Spzi

joined 1 year ago
[–] Spzi@lemm.ee 5 points 2 weeks ago (2 children)

Is that the statue of Liberty in a toilet, or what is this supposed to be?

[–] Spzi@lemm.ee 3 points 3 weeks ago (1 children)

As a german, I feel the right side is much more alien to me than the left side (split at "Start here").

Is that circumstancial, or does it reflect some linguistic truth? Like, are the languages on the left one family, and the ones on the right another family, or however linguistic taxonomy would call that?

Maybe it's just that the left side includes all the germanic languages, so that feels more familiar. There are also languages on the left side where I have no clue what or where that might be. But much more so on the right side.

[–] Spzi@lemm.ee 2 points 3 weeks ago

Right, that was the spirit. Though to be honest, it can harm. Some people are shy. Or strongly shy away from awkward situations caused by not-yet-close-friends. They can still be great friends, but unlucky situations during the getting-to-know each other phase can prevent that. We judge people with different standards, depending on how close they are. So when you interpolate distant-behavior to predict close-behavior, there is probably some error margin.

So there is some risk involved in asking, but likewise for not asking. I guess just be you and see where it goes.

One final thought: I think it's important to take care that the question is not perceived as an accusation.

[–] Spzi@lemm.ee 10 points 3 weeks ago (2 children)

Usually I stop after 2 or 3 attempts.

You could also ask him directly. Maybe he's generally not interested in lunching together, or he was just too busy to respond, or whatever. These questions can be awkward, but also deepen a friendship. A risk-reward mechanic in the game of life.

[–] Spzi@lemm.ee 5 points 3 weeks ago

My first two matches (historic ranked bo1) after the update resulted in a crash, before the match started. Later everything was fine.

[–] Spzi@lemm.ee 5 points 3 weeks ago (1 children)

While possible, it goes against the Mediocrity principle:

The idea is to assume mediocrity, rather than starting with the assumption that a phenomenon is special, privileged, exceptional, or even superior.[2][3]

[–] Spzi@lemm.ee 5 points 3 weeks ago

Right. Also the speed of transition matters a lot.

Take any devastating effect that climate change might bring. Regions becoming uninhabitable, millions migrating, thousands of houses destroyed, crops failing, species going extinct.

For any of these effects, it helps a great deal if they can be delayed by years or hopefully decades. It gives everything more time to adapt. Like 10 million people migrating in 1 year puts a hell lot more stress on everybody involved (including the receiving countries) compared to 10 million migrating in 10 years.

Or your country might be blessed to deal with wildfires and floods one after the other, instead of both occuring simultaneously.

More time is worth more effort.

[–] Spzi@lemm.ee 35 points 3 weeks ago (7 children)

Much like that comment. Can you give a better example, or express why it's a bad example? That would bring some quality in.

[–] Spzi@lemm.ee 31 points 3 weeks ago (13 children)

FYI you can self-host GitLab, for example in a Docker container.

[–] Spzi@lemm.ee 1 points 4 weeks ago (1 children)

You can find "piggy power" at the bottom of the article, headlined "How to describe your game instead".

Pixel Washer is a cozy, zen-like game where you play as a cute *piggy power washing* beautiful pixelated worlds.

I can read it in two ways: Either you're a ghostly piggy power, who is washing. Or you're a "piggy", who is "power washing". The grammar is ambiguous.

Maybe you meant to take side for the interpretation as a "cute piggy". I agree that's the most likely interpretation.

Still, this might confuse or downright misinform some readers. The main point of the article was to communicate what the game is in a clearer, more accessible way. So I found it worthwhile pointing out how it kind of fails there.

The author was concerned somebody might read a description like "Pixel Washer is like PowerWash Simulator meets Stardew Valley", and partially fail to understand it, because they don't really know what "PowerWash Simulator" or "Stardew Valley" are. Because they aren't literate enough in game titles.

But similarly, one can worry readers might not know certain words or grammatical constructions (maybe because they are no native speakers, or for other reasons), to decide wether it's a washing power or a piggy washing; because they aren't literate enough in English.

[–] Spzi@lemm.ee 7 points 4 weeks ago (3 children)

Describing your game by listing other games is tempting, but not a good idea, and I'm about to convince you why.

That did not age so well. I found most arguments rather weak. Here's an overview of all the three arguments, copied from the article:

  1. It requires your audience to be familiar with those games
  2. It creates pre-conceived notions, setting high expectations
  3. Players prefer to discover the similarities on their own

Generally, we have at least two options for describing thing A: We can relate it to another thing B ("Pixel washer is like Stardew Valley"), or we can relate it to some abstract attribute ("Pixel washer is uplifting"). Either way, we use language shorthands to describe similarities with other known entities.

About 1: Yes, that is obviously true. And it's also true for the opposite, when you don't relate your game to other games. Granted, your description becomes more accessible to a broader audience since it does not require them to know the other games. But instead, the reader now has to be able to understand and visualize what your description might look and feel like as a game (and thus becomes less accessible again). Take for example the first sentence of the proposed better description:

"Pixel Washer is a cozy, zen-like game where you play as a cute piggy power washing beautiful pixelated worlds."

I'd flag 'cozy' and 'zen-like' as probably rather less known and/or well-understood terms. I'm also not sure what 'piggy power' means. Is it even meant as one thing or is english grammar misleading as so often? Does it involve actual pigs or only their powers, whatever that might mean? But fair enough, even if all that remains not understood, the minimal takeaway is probably that it's a game with pixels and pigs and washing. So yeah, the alternate description probably works for most people.

But in the same way, a description referring to other games also works for most people.

In case of unclear references, a game-reference wins over a word-description. Like when I look up 'cozy' and 'zen-like', I may or may not come across definitions and pictures which convey the same idea as the author intended. For example, I might find results about baking cookies or shooting arrows, which have nothing to do with washing pigs. Whereas, when I look up "PowerWash Simulator" and "Stardew Valley", the results are far less ambiguous.

Argument 2 is the strongest from my point of view. But again, it's pretty similar for both ways. It should be kept in mind. Maybe it's best to ask your game testers how they would describe the game, including those who don't like it, to avoid setting too high expectations because you fell in love with your game while making it.

Argument 3 was entirely new to me. It never crossed my mind, nor did I hear anyone complain about it. I think people very much appreciate language shorthands, if they are used well and are not misleading. If so, they can save time and give a crisp description. And let's not forget that we are talking about advertisement. We know we are being lied to, that a 'fast-paced action shooter' can feel dull and boring quickly. As the author points out, these descriptions serve one purpose only; to generate more sales.

I also wanted to include a reference to Roguelikes or Roguelites. Apparently there once was a game named 'Rogue', which no one knows. But it spurred other creators to make something similar, and now we have genres called Roguelike and Roguelite. I think that's kind of funny in this context, since in this case you somewhat cannot describe the genre without comparing it to another, specific game.

Last but not least, the whole argument is probably less relevant in mainstream games, but more so in indie, or niche, new games in a creative way. When there is almost nothing which is very similar, comparisons to other games might work less well than if you're just releasing another RTS or FPS.

[–] Spzi@lemm.ee 8 points 4 weeks ago (1 children)

There are many, many different ways in which the economy could be shrunk. Many have the downside which you mention; making life miserable. But also many, other ways avoid this problem. A few examples how this could look like:

  • reduce consumption of the super rich
  • reduce production of trash products like plastic toys or single use vapes
  • remove laws which enforce waste, such as minimum parking spots
  • in urban design: prioritize mass transit, biking and walking over motorized individual transportation

When discussing these things, we should never forget that too little, too late action will certainly lead to what you wanted to avoid; making life miserable for poor people.

 

What they actually mean is rather "these two things are very dissimilar", or "these two things are unequal".

I guess in most situations "cannot be compared" could be replaced by "cannot be equated", with less lingual inaccuracy and still the same message conveyed.

To come to the conclusion that two things are very dissimilar, very unequal, one necessarily has to compare them. So it's rather odd to come up with "cannot be compared" after just literally comparing them.

For example, bikes and cars. We compare them by looking at each's details, and finding any dissimilarities. They have a different amount of wheels. Different propulsion methods. Different price, and so on.

When this list becomes very long, or some details have a major meaning which should not be equated, people say they cannot be compared.

An example with a major meaning difference: Some people say factory farming of animals and the Holocaust are very similar, or something alike. Others disagree, presumably because they feel wether it's humans or animals being treated, the motives or whatnot make a difference big enough that the two should not be ~~compared~~ equated.

Can you follow my thoughts? Are 'dissimilar' or 'unequal' better terms? I'd be especially interested in arguments in favor of 'compared'.

 

cross-posted from: https://lemmy.ca/post/15519217

Mit der Petition wird keine Kürzung von Finanzmitteln für den Nahverkehr gefordert. Im Zuge der Haushaltskrise nach dem Urteil des Bundesverfassungsgerichts vom November 2023 wird nach schnellen Wegen gesucht, die Haushaltslücke zu stopfen. Es soll gespart werden. Dabei steht auch im Raum, die Mittel, die der Bund den Ländern jedes Jahr zur Verfügung stellt - die sogenannten Regionalisierungsmittel - zu kürzen.

Begründung

Die Bundesregierung hat sich zum Ziel gesetzt, aus Klimaschutzgründen die Fahrgastzahlen im öffentlichen Nahverkehr bis 2030 zu verdoppeln. Die drohenden Kürzungen der Regionalisierungsmittel würden jedoch bedeuten, dass Züge gestrichen werden oder gar Strecken stillgelegt werden müssten. Fahrgäste würden von der Schiene aufs Auto umsteigen, was höheren CO2-Ausstoß bedeutet und das Klima geschädigt würde. Gerade im Verkehrsbereich droht eine Verfehlung der Klimaziele. Wir brauchen aber mehr statt weniger Klimaschutz und haben nur den einen Planeten zum bewohnen.

Sinnvoller wäre es doch, klimafeindliche Subventionen wie das Dienstwagenprivileg zu kürzen, das den Staat 3,5-5.5, Mrd. Euro pro Jahr kostet. Hier ist ein viel größeres Sparpotential vorhanden - und das Klima könnte geschützt werden.

 

cross-posted from: https://feddit.de/post/8059485

In Luxemburg und Südbelgien bieten die Medien Extremist:innen kein Forum – und konnten einen Rechtsruck damit bislang verhindern. Ganz anders in Deutschland. Plädoyer für ein Umdenken.

Chassepierre ist ein kleiner Ort in der belgischen Region Wallonien, an der Grenze zu Frankreich. Die Champagne ist nur fünf Minuten entfernt. Man kennt sich – spricht französisch, macht zusammen Sport, geht vielleicht zur gleichen Bäckerei. Auf den ersten Blick trennt die Menschen wenig. Doch: Die Einen stimmen für eine rechtsextreme, die Anderen für eine sozialdemokratische Partei. Warum? Wegen der Medienberichterstattung, sagt die Politologin Léonie de Jonge. Dazu später mehr.

[...]

Während sich das Publikum in True-Crime-Manier aus sicherer Distanz gruselt, empören sich Teile der Medienwelt – kurz zumindest. Wird die Partei durch solche Auftritte aufgewertet, verharmlost und normalisiert? Oder ist es gerade mutig, sich der Bedrohung zu stellen, statt sie zu stigmatisieren und ignorieren? Kritik wird totgeschlagen mit immer gleichen Argumenten wie „Wir müssen die Vielfalt und politische Chancengleichheit wahren“ (Öffentlich-Rechtliche) und „Wir müssen ja mit allen reden“ (Stern). Müssen wir? Nur weil eine Partei demokratisch gewählt ist, heißt das nicht, dass sie demokratische Inhalte vertritt. „Nein, so sollten wir Medien nicht mit der AfD umgehen“, kritisierte etwa die Spiegel-Redakteurin Ann-Katrin Müller besagtes Stern-Interview. „Sie ist keine normale Partei, sondern eine, die in großen Teilen rechtsextrem ist. Sie will die Demokratie maßgeblich verändern, da haben nicht nur Parteien und Zivilgesellschaft eine Verantwortung, sondern auch wir Medien.“

Social Media mitdenken

Diese Verantwortung schlägt sich nieder in Form und Wirkung. Form, weil Redaktionen frei entscheiden können, mit wem sie ein Gespräch führen und wie sie dieses anschließend für die Öffentlichkeit aufbereiten, und Wirkung, weil Massenmedien in Wechselwirkung stehen mit anderen Kanälen. Ein Interview, das clever aufgebaut ist und so die menschenfeindlichen Ideologien der Funktionär:innen, die inhaltliche Inkompetenz der Partei oder Lügen (Wissenschaftsfeindlichkeit) entblößt, ist dann nicht mehr viel Wert, wenn keine:r weiß, ob – und vor allem wie – diese Formate AfD-Sympathisant:innen erreichen.

Auf Social Media schrumpfen die Diskussionen auf eine Schlagzeile zusammen. Was bei den Menschen hängen bleibt: AfD-Klimaleugner darf mit Klimaforscher diskutieren, wie etwa bei Markus Lanz im Mai 2023, als Steffen Kotré auf Mojib Latif traf. Das ist eine Form von Legitimierung, die nur Massenmedien als traditionelle Schleusenwärter von relevanten Informationen leisten können. Die Sozialpsychologin Pia Lamberty erinnerte Anfang August 2023 im Medienpodcast Quoted daran: Menschen lesen oder schauen Beiträge nicht mehr von Anfang bis Ende. „Wir sehen Headlines und Teaser auf Social Media und glauben, informierter zu sein als vorher.“ Und: „Was wir immer wieder hören, glauben wir irgendwann.“ Selbst wenn es faktisch oder moralisch falsch ist.

Redaktionen befeuern diesen Mechanismus mit „False Balance“, wenn sie etwa den Konsens von 99 Prozent der Virolog:innen oder Klimaforscher:innen wiederholt der 1-Prozent-Meinung gegenüberstellen oder rechtsextreme Ansichten von Minderheiten zu Wort kommen lassen. Sichtbarkeit normalisiert. Journalist:innen überschätzen sich maßlos, wenn sie glauben, die „False Balance“ im Gespräch ausbalancieren zu können. Reicht Common Sense nicht, hilft vielleicht ein Blick ins Landesmediengesetz: Rundfunkprogramme haben nicht nur die Meinungsvielfalt, sondern die Würde des Menschen und die demokratische Grundordnung zu achten.

[...]

Angefangen hat die Diskursverschiebung laut Populismus-Forscherin Paula Diehl 2010 mit Thilo Sarrazins Buch Deutschland schafft sich ab. 2018 trug Alice Weidel seinen Begriff „Kopftuchmädchen“ ins Herz unserer Demokratie, ins Parlament. Und im Oktober 2023 bezog sich CDU-Chef Friedrich Merz im ZDF auf Sarrazin, als es um die Gefahren des politischen Islams ging. Im gleichen Monat zeigte der Spiegel einen grimmigen Olaf Scholz auf seinem Cover mit dem Zitat: „Wir müssen endlich in großem Stil abschieben.“ AfD-Rhetorik ist auch in Medienberichten präsent, in denen es nicht um sie geht. Etwa wurden populistische Begriffe wie „Flüchtlingsstrom“, „Überfremdung“ und „Altparteien“ 2015/16 zuerst zitiert, doch irgendwann ohne Anführungszeichen übernommen. Alles beabsichtigt. Der damalige AfD-Parteivorsitzende Alexander Gauland sagte 2018 in einem FAZ-Interview, dass AfDler:innen „in der Tat versuchen, die Grenzen des Sagbaren auszuweiten“.

Ein Blick ins Ausland zeigt: Es geht auch anders. Medienschaffende können sich durchaus als Hüter:innen dieser Grenzen verstehen – und den Rechtsruck damit verhindern. Untersucht hat das die Politikwissenschaftlerin Léonie de Jonge in ihrem 2021 veröffentlichten Buch The Success and Failure of Right-Wing Populist Parties in the Benelux Countries. Dass es Rechtspopulist:innen bislang nicht in die Parlamente Walloniens und Luxemburgs geschafft haben, in Flandern dagegen zweitstärkste und in den Niederlanden stärkste Kraft sind, liegt de Jonge zufolge nicht etwa daran, dass die Menschen dort finanziell abgesicherter, gebildeter oder weniger rassistisch wären.

Tatsächlich war die Arbeitslosenrate 2020 in Wallonien doppelt so hoch wie in Flandern; die Einstellungen gegenüber Immigrant:innen unterscheiden sich kaum, so auch das Vertrauen in die Demokratie und politische Institutionen. Der Erfolg radikal rechter Parteien liegt, nach de Jonges Analyse, hauptsächlich daran, wie offen die Gatekeeper einer Demokratie mit ihnen umgehen. Demnach tragen die Medien und etablierten Parteien in Frankreich eine erhebliche Mitschuld am Aufstieg des Front National und in den Niederlanden an Wilders’ PVV.

Zusammen gegen Rechtsaußen

In Wallonien dagegen haben schon in den 1990er-Jahren alle Rundfunkanstalten einen Pakt geschlossen, den „cordon sanitaire médiatique“: Menschen, die rassistischen, demokratiefeindlichen Gruppen nahestehen, bekommen keine Plattform; Einladungen zu Live-Interviews und Talkshows sind tabu. Nach rechtlichen Streitigkeiten urteilte der Belgische Staatsrat 1999: Der öffentlich-rechtliche Rundfunk habe das Recht, undemokratischen Parteien den Zugang zu verwehren. Auch kommerzielle Sender und die meisten Printmedien in Wallonien halten die Prinzipien hoch. Das heißt nicht, dass wallonische Journalist:innen nie mit Rechtsextremen reden. Es heißt, dass sie nur dann zitiert werden, wenn die Zitate kontextualisiert werden und antidemokratische Inhalte als solche einordbar sind. Reden von rechtsradikalen Politiker:innen etwa werden nicht direkt übertragen, sondern von Reporter:innen zusammengefasst. In der Luxemburger Presse besteht zwar keine formelle Absprache, wohl aber ein informeller Konsens gegen das Abbilden rassistischer und übertrieben nationalistischer Stimmen.

[...]

Die Stoßrichtung der Berichterstattung muss sich ändern. Erstens: Mehr inhaltliche Schärfe. Was bedeuten die Vorhaben der AfD konkret für den Alltag ihrer Wähler:innen? Denn diese wären die Hauptleidtragenden des Parteiprogramms, wie zuletzt eine Studie des Deutschen Instituts für Wirtschaftsforschung vom August 2023 zeigte. Obwohl die AfD eine äußerst neoliberale Wirtschafts- und Sozialpolitik verfolgt – etwa Bürgergeld und Mindestlohn kürzen will –, wählen sie überdurchschnittlich viele Arbeiter:innen und Arbeitslose.

Zweitens: Mehr rote Linien und wallonische Weitsicht. Antidemokrat:innen haben kein Recht auf Sendezeit. Da tut sich was. 2022 tauchten AfDler:innen nur zweimal in fünf verschiedenen Talkshows auf, zeigt eine Erhebung des Branchendienstes Meedia. 2018/19 dagegen nahm Alexander Gauland selbst dann noch im ZDF-Sommerinterview und verschiedenen Talkrunden Platz, nachdem er „Hitler und die Nazis“ als „Vogelschiss“ in der Geschichte Deutschlands bezeichnet hatte. Nur eine Redaktion, hart aber fair, erteilte ihm Hausverbot. Die Begründung: „Wer die Verbrechen des Nationalsozialismus relativiert, kann kein Gast bei uns sein.“

Am Ende besteht eine Demokratie eben nicht nur aus politischen Vertreter:innen und Meinungen, sondern aus Werten und Menschenrechten, auf die wir uns als Gesellschaft geeinigt haben. Das, sagten viele US-Journalist:innen nach Donald Trumps Wahlsieg, hätten sie viel zu spät realisiert.

 

Alternativ: https://piped.video/watch?v=KZNvClrM6Rw

Ich gehe hier aus verschiedenen Perspektiven durch, was zu berücksichtigen ist, wenn man die Auswirkung von Heizen mit Holz bzw. Holz als Brennstoff aufs Klima bewerten will.

Das Video packt in die knapp 10 Minuten vier Detailstufen, bei denen die Schlussfolgerung mal "klimaneutral" lautet, mal "nicht":

  • Stufe 1: Klimaneutral, weil nur CO~2~ freigesetzt wird, was vorher aufgenommen wurde.
  • Stufe 2: Klimaschädlich, weil wachsen viel länger dauert als verbrennen
  • Stufe 3: Kann klimaneutral sein, wenn viele Bedingungen beachtet werden
  • Stufe 4: Klimaschädlich, weil Wald statt nur neutral eigentlich eine Senke sein könnte
 

cross-posted from: https://lemm.ee/post/10792055

cross-posted from: https://feddit.de/post/4310476

 

Running around with StreetComplete, the app sometimes tells me to leave a note instead, which I do. Short time later, I receive an email that another person has resolved my note. That's nice, but wouldn't it be better to do it all on my own?

I think I need a more powerful Editor for that, and installed Vespucci. Now I'm scared to break things. What are the next steps, how to proceed?

 

The volume of a cylinder is found using the formula V = πr^2^h. Using π = 5, r = 10 and h = 10. Find the volume V.

 

Before, completing the last lesson of a group (e.g. completing 5 of 5) activated a 15 minute boost. Which allowed me stop doing lessons at 4/5 and do practice instead. Later that day, I could complete lesson 5 to get a boost for a new session.

Now, these activation steps seem to be randomly scattered across lessons. Sometimes it's lesson 2, sometimes 5. Never the last one.

Did anyone else notice this? Any idea why? How do you deal with it?

It leads me to learn longer than I actually wanted (because I accidentally trigger boosts), or leads to me 'wasting' boosts, both of which feels bad.

 

https://www.youtube.com/@Brackeys/about


Text version, thanks to @CorneliusTalmadge@lemmy.world:

Image Text

BRACKEYS

Hello everyone!

It’s been a while. I hope you are all well.

Unity has recently taken some actions to change their pricing policy that I - like most of the community - do not condone in any way.

I have been using Unity for more than 10 years and the product has been very important to me. However, Unity is a public company. Unfortunately that means that it has to serve shareholder interests. Sometimes those interests align with what is best for the developers and sometimes they do not. While this has been the case for a while, these recent developments have made it increasingly clear.

Unity has pulled back on the first version of their new pricing policy and made some changes to make it less harmful to small studios, but it is important to remember that the realities of a public company are not going to change.

Luckily, there are other ways of structuring the development of software. Instead of a company owning and controlling software with a private code base, software can be open source (with a public code base that anyone can contribute to) and publicly owned. Blender - a stable 3D modelling software in the game dev community - is free and open source. In fact some of the largest and most advanced software in the world is built on top of open source technology like Linux.

The purpose of this post is not to denounce Unity because of a misstep, to criticise any of its employees or to tell anyone to “jump ship”. Instead I want to highlight the systematic issue of organizing large software projects under a public company and to let you know that there are alternatives.

I believe that the way to a stronger and more healthy game dev community is through software created by the community for the community. Software that is open source, democratically owned and community funded.

Many of you have been asking for us to produce new tutorial series on alternative engines such as Godot, which is currently the most advanced open source and community funded game engine. I don’t know yet if this is something that we can realise and when.

I can only say that I have started learning Godot.

Best of luck to all of you with your games, no matter what engine they might be built on!

Sincerely,

Asbjern Thirslund - Brackeys

 

https://www.youtube.com/@Brackeys/about


Text version, thanks to @CorneliusTalmadge@lemmy.world:

Image Text

BRACKEYS

Hello everyone!

It’s been a while. I hope you are all well.

Unity has recently taken some actions to change their pricing policy that I - like most of the community - do not condone in any way.

I have been using Unity for more than 10 years and the product has been very important to me. However, Unity is a public company. Unfortunately that means that it has to serve shareholder interests. Sometimes those interests align with what is best for the developers and sometimes they do not. While this has been the case for a while, these recent developments have made it increasingly clear.

Unity has pulled back on the first version of their new pricing policy and made some changes to make it less harmful to small studios, but it is important to remember that the realities of a public company are not going to change.

Luckily, there are other ways of structuring the development of software. Instead of a company owning and controlling software with a private code base, software can be open source (with a public code base that anyone can contribute to) and publicly owned. Blender - a stable 3D modelling software in the game dev community - is free and open source. In fact some of the largest and most advanced software in the world is built on top of open source technology like Linux.

The purpose of this post is not to denounce Unity because of a misstep, to criticise any of its employees or to tell anyone to “jump ship”. Instead I want to highlight the systematic issue of organizing large software projects under a public company and to let you know that there are alternatives.

I believe that the way to a stronger and more healthy game dev community is through software created by the community for the community. Software that is open source, democratically owned and community funded.

Many of you have been asking for us to produce new tutorial series on alternative engines such as Godot, which is currently the most advanced open source and community funded game engine. I don’t know yet if this is something that we can realise and when.

I can only say that I have started learning Godot.

Best of luck to all of you with your games, no matter what engine they might be built on!

Sincerely,

Asbjern Thirslund - Brackeys

 

https://www.youtube.com/@Brackeys/about


Text version, thanks to @CorneliusTalmadge@lemmy.world:

Image Text

BRACKEYS

Hello everyone!

It’s been a while. I hope you are all well.

Unity has recently taken some actions to change their pricing policy that I - like most of the community - do not condone in any way.

I have been using Unity for more than 10 years and the product has been very important to me. However, Unity is a public company. Unfortunately that means that it has to serve shareholder interests. Sometimes those interests align with what is best for the developers and sometimes they do not. While this has been the case for a while, these recent developments have made it increasingly clear.

Unity has pulled back on the first version of their new pricing policy and made some changes to make it less harmful to small studios, but it is important to remember that the realities of a public company are not going to change.

Luckily, there are other ways of structuring the development of software. Instead of a company owning and controlling software with a private code base, software can be open source (with a public code base that anyone can contribute to) and publicly owned. Blender - a stable 3D modelling software in the game dev community - is free and open source. In fact some of the largest and most advanced software in the world is built on top of open source technology like Linux.

The purpose of this post is not to denounce Unity because of a misstep, to criticise any of its employees or to tell anyone to “jump ship”. Instead I want to highlight the systematic issue of organizing large software projects under a public company and to let you know that there are alternatives.

I believe that the way to a stronger and more healthy game dev community is through software created by the community for the community. Software that is open source, democratically owned and community funded.

Many of you have been asking for us to produce new tutorial series on alternative engines such as Godot, which is currently the most advanced open source and community funded game engine. I don’t know yet if this is something that we can realise and when.

I can only say that I have started learning Godot.

Best of luck to all of you with your games, no matter what engine they might be built on!

Sincerely,

Asbjern Thirslund - Brackeys

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