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221
Joined
2 yr. ago

  • What even is his complaint?

    That he doesn't a fraction of the talent required to make a game this good.

  • I can feel the saliva-moistened Cheeto crumbs being sprayed into my face.

  • It’s literally not possible to be exposed to the history of art and not have everything you output be derivative in some manner.

    I respectfully disagree. You may learn methods from prior art, but there are plenty of ways to insure that content is generated only from new information. If you mean to argue that a rendering of landscape that a human is actually looking at is meaningfully derivative of someone else's art, then I think you need to make a more compelling argument than "it just is".

  • There is literally not one single piece of art that is not derived from prior art in the past thousand years.

    This is false. Somebody who looks at a landscape, for example, and renders that scene in visual media is not deriving anything important from prior art. Taking a video of a cat is an original creation. This kind of creation happens every day.

    Their output may seem similar to prior art, perhaps their methods were developed previously. But the inputs are original and clean. They're not using some existing art as the sole inputs.

    AI only uses existing art as sole inputs. This is a crucial distinction. I would have no problem at all with AI that worked exclusively from verified public domain/copyright not enforced and original inputs, although I don't know if I'd consider the outputs themselves to be copyrightable (as that is a right attached to a human author).

    Straight up copying someone else’s work directly

    And that's what the training set is. Verbatim copies, often including copyrighted works.

    That's ultimately the question that we're faced with. If there is no useful output without the copyrighted inputs, how can the output be non-infringing? Copyright defines transformative work as the product of human creativity, so we have to make some decisions about AI.

  • This issue is easily resolved. Create the AI that produces useful output without using copyrighted works, and we don't have a problem.

    If you take the copyrighted work out of the input training set, and the algorithm can no longer produce the output, then I'm confident saying that the output was derived from the inputs.

  • a derivative work is an expressive creation that includes major copyrightable elements of a first, previously created original work

    What was fed into the algorithm? A human decided which major copyrighted elements of previously created original work would seed the algorithm. That's how we know it's derivative.

    If I take somebody's copyrighted artwork, and apply Photoshop filters that change the color of every single pixel, have I made an expressive creation that does not include copyrightable elements of a previously created original work? The courts have said "no", and I think the burden is on AI proponents to show how they fed copyrighted work into an mechanical algorithm, and produced a new expressive creation free of copyrightable elements.

  • No, I get it. I'm not really arguing that what separates humans from machines is "libertarian free will" or some such.

    But we can properly argue that LLM output is derivative because we know it's derivative, because we designed it. As humans, we have the privilege of recognizing transformative human creativity in our laws as a separate entity from derivative algorithmic output.

  • And yet, we know that the work is mechanically derivative.

  • When you figure out how to train an AI without bias, let us know.

  • Admittedly I was working from memory, I could swear that his piece had at least a short discussion of the low quality materials and workmanship of mobile homes.

  • unlike HZD you actually have a limit to amount of traps you can set

    Err. Hmm. One of my complaints about HZD was that it put an arbitrary limit on the number of traps you could set. Somewhere around ~25, the first trap disappears when you lay the next trap.

    Reducing the number of traps is a con, not a pro. If I'm willing to gather materials and craft traps, let me use them as I see fit.

  • I hope it's decent. One of the things that bugged me about the DLC for the original HZD was that they turned most combat areas into flat, contained arenas where you couldn't really take advantage of geography and use planning to kill your targets.

    Bottlenecking, laying traps, getting advantage of ground, taking advantage of limited mobility of the robots, stealth... all the gameplay videos I've seen look SO BORING.

  • "Who could possibly be responsible for the catastrophic loss of value of one of the Internet's most beloved brands? Could it be me, the owner, and the decisions I've made?"

    "No. The Jews are responsible."

  • A "stash" that is only accessible outside combat mostly preserves that balance, IMO.

    Most games come up with a range of ways to get around the problem, even when they do have a strictly limited inventory with encumbrance:

    • Zero weight quest items
    • Ability to run or fast travel while encumbered (FO4 selectable perk)
    • A pet or NPC capable of carrying your less valuable stuff back to the vendor for sale (Torchlight had this, did Diablo? I haven't played in decades.)
    • Pack animals/robots
    • Portable vendors (Skyrim had a demon vendor you could summon once a day)
    • Bags of holding (or similar)
    • Warp chests (many chests with same contents/inventory around map)

    etc. ad infinitum. The fact that most games implement a variety of ways to deal with absence of an infinite inventory is kind of a tipoff that it's more of a burden than a desirable aspect of gameplay. Most of these games are holding up a carrot (or several) to get you to pursue certain achievements just to reduce the monotony of inventory management.

  • Thiccc

    Jump
  • Some guys wanna hit and quit it, but I wanna stay and play