but Super Mario Land is in its own category?) In any case, the final category includes the last 5 games on the above list. I really doubt anyone seriously thinks Super Mario Run and Super Mario Odyssey are the same game, and that both are reissues of a game called "Later games"

So, still no idea. Probably more than 20.

Notable inclusions and exclusions

The second item on the list, in the same category as Super Mario Bros. (NES, 1985) is Super Mario Bros (Game & Watch, 1986). Guess it's mainline after all!

Game & Watch: Super Mario Bros. (2020) is not included, though, nor is the Super Mario Bros. Nelsonic Game Watch (1989).

This list includes Doki Doki Panic as its own game in the Super Mario Bros. 2 category. That's pretty fun.

Both Wario Land and Yoshi's Island are in there, though not any of the sequels in their respective sub-series.

New Super Mario Bros. U, U Deluxe, and New Super Luigi U are all included, but not New Super Mario Bros. U + New Super Luigi U.

Looking through the edit history it appears that Super Mario Bros. Wonder was added to the list of mainline games on June 25, 2023, 117 days before it was released. (No sales data at that time, of course.) Fandom user MarioFanYT is more on the ball than whoever runs the official Mario website

Wait, why are there multiples of some games?

You might have noticed that some games are counted more than once in the above list. Super Mario 3D All-Stars shows up 4 times! This happens because the table places compilations of games into the categories for each game it contains, as well as in its own category. So 3D All-Stars is counted as part of the subtotals for Super Mario 64, Sunshine, Galaxy, and in its own row. Other compilations work similarly.

It seems weird to count each sale of 3D All-Stars as four separate game sales, but maybe the wiki accounts for that in the total. If that were the case, you'd expect the Grand Total to be less than the sum of the separate subtotals, and that is indeed the case.

Sum of subtotals: 515,759,019

Grand Total: 497,719,019

It looked like it might be removing the duplicates, but after looking at it myself in a spreadsheet I get a value of 438,669,019 sales when duplicates are removed. Digging a little deeper, I found a mistake in the wiki's subtotal for Super Mario 3D World, which sums the Wii U game's 5,880,000 with the Switch's 13,470,000 to get only 19,050,000, which loses 300k sales somewhere. This still doesn't account for the difference in my results, but suggests there may be other errors in the wiki's.

It's possible I've made a mistake somewhere, but I haven't been able to get that 497.7 million count with any changes to what I do or don't count as a duplicate.

Conclusions?

This post was originally going to be just a screenshot of the magazine article and a little blurb like "I wonder what games TIME Magazine considers to be mainline?" It's ballooned out from there a little bit. I'm not sure if there's any real conclusions to be drawn.

Should Courtney Mifsud Intreglia have put the same work into fact-checking that "495 million sales" number that I did, correcting it to "over 438 million"? Uh, no, definitely not. The rest of her article is a broad overview of Mario's cultural impact, and the precise sales figure is not relevant to the article's point. Besides, the idea of trying to define how many mainline Mario games have been sold requires defining how many mainline Mario games exist (which is senseless, 'cause there's no consensus) so any number in the article would have been subject to interpretation.

Do I have some call-to-action for the Video Game Sales Wiki? Not really. In general, I am not very invested in the accurate reporting of video game sales on a Fandom wiki. Maybe I'll edit the page myself if I still care by tomorrow. (By the way, the Super Mario Wiki article on Super Mario (franchise) cites a 330 million unit sales figure, but that's from a 2015 blog post by Nintendo so it would be out of date in 2025.)

Mostly, I'm just trying to document the rabbit hole I've been falling down for the last 5 hours or so today, and this blog seems like a good place to put it. I've been thinking of making more posts documenting "in the wild" lists of mainline Super Mario games, but it'll depend on whether there's enough out there that I find interesting enough to post. In any case, I probably won't be making many more posts of this length - sorry if you only followed for the daily timeline posts and weren't expecting a wall of text!

For anyone who's read the whole thing (or even skimmed it), I hope you enjoyed it at least partly as much as I had fun putting it together!

#not timeline #long post #unofficial mainline lists

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mostlysignssomeportents · 1 year ago

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It’s been twenty years since my Microsoft DRM talk

On THURSDAY (June 20) I'm live onstage in LOS ANGELES for a recording of the GO FACT YOURSELF podcast. On FRIDAY (June 21) I'm doing an ONLINE READING for the LOCUS AWARDS at 16hPT. On SATURDAY (June 22) I'll be in OAKLAND, CA for a panel and a keynote at the LOCUS AWARDS.

This week on my podcast,This week on my podcast, I read my June 17, 2004 Microsoft Research speech about DRM, a talk that went viral two decades ago, and reassess its legacy:

https://craphound.com/msftdrm.txt

It's been 20 years (and one day) since I gave that talk. It wasn't my first talk like that, but at the time, it was the most successful talk I'd ever given. I was still learning how to deliver a talk at the time, tinkering with different prose and delivery styles (to my eye, there's a lot of Bruce Sterling in that one, something that's still true today).

I learned to give talks by attending sf conventions and watching keynotes and panel presentations and taking mental notes. I was especially impressed with the oratory style of Harlan Ellison, whom I heard speak on numerous occasions, and by Judith Merril, who was a wonderful mentor to me and many other writers:

https://locusmag.com/2021/09/cory-doctorow-breaking-in/

I was also influenced by the speakers I'd heard at the many political rallies I'd attended and helped organize; from the speakers at the annual Labour Day parade to the anti-nuclear proliferation and pro-abortion rights marches I was very involved with. I also have vivid memories of the speeches that Helen Caldicott gave in Toronto when I was growing up, where I volunteered as an usher:

https://www.helencaldicott.com/

When I helped found a dotcom startup in the late 1990s, my partners and I decided that I'd do the onstage talking; we paid for a couple hours of speaker training from an expensive consultant in San Francisco. The only thing I remember from that session was the advice to look into the audience as much as possible, rather than reading from notes with my head down. Good advice, but kinda obvious.

The impetus for that training was my onstage presentation at the first O'Reilly P2P conference in 2001. I don't quite remember what I said there, but I remember that it made an impression on Tim O'Reilly, which meant a lot to me then (and now):

https://www.oreilly.com/pub/pr/844

I don't remember who invited me to give the talk at Microsoft Research that day, but I think it was probably Marc Smith, who was researching social media at the time by data-mining Usenet archives to understand social graphs. I think I timed the gig so that I could kill three birds with one stone: in addition to that talk, I attended (and maybe spoke at?) that year's Computers, Freedom and Privacy conference, and attended an early preview of the soon-to-launch Sci Fi Museum (now the Museum of Pop Culture). I got to meet Nichelle Nichols (and promptly embarrassed myself by getting tongue-tied and telling her how much I loved the vocals she did on her recording of the Star Wars theme, something I'm still hot around the ears over, though she was a pro and gently corrected me, "I think you mean Star *Trek"):

https://music.youtube.com/watch?v=4IiJUQSsxNw&list=OLAK5uy_lHUn58fbpceC3PrK2Xu9smBNBjR_-mAHQ

But the start of that trip was the talk at Microsoft Research; I'd been on the Microsoft campus before. That startup I did? Microsoft tried to buy us, which prompted our asshole VCs to cram the founders and steal our equity, which created so much acrimony that the Microsoft deal fell through. I was pretty bitter at the time, but in retrospect, I really dodged a bullet – for one thing, the deal involved my going to work for Microsoft as a DRM evangelist. I mean, talk about the road not taken!

This was my first time back at Microsoft as an EFF employee. There was some pre-show meet-and-greet-type stuff, and then I was shown into a packed conference room where I gave my talk and had a lively (and generally friendly) Q&A. MSR was – and is – the woolier side of Microsoft, where all kinds of interesting people did all kinds of great research.

Indeed, almost every Microsoft employee I've ever met was a good and talented person doing the best work they could. The fact that Microsoft produces such a consistent stream of garbage products and crooked business practices is an important testament to the way that a rotten organization can be so much less than the sum of its parts.

I'm a fully paid up subscriber to Ronald Coase's "Theory of the Firm" (not so much his other views):

https://en.wikipedia.org/wiki/Theory_of_the_firm

Coase says the reason institutions exist is to enable people to work together with lowered "coordination costs." In other words, if you and I are going to knit a sweater together, we're going to need to figure out how to make sure that we're not both making the left sleeve. Creating an institution – the Mafia, the Catholic Church, Microsoft, a company, a co-op, a committee that puts on a regional science fiction con – is all about minimizing those costs.

As Yochai Benkler pointed out in 2002, the coolest and most transformative thing about the internet is that it let us do more complex collective work with smaller and less structured institutions:

https://www.benkler.org/CoasesPenguin.PDF

That was the initial prompt for my novel Walkaway, which asked, "What if we could build luxury hotels and even space programs with the kind of (relatively) lightweight institutional overheads associated with Wikipedia and the Linux kernel?"

https://crookedtimber.org/2017/05/10/coases-spectre/

So the structure of institutions is really important. At the same time, I'm skeptical of the idea that there are "good companies" and "bad companies." Small businesses, family businesses, and other firms that aren't exposed to the finance sector can reflect their leaders' personalities, but it's a huge mistake to ascribe personalities to the companies themselves.

That's how you get foolish ideas like "Apple is a good company because they embrace paid service and Google is a bad company because they make money from surveillance." Apple will spy on you, too, if they can:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

Disney and Fox weren't Romeo and Juliet, star-crossed lovers making goo-goo eyes at each other across the table at MPA meetings. They were two giant public companies, and any differences between them were irrelevancies and marketing myths:

https://locusmag.com/2021/07/cory-doctorow-tech-monopolies-and-the-insufficient-necessity-of-interoperability/

I think senior management's personalities do matter (see, for example, the destruction of Boeing after it was colonized by sociopaths from McDonnell Douglas), but the influence of those personalities is much less important than the constraints that competition and regulation impose on companies. In other words, an asshole can run a company that delivers good products at fair prices under ethical conditions – provided that failing to do so will cost more in lost business and fines than they stand to make by cheating:

https://pluralistic.net/2024/05/24/record-scratch/#autoenshittification

Microsoft is a company founded and run by colossal assholes. Bill Gates is a monster and he surrounded himself with monsters, and they hired monsters to fill out the courts of their corporate palaces:

https://pluralistic.net/2024/06/14/patch-tuesday/#fool-me-twice-we-dont-get-fooled-again

To the extent that good things come out of Microsoft – some of its games products, the odd piece of hardware, important papers from MSR – it's in spite of the leadership; it's the result of constraints imposed by competition and regulation – and that's why Microsoft pursued such an aggressive program of extinguishing its competitors and capturing its regulators.

In retrospect, I think one of my goals in that talk was to convince those people doing good work for a rotten institution to go elsewhere and do other things. Certainly, that's one of the goals I pursue in the talks I give today. At the time, some of Microsoft's highest-profile technologists were publicly resigning over the company's war on free/open source software, so it wasn't an unrealistic goal:

https://web.archive.org/web/20030214215639/http://synthesist.net/writing/onleavingms.html

What I did not expect what that publishing the talk on my site and blogging it on Boing Boing would spark a wave of public interest that would get its message in front of several orders of magnitude more people than I spoke to at Microsoft that day. Partly, that was because I released the talk into the public domain, using the brand-new Creative Commons Public Domain Declaration (which was later replaced with the CC0 mark, due to legal issues withBu its drafting):

https://web.archive.org/web/20100223035835/http://creativecommons.org/licenses/publicdomain/

Some mix of the content of the speech, the spirit of the moment, and the novelty of that wide open license sparked a ton of interest. Jason Kottke recorded an audio version that Andy Baio hosted:

https://kottke.org/04/06/cory-drm-talk

My brutalist ASCII transcript was quickly converted to beautiful HTML by Matt Haughey and Anil Dash:

https://web.archive.org/web/20040622235333/http://www.dashes.com/anil/stuff/doctorow-drm-ms.html

For people who needed a hardcopy, there was Patrick Berry's printer-friendly stylesheet:

https://patandkat.com/pat/weblog/mirror/cory-drm/doctorow-drm-ms.html

Multiple people recorded (and sold!) audio versions, and then there were all the fan translations, into Danish, French, Finnish, German, Hebrew, Hungarian, Italian, Japanese, Norwegian, Polish, Portuguese (both EU and Brazilian), Spanish and Swedish. I stayed in touch with some of those translators, and they helped me translate the position papers I wrote for UN WIPO meetings. Those papers were so effective that ratfuckers from the copyright lobby started to steal them and hide them in the UN toilets (!):

https://web.archive.org/web/20041119132831/https://www.eff.org/deeplinks/archives/002117.php

Re-reading the speech for my podcast on Sunday, I expected to be struck by the anachronisms in it, and there were a few of those to be sure. But far more clear was the common thread running from this talk to other talks I gave that took on a significant life of their own, like my 2011 "War On General Purpose Computing" talk for CCC:

https://memex.craphound.com/2012/01/10/lockdown-the-coming-war-on-general-purpose-computing/

And my work on Adversarial Interoperability:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

And my most recent work, on enshittification:

https://pluralistic.net/2023/08/27/an-audacious-plan-to-halt-the-internets-enshittification-and-throw-it-into-reverse/

In other words, I've been saying the same thing – in different ways – for more than 20 years. That could be depressing, but I actually found it uplifting. Two decades ago, I was radicalized by a fear that the internet would be seized by corporations and governments and transformed into a system of surveillance and control. I found my way into a job at EFF, where I worked with colleagues across multiple disciplines – coders, lawyers and activists – to fight this force.

At the time, this was a fringe cause. Most of the traditional activists I'd come up with in the feminist, antiwar, antiracist, environmental and labour movement viewed digital rights as a distraction and dismissed its partisans as sad, self-obsessed nerds who mistook fights over the management of Star Trek message boards for civil rights struggles:

https://www.newyorker.com/magazine/2010/10/04/small-change-malcolm-gladwell

I thought I was right then, and I think history has borne me out. The point of waging these fights – both in the wide public sphere and within political movements – is to get people activated before it's too late. Every day that goes by is a day when the internet becomes more inhospitable to political organizing for a better world – more surveillant, more controlling. I believed then – and believe today – that the internet isn't more important that the other fights I waged as a young activist, but I think that the internet is fundamental to those fights.

Saving the planet, smashing patriarchy, overthrowing tyranny and freeing labor are all fights that will be coordinated – Coase style – on the internet. Without a free, fair and open internet, those fights are infinitely harder to win.

The project of getting people to understand, care about, and fight for digital rights is a marathon, not a sprint. When I joined EFF, it was already 12 years old. There were six people in the org then (I was the seventh). Today, there's more than a hundred of us, and we're stretched so thin! The 30+ year old idea that internet policy will intersect with every part of every fight has been utterly vindicated.

Back in 2004, I asked Microsoft why they were willing to fight the US government to the death over antitrust enforcement, but were such wimps when confronted with the entertainment industry's demands for DRM. 20 years later, I think I know the answer: Microsoft understood that DRM would let them usurp the relationship between creative workers, entertainment industry companies, and audiences. Their perfect instincts for seeking out and capitalizing on opportunities to seize monopoly power drove them to make deliberately defective products, in the belief that their market power would let them cram those products down our throats:

https://memex.craphound.com/2004/01/27/protect-your-investment-buy-open/

Here's a link to the podcast episode:

https://craphound.com/news/2024/06/16/my-2004-microsoft-drm-talk/

And here's direct link to the MP3 (hosting courtesy of the Internet Archive; they'll host your stuff for free forever):

https://archive.org/download/Cory_Doctorow_Podcast_470/Cory_Doctorow_Podcast_470_-_My_2004_Microsoft_DRM_Talk.mp3

And here's the RSS feed for my podcast:

https://feeds.feedburner.com/doctorow_podcast

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/18/greetings-fellow-pirates/#arrrrrrrrrr

#pluralistic #drm #enshittification #microsoft #microsoft research #podcasts #mp3s #history #trusted computing #ngscb #retrospectives

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technofeudalism · 3 months ago

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March 17th:

One week after Hamas’s October 7 attack, thousands rallied outside the Israeli Consulate in Los Angeles to protest the country’s retaliatory assault on Gaza. The protestors were peaceful, according to local media, “carrying signs that said ‘Free Palestine’ and ‘End the Occupation,’” and watched over by a “sizable police presence in the area.” The LAPD knew the protests were coming: Two days earlier, the department received advanced warning on Dataminr, a social media surveillance firm and “official partner” of X. Internal Los Angeles Police Department emails obtained via public records request show city police used Dataminr to track Gaza-related demonstrations and other constitutionally protected speech. The department receives real-time alerts from Dataminr not only about protests in progress, but also warnings of upcoming demonstrations as well. Police were tipped off about protests in the Los Angeles area and across the country. On at least one occasion, the emails show a Dataminr employee contacted the LAPD directly to inform officers of a protest being planned that apparently hadn’t been picked up by the company’s automated scanning. Based on the records obtained by The Intercept, which span October 2023 to April 2024, Dataminr alerted the LAPD of more than 50 different protests, including at least a dozen before they occurred.

March 19th:

Dataminr, a data analytics company that counts NATO and OpenAI among its customers, has raised $85 million in a combination of convertible financing and credit, the company announced on Wednesday. It’s chump change for Dataminr, which closed a $475 million round at a $4.1 billion valuation in 2021. But the company has seen its fair share of downs as well as ups. In November 2023, Dataminr laid off 20% of its staff as it raced to fend off economic headwinds and “doubled down” on AI. [ ... ] Bailey added that the new tranche, which was led by security-focused VC NightDragon and HSBC, is “pre-IPO convertible financing” and doesn’t set a valuation. NightDragon also created a special-purpose vehicle (SPV) for an additional $100 million in convertible financing from the VC’s affiliates and partners.

BONUS:

“After investing in more than 25 Israeli companies over the past 25 years, I have been lucky enough to see first-hand the incredible talent and innovation coming out of the region. The opportunity in Israel only continues to grow exponentially and I am thrilled to announce the opening of a NightDragon office in Tel Aviv and to work with Dorin to support the success and international expansion of the next generation of growth stage cybersecurity, safety, security and privacy leaders,” said DeWalt.

it's incredible how you don't even have to dig to find stuff like this anymore. it used to take some work to uncover these kind of blatant abuses of power. now billionaires and foreign states bankroll Venture Capital and private equity firms out in the open and publish articles bragging about it because the fuck are you gonna do?

#us politics #surveillance #free palestine

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itstimewehavesomesoliddick · 1 month ago

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The Sealab 2021 pilot is still the closest thing put to the screen of what a late night vc with your friends is like

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theshitpostcalligrapher · 1 year ago

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ASKBOX IS OPEN REQUESTS ARE OPEN HERE ARE THE RULES

ground rules:

1) Funny- the request needs to be humorous, memes usually the most popular but dnd in jokes and other shitpostery is welcome. i abide by the MBMBAM NO BUMMERS rule - there are plenty of sad/deep/beautiful calligraphers out there who’d be happy to work with yall, but this isn’t that sort of channel

2) Length - aim for no more than 75 characters a request, my cue cards are only so big so I can only fit so much on each one and still not look like garbage. There is a little leeway but if you send me smth with like 120 characters it aint getting written

3) Amount of Requests - I am trying to be fair but i am one person running almost the ENTIRE thing, logistics, tech, etc, I have twitch mods and a roommate for retrieving things and that's it. In order to be fair, please restrict yourselves to 3 requests per person to let everyone have a shot, if you send in more i will ctrl-f your username and pick my favourites

4) Content - I will not do anything I consider under the umbrella of general assholery - this includes racial slurs, edgelord bullshit, exclusionist jackassery etc. Please be kind to each other. Please let me know if I’ve taken a request that is some incredibly obscure piece of assholery, someone once tried to slip a really obscure antisemetic piece of slang by me once

5) Repeats - I keyword tag EVERY SINGLE piece i’ve ever done on this blog, if you think I might have written smth already but aren’t sure, the /search/[keyword] is your friend, check if i’ve done your request before

the askbox is theshitpostcalligrapher.tumblr.com/ask , not a dm or submission to the blog. I’ll close submissions too so people don’t get the boxes confused. DM me for any actual clarifications, kind words, etc so they don’t get swallowed up by the behemoth of my askbox for months, and if you want to give me live encouragement the twitch link is right there, and is the ideal way to inquire more about any of the day's rules.

If you want to jump the ENTIRE queue and get your card done immediately, there are ways to donate on the twitch stream to get your request done with an ink of your choice. You can still submit 3 free requests in addition to what you pay for.

I’ll be streaming the entire time the askbox is open on twitch @ theshitpostcalligrapher, trying to get as many of these done today as possible live. Once 10PM EST hits, the askbox will close but if you get your request into the askbox by then, it will be done eventually as I always have 4 cards up per day.

Here’s the link to my twitch, we’ll start a little after 3 o’clock.

twitch_live

Here is a direct donation link to my streamlabs, it works like a ko-fi but I’ve got it set to give me alerts on my twitch so I can see and thank you straightaway for supporting my takeout order

I've planned on a few donation goals this time! They help pay for all the hours I put in and the material costs. Every time we hit a goal, I'll refresh it to 0 and math out whatever overlap to add to the new goal

$20 > Time For Tea! I make a sparkly, food safe glittery tea that looks like ink to enjoy with yall on stream

$30 > Jackbox Break! My Discord VC and potentially chat plays a few games

$40 > Takeout O'clock: It is time to order a food, Mia! Polls will probably be involved for food options

$200 (I am fairly sure we won't get this one) > I bought all the requisite items to bleach my hair to prep for a dye. Let's do this shit LIVE ON AIR BAYBEE

Also of Note: I will be moving house sometime in the next week and a half, which means I will be RECYCLING ALL OF THE CARDS I'VE WRITTEN IN THE PAST TWO AND A HALF YEARS (save for the ones folks pay for on stream, those are earmarked to be mailed out anyways) so if you've gotten something written by me from september 2021 to january 2024 or so, please remember that there is an an etsy shop where you can snag any card from the blog for a few dollars. dm the shop if you'd like to buy a bundle of randoms, I WILL give you a sale about it

#calligraphy #shitpost #faq #openaskbox rules #openaskbox

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m4ndyyyk1tty · 3 months ago

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MANDY! ah algum tempo queria mandar uma pergunta aqui, uma perguntinha bem boba mas, oq acha de Ena? Se vc conhecer claro, ela ficou mais famosa em 2021/2023 mas a alguma dias lançou o jogo (Ena Dream BBQ) e eu sou extremamente obcecada nela, apenas queria saber se vc conhece e oq acha, vc é uma grande inspiração para mim^^ acho vc muito incrível! :D

EU AMO ENA!!!!!

Vou assistir a gameplay ainda, talvez hoje a noite

Eu meio que to evitando assistir pq eu conheço o meu autismo e eu sei que eu vou ficar hiperfocada e surtada e eu detesto quando isso acontece mas eu não tô conseguindo resistir parece estar muito muito bom 😫

(E obrigada!!! 💕💕💕)

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lliccas · 2 months ago

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Olá, espero que vc esteja bem!

Eu estou na comunidade da LDS desde 2021 e manifestei várias coisas boas e ruins (essas sem perceber :/); Mas nunca consegui manifestar algo que eu realmente queria e muito de forma consciente por conta de muito medo e insegurança de dar errado e cair de cara no chão achando que iria conseguir conquistar aquilo.

No momento estou desempregada e apareceu uma ótima oportunidade de emprego pertinho da minha casa, oq é maravilhoso! Eu fui chamada para a entrevista e todos me adoraram lá, mas a loja vai ser inaugurada sábado agora e estou muito insegura de não ser chamada pois não tem aparecido oportunidades de emprego para mim; Eu estou com fé e esperança que eles vão chamar até amanhã, mas como disse, estou com medo de ficar toda animada com esperança e cair de cara no chão dps. A minha pergunta final é:

Como posso manifestar para que me chamem até amanhã para trabalhar sábado? e, como faço pra afastar essa insegurança? Pois tenho tanto medo que choro.

Olá! Estou bem sim obrigada.E espero que esteja também!

A insegurança é uma ilusão da mente, e você não é a mente mas sim a consciência que observa.

Sempre que se sentir insegura apenas se lembre que aquilo que deseja já é seu, não tem como falhar em ter algo que sempre foi seu.

Sentir insegurança não significa que está falhando, apenas está focando na falta ao invés de perceber que aquilo que deseja já está presente,já é seu.

Esqueça a fé e esperança você não precisa disso você já tem esse emprego, ele já é seu a partir do momento que desejou ele.

Você nunca falhou, nunca poderá falhar, não se culpe ou julgue a insegurança, apenas observe sem julgar, está se sentindo insegura? Tudo bem! Você já tem isso não importa é uma ilusão e não a realidade. A realidade está dentro de você, é você!

Para manifestar isso apenas perceba que o seu emprego já está garantido, já é seu. Não importa nada além da sua decisão, você não pode falhar ter algo que sempre foi seu.

O medo é uma ilusão ele não tem pode a não ser que foque nele, agora relaxa que o emprego já é seu.💗

#loa tumblr br

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luigiblood · 10 months ago

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Why Nintendo 64 - Nintendo Switch Online is shit

I have been very critical of Nintendo 64 - Nintendo Switch Online since the beginning, not only the very noticeably broken graphics emulation was certainly a case that everyone understood, but it did certainly make me completely avoid the Expansion Pack subscription entirely for a year because that was genuinely shit in 2021.

Now how is it in 2024? Well, it's not that much better. They did fix a lot of problems during that time for sure, and that's something that we do need to acknowledge to do at least something resembling fair criticism.

Current context

That one Dark Link room in Ocarina of Time was fully fixed, as the fog and even transparency emulation was just outright broken, somehow worse than its Wii U Virtual Console counterpart (which was already not very good), it also affected other games like Super Mario 64 where the fog was actually not correct, but oddly enough, it's not as much of a problem in Super Mario 3D All-Stars, and I'm not entirely sure what happened between that and Nintendo Switch Online for it to have such a massive emulation downgrade.

I've done some analysis of the software, though not a ton because I don't have that much time to waste reverse engineering emulators. Through that, I found out that iQue was responsible for the Nintendo 64 emulator on Wii U and Switch, because of the emulator framework, named "TRL," being 100% identical to their NES and GBC emulator for 3DS, confirmed to be iQue through leaked source code among other things, and the debug menu is seen on Wii U if you have more than one game ROM in the folder, and it's just like the 3DS one.

The Wii U Virtual Console N64 emulator was already seen as worse than its Wii VC counterpart, mainly due to the dark filter, but that thing has nothing to do with the emulation quality it was providing, aside from apparently some additional slight input lag on top of the already massive input lag which I find mindboggling, the graphics emulation was already considered worse than on Wii, a lot of issues that people saw on NSO were already on Wii U VC, which turned into a massive mess of complaints because, yeah, it turns out the Wii U was just not successful, but the Switch is, making obvious complaints very much more important.

The Dark Link room just happened to be using a bunch of graphical features at once which made it very noticeable when they don't work as intended. When I discussed this with other people, I couldn't help but feel terrible at the answer I get: "It's good enough."

This response annoys me to no end, but in truth, yes, the games are playable, nowadays graphically you probably wouldn't tell the difference from the real N64 with an untrained eye, and in fact, so am I at times too. But the problem is that it now becomes an actual history rewrite of how the game actually was, and you could still say that you would prefer the N64 games now than before with better framerates, better resolution, all that.

Better performance is always better?

Now this is still more of an opinion piece so here's my opinion about better framerate and better resolution: It's fucking misguided. Doing better framerate and better resolution works a lot better for games after that generation than the 32-bit and 64-bit era of the mid 90s to 2000, because the graphics looks a lot better for it and the standards are closer to the current era that we're in.

For N64 however, simply running the game better does not work as well as it should most of the time, and, frankly, seeing big polygons in 720p does not work as well as it should for most games. 2D games especially suffer from this and get some really weird filtering that just bothers me, especially in games like Yoshi's Story and Harvest Moon 64, where the emulator seemingly can't decide whether the graphics should be almost pixel perfect, or become vaseline.

Speaking of vaseline, where's the anti-aliasing? The N64 is very much known for its blurry anti-aliasing! While I'm pretty much immune to aliasing myself, I can still see it's not really respecting the original N64 very well about that, and it only deepens one of the biggest history rewrite of the N64 nowadays, where most people is more likely to look at badly emulated footage of a N64 game than seeing the game running on the original system, and this really bothers me that when you have every single other system on the service to care about this to the point of having a CRT screen filter, and even outright and pretty faithful reproductions of the Game Boy series' screens, N64 is the only one that forces you to play in its uglier HD resolution with no actual option to play games in their original resolution with some CRT filter or not, and that is just a real evidence of a lack of care to me compared to the rest of the systems.

When it comes to better framerates however, as much as I love that (Pilotwings 64 on NSO is actually one of the few experiences I can recommend on it), a lot of the games' speed are tied to the framerate, potentially making games harder than they should due to its speed being more accounted for the actual system, and sometimes, causing actual desync problems that iQue had to implement ways to manually slow the framerate down in specific moments of games just to account for it, but this only works for games that can run faster than intended. A lot of games sometimes have their framerate completely capped and doesn't run any faster.

But emulating the N64 lag is genuinely complex, and it's a problem that's not fully solved to this day even on unofficial N64 emulation, because there's way too many factors to take into account that it would probably take too much performance to figure out where it should take more time to process or not, so, on this one, I have a bit of sympathy about that as a developer, but it is still possible to roughly approximate that, even if the result can be weird; but I don't seem to notice any legit attempts about that.

Besides, a lot of people would be annoyed about the N64 lag and bad framerates, but to me if you want better framerates, in my opinion, it would be done differently, and unofficial emulation absolutely can deal with it in ways that isn't intrusive to the game's performance: If you played the N64Recomp PC port of Majora's Mask, you would know this, as RT64, the new graphics plugin powering this port (and hopefully emulators soon), actually handles interpolation between frames, allowing better framerate without sacrificing the game's performance to be better or worse than intended, and it makes for some real impressive results while still being relatively low in cost. For me this seems like a potential avenue to attempt to ease in comfort with N64 games.

Is N64 emulation really that hard?

…frankly, if you asked me this question 10 years ago, I would have said yes, at least to my understanding back then, but also now. But if you ask me this same question now, the answer is no, mainly because of brand new standards that actually makes a huge difference in how to handle N64 emulation in current systems, even through unofficial emulation.

I know it's very easy to mock unofficial N64 emulation as relatively hard to play, and this I would agree with, but this problem is purely user faced now. The old problem of unofficial N64 emulation was mainly that not many people were doing work on it and their time is just not infinite, but that is very much changing nowadays.

The Nintendo 64 is actually a well understood system, additional research are still being done, but for the most part, we can understand the N64 to a decent degree. The actual bottleneck of N64 emulation was actually how to emulate it on current systems, when we were stuck to older graphics API standards like OpenGL and DirectX 9.

However, a shakeup happened since with Vulkan and DirectX 12, allowing deeper GPU control. This, is actually one of the most important events of computing that actually unlocked bigger N64 emulation potential and finally get rid of problems that plagued N64 graphics emulation and it started with an adaptation of THE most accurate N64 graphics plugin as Parallel-RDP, and its extremely good, but its pretty much asking on performance and requires a decent GPU (no need for the latest stuff though).

Unfortunately, not much happened since on that field, due to as I said before, a lack of developers, but now RT64 exists, and is made to be extremely performant, and especially made to be accurate without relying on any game specific code for it, which is extremely impressive and shows a lot of potential for the future, while providing tons of new features that allows enhancements like frame interpolation and more. RT64 was fully enabled because of Vulkan and DirectX 12, else it would simply not exist!

Now why did I talk about this stuff that's seemingly unrelated to NSO? Well remember that Majora's Mask PC port I talked about earlier that uses RT64? I saw that thing running on Nintendo Switch, seemingly perfectly fine, with enhancements as well.

This makes me look at N64 NSO differently, and with even more criticism than before. Instead of making good graphics emulation through Vulkan, they seemingly instead just ported the graphics emulation from Wii U VC's GX2 API to Vulkan. That isn't without effort, but it is quite frankly lazy, and means that whatever they're doing, they're not using the technology at their disposal to the fullest, especially since Vulkan is a standard that applies to pretty much every current GPU under the sun now, whatever the work is done here, it would likely work on the long term, especially the next systems after the Switch. Why Nintendo did not allow that is just sad, and a waste of time. RT64 was done by mostly a single developer, and while it took many years to be developed, these years could have been reduced a lot more if it was handled by a team fully dedicated to this, with possibly even more cutting edge to it. The ingredients are there, but the recipe was just botched.

Genuine trust issues with the quality

But aside from all this stuff I just talked about, if you didn't understand much of it, hopefully this part should help you understand other issues that I have with N64 NSO.

Remember that the first version of N64 NSO was graphically buggy, and while they did fix that over time, new games sometimes were outright buggy and possibly game breaking:

When they added Paper Mario to the service, while the game did actually receive some improvements over the Wii U VC emulator, the game, somehow, was more prone to crashes. If you game over with Watt as a partner, the emulator crashes, and you lose your progress. If you have the curiosity of hitting trees with your hammer, one of them in the snow town actually crashes the game too! Thankfully both were fixed, but you still needed to wait months! If you had no idea why crashes could be caused as Nintendo just never warns about that stuff, that is genuinely inconvenient.

When they added Kirby 64; the western version actually had a game breaking bug that makes you softlocked if you get hit in a particular way underwater. That is genuinely a terrible bug that could affect just about anybody playing the game. Thankfully, they fixed it the next week, but that REALLY shouldn't have happened to begin with!

There's also the smaller problems like Yoshi's Story's boss, Inviso, where the point of the boss is to be invisible. Except he's very visible at all times making the point of the boss moot and any respect to the original game gone. For some fucking reason, they took more than a year to finally fix it, and that's just a huge shame.

There's also how Jet Force Gemini had a worse widescreen mode and somehow thought it was good for release, thankfully fixed 2 months after, but you still had to wait 2 months!

And then F-Zero X still has genuine framerate problems to this day where the game just runs worse over time. That game is known to run a perfect 60 FPS on the original system, so there's no excuse here.

I could also mention Goldeneye and Perfect Dark, but just look up Graslu's videos on them, he has done a full comparison, showing what's wrong with them with enough detail.

For these, I just mentioned the glaring issues plaguing several games, but a lot of times these issues just comes on their addition to the service, and then only gets fixed months later; and for me, that's an actual disrespect to the player. I understand the developer is doing their best here, but frankly, what that looks like to me is a legit constant: they visibly seems just scrambling to get games to work to a "good enough" state. I am NOT accusing iQue of this, however I accuse Nintendo to not have taken any measures to stop having these kinds of problems to begin with.

To speak better of iQue, they seem to be good at reverse engineering, as they do patch games to fix issues, or sometimes just modifications like anti-epilepsy measures or other kinds of hacks.

The controls

I had some really bad things to say about the controls, but it got partially invalidated when I played Perfect Dark on the service to see how bad it got. I think I simply overthought about it.

Now I have an opinion about the controls of Goldeneye and Perfect Dark that will not please people: They're… fine. The default controls I mean. I know people have some real aversion to FPS that doesn't use a double stick, but frankly I dare say those controls didn't age as badly as you'd think. Some people say it's best played on a N64 controller but I don't agree about that, it's also okay on a regular Switch Pro Controller.

Turok however, oh boy, the default controls can be a double stick FPS… except it's reversed. That's where the ability to remap controls would be very useful here, or possibly just one moment where better forced control setups would be actually nice here.

Or how Pokémon Stadium has minigames that uses actually both the D-pad and the Stick, it could be great if the right Stick acted like the N64 Stick at that moment on a Pro Controller instead of the C Buttons!

Instead, I sometimes get told it is an excuse to get the (frankly expensive) N64 controller. Fuck no. I should not be forced to buy that, and I actually dislike using that controller, and I played tons of N64 games through emulation with different controls without having serious issues either, so for me, this isn't an excuse. Wii U VC also provided button remapping!

The forced use of ZL as the N64 Z button, and L for N64 L button for every game, also bothered me. I know they care about consistency, but then, I got actually curious to check how they handled Z and L on Wii and Wii U VC… and holy shit. They handled it right from the start. On Wii they actually just used the L button for the N64 Z button! But, the N64 B and A buttons do correspond to the B and A buttons on the current controllers regardless. Though, on that one, for most games, it's not as much of a bother, but if you're playing games like, let's say Wave Race 64 or F-Zero X, this is particularly worse.

F-Zero X has the use of strafing left and right, so I'll let you imagine how worse that sounds if you use ZL and R. NOT ZR, that's for C Buttons macros on the face buttons. It feels horrible and unintuitive, but also there's how the B and A buttons on N64 are vertical, and you just use your thumb on both buttons, making it easy to boost or to soften bounces on waves in Wave Race 64, which is a pretty darn important thing to understand, but instead you have to handle it on horizontal B and A buttons, making it a slight bit more annoying to your thumb, physically speaking. It just feels unintuitive and actually bad for your thumb, frankly.

It's where I wish games would actually make either ZR or R buttons to be swapped depending on the title, to be the R button and C button macro, and also offer an option to rotate the face buttons so that B and A would be placed on Y and B instead, corresponding more to the actual feeling of the N64 controller.

Sin & Punishment is oddly enough the only game of the bunch that comes with slightly custom controls, more adapted to the game, and I'm sorta glad that they bothered.

Just to go back to the N64 stick emulation, I also wish the sensitivity of it was managed better on current controllers. It really seems like when some games run faster than intended, added with the fact the stick isn't reproduced faithfully, some games are a lot harder to play, especially with Joy Cons if that's your only and basic options, where for example, turning the camera is way faster and you just keep wanting to reposition all the time.

Missing features

Man, imagine emulating the Controller Pak for the ability to save in games that only uses it instead of battery backed save memory in the cartridge, but then, literally never use it, ever.

Well that's what happened to Wii U VC and N64 NSO. iQue has actually emulated it, but for some reason, they never use it, and I just do not understand why, especially in games where the Rumble Pak isn't supported.

Speaking of the Rumble Pak, it is emulated, but there's one thing I just do not understand: Why isn't there code to automatically swap the Controller Pak and Rumble Pak? They have the best ways to actually handle this in ways that is pretty transparent and unobtrusive, but somehow, they don't bother with it, and it's just very strange. I know the N64 games are weird about it, but some outright allow to swap them, sometimes they even bother to remove the No Controller Pak message in Winback, but in other games they don't even bother removing the Rumble Pak swap message. It's just inconsistent and weird.

We don't have Transfer Pak emulation unfortunately, but that one, I can partially understand, it's definitely a bit messy, but it would still have been cool to play Mario Tennis and Mario Golf with your GBC characters and to level them up on the N64 games. Instead, in Mario Tennis GBC, you actually get the Transfer Pak content unlocked from the start, which is still pretty cool of Nintendo to care, and a mere reminder that they do care about these details in other apps. But in Mario Tennis on N64 NSO, the Transfer Pak courts are yet to be unlocked.

Then there's the wish to see 64DD emulated, which they initially did some work towards that back on Wii U VC, but then simply never touched in years, and then removed the code after I noticed they tried to support the fanmade cartridge ports of them. It's probably just for testing though, I don't really care that they do it like that, but I would think it's particularly crass had they used them officially on the app. This has yet to be seen again, so I don't have my hopes up. Here's hoping the Nintendo Museum made them care though, considering Doshin The Giant 64DD actually showed up there.

The future

I think I pretty much said what I wanted to say the most in one place. It might have been a little hard to read, but I really wanted to make my points very clear.

When I look at N64 NSO vs the rest of the service, I just cannot help but see how worse it is in general, I have genuine trust issues as it is very badly managed as games get added but then doesn't run properly, only to get resolved, if it does, only months later. It just makes me want to put off for later any time I wanna play a N64 game on that service, and I really want to love that service, I want to recommend y'all the biggest N64 library so far that Nintendo has given us that surpasses both Virtual Console libraries on Wii and Wii U, but I just can't.

Unfortunately, I don't see the future to be that bright. I see no reason to believe Nintendo has done any big efforts to allow a better N64 emulator, and of course, Nintendo has never really addressed complaints, and I partially blame the "good enough" feeling. When I read ArsTechnica to make an article just to complain about the borders after the N64 NSO ordeal, it just makes me feel like no matter what, this bigger complaint of mine across all of N64 NSO just cannot be seen seriously. It's a much bigger problem than borders (though, I agree, they should allow more, including pitch black borders).

I don't see any reason for Nintendo to read this either, but that's my full impressions of N64 NSO so far. Nintendo 64 NSO is just shit, and disrespectful to the legacy of the N64.

I outright accuse it to force people to buy a N64 controller just to play it correctly, which definitely worked as it definitely was out of stock several times, but if that's truly what they aimed for, then it's an app that doesn't know what audience it wants. If it aimed to be played by casuals, they'll be put off by the controls. If they aimed for the hardcore, they'll find problems, no matter what.

And it really cannot be helped when the emulator is clearly designed for the developers to manually fix problems per game instead of having a better emulator overall.

#nintendo switch online #nintendo 64 #rant

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