Literally just button remapping support for my MX Ergo.

And for the fool who always comes into these threads to tell me again that I must not have tried in several years, I tried last month. Talked to the Solaar dev, tried to reach out to Logitech, literally nothing to be done.

Yeah, I’ve used qbittorrent, deluge, utorrent, and a number of other clients over the years. I greatly prefer transmission. I don’t need my torrent client to do anything but download and seed.

I bet this person hates GIMP too.

Stop fighting your body and find a night job.

Damn right, because I don’t pick up.

“I hate talking on the phone and won’t pick up, text me.” also often works.

Windows definitely isn’t the solution for all use cases. There are some use cases for which it’s completely ineffective. There is no one operating system that’s perfect for all use cases.

I emailed the dev who makes Solaar less than a month ago after my most recent attempt. They said clicking and holding would be on Logitech’s end, in their firmware. As the firmware stands currently, it’s not possible to rebind those particular buttons and click and hold them unless you rebind them to other buttons already on the mouse. Works in Logitech Options + on Windows, does not work through Solaar on any Linux distro.

I attempted to contact the Logitech devs, but there doesn’t seem to be any open avenue for doing so. I tried talking to Logitech support, but they weren’t able to put me in contact or even forward a message.

So yes, I have tried this recently. And literally the person who makes the software I’m trying to use has told me that my use case is not currently possible without some sort of workaround.

It’s not reactionary to say that capitalism is bad. Capitalism is literally terrible. Not commerce, capitalism. Buying and selling things isn’t wrong, but extracting and consolidating surplus labor from the working class is.

Unreal is safe now, but there are no guarantees under capitalism. A FOSS license does guarantee that enshittification won’t be a factor because it literally can’t become the exclusive property of some company with a greedy executive board. Unreal doesn’t have that protection, Godot does.

Could Godot be compromised some how? Sure. Can it be enshittified? Not really.

The thing is, this could change at any time. The problem with enshittification is that it spreads. A company that’s doing great work today could be bought out by corporate profiteers and leeched of its actual value at any point in the future. We’ve had plenty of companies that started out with a vision and a set of strong principles who’ve been reduced to predatory business practices that are bad for everyone. You can’t assume that because a company seems to have integrity now, that integrity will remain.

Remember Elon Musk 15 years ago? Wasn’t quite the same, was it?

To me, sitting in a position of getting started in game development, that makes me want to sink my time and effort into an engine that I know can’t be enshittified because it can’t be bought out. I want to know that in a few years I’m not going to completely scrub every asset and mechanic that I make for the engine because somebody’s pulled some Darth Vader shit.

Bottom of the lake is pretty cheap iirc.

I don’t really even trust Unreal until Unity takes a legal hit for this. What’s to stop Epic doing the same thing?

Considering how locked into an engine a project can get, why risk a corporate engine unless you absolutely have to?

The bucket is also increasingly full of bots and astroturfers. I think they’re doing a half decent job of hiding the impact when it comes to numbers, but the drop in quality sheds a little more light.

The real question is whether or not people will continue to use Unity. Apologies mean less than nothing in a case like this regardless of whether or not they’re sincere. This is a company that’s shown their cards. Why give them business when you can go elsewhere?

Personally, this has made me start looking more into Godot. I’ve got a project I’m going to be working on that I was going to do in Unreal, but this Unity stuff has made me skeptical of tying my creative output to any one company that can’t be easily replaced. Getting that wrapped up with a proprietary platform that comes with licensing that might change just seems like a bad idea now. Maybe Unreal is okay today, but what about down the road? Why start building into a system that there’s no guarantee won’t enshittify a few years down the road?

I’d like to get my major mechanical stuff squared away and develop a visual style and then tell more stories without reinventing the wheel every time. Once I’ve got my assets built on top of an engine, I’d rather add to it over time than arbitrarily scrap it every few years. Updating and refactoring is all well and good, but I’m not in it to code the same system over and over.

That makes Godot look pretty appealing, and any closed source corporate offering look pretty shady.

I’ve covered the lights on several of my devices with black nail polish. It works pretty well. Some of them have angles that it won’t adhere to very well, but even then it’s a lot less obnoxious.

One coat to dim slightly, 3-4 to block light effectively.

Why does the use of AI to modify art require justification?

We seem to have this general culture of people who don’t make things coming after those who do. Every decision of design, methodology, or artistic preference treated as though the creator has an obligation to please every single person who posts their opinions on the internet.

The reality is that this simply isn’t true. Art that spends all its energy fretting about whether people will like it ends up being some bland bullshit produced by committee. Art that allows itself to be what it is doesn’t need opinions and suggestions to flourish.

If the author of that article were remotely interested in their process or what the actual practical implications of using AI on a project are, they could have had something worth reading.

Instead they went into the interview looking to push a position and badgering without listening rather than making even a passing attempt at something resembling journalism. Because ultimately they don’t care about AI, or art, or games; they care about rage clicks.

They can be binding in the sense that they can govern the licensing or potentially ownership of submitted assets. So like, for example, a ToS could have a bunch of clauses that carry no legal obligation for you, but could also include a clause that grants the company licensing to use your likeness or things submitted to the server or interaction with it. The same way any ToS can license the use of your metadata for sale to 3rd parties.

That doesn’t have any particular legally binding requirements of you, but it can serve as a shield in the event of a lawsuit if, say, Facebook uses your profile photo in some advertising materials.

It can also be useful if you’re running a small project like an independent game server. Even if there’s literally no money in it, it can be helpful to clarify who owns what in the event of something like a false DMCA. If a developer who once was doing work with you suddenly decides to take their ball and go home, some sort of agreement that outlines your ownership or usage rights surrounding code submitted to your mod can protect you when they turn around and send Steam a DMCA.

But yeah, nobody’s going to get sued for using a service in a way that the ToS prohibits unless it’s already illegal, like theft.

Artists aren’t lawyers and don’t want to be. Except for the ones that are. But that isn’t most of us.

Artists make art. If you want to look for the people who like to make policy, look to the jackasses in suits who sit around having meetings about meetings all day to justify scalping the work made by actual artists. The same kinds of people who fund stories like this blatantly uninformed hit piece.

Fuck them and the horse they rode in on.

At some point the line will have to be discovered, because the use of AI for art isn’t going away. Suits can whine about it all they want. Art doesn’t really care.

Real world protest on a meaningful scale is extremely dependent on population density both of individual cities and of the country in general.

In the United States we’re extremely spread out, even if we have some urban areas with incredibly high population density. The result is a situation where wide-scale protest logistics really aren’t in our favor. Even if you mobilized all of New England’s protest-inclined leftists to organize around one city, it’s hardly the numbers needed to shut anything down. We can’t just all go outside and produce nation-wide mobs in our major cities.

Look at Occupy Wallstreet. They had pretty substantial support and there were busloads of people from all over the country going to New York. But in the end it wasn’t enough to create substantial change.

Strikes have been effective because they mobilize the actual workforce that’s looking for a result, and are inherently disruptive to the thing they’re trying to change. Their demands end up being addressed because they crank up the immediate urgency of addressing them.

We need that. Targeted action that is actually effective on a wide scale. I don’t really know precisely what that looks like, but I think a good first step is the kind of action we see around remote work. People literally will quit over it and go elsewhere. Companies have done so much to leech profits out of their employment models that they’ve reduced any incentive toward long term loyalty.

They really don’t have much bargaining power right now, so people can dictate the terms a bit more. Individual decisions regarding how and when companies get to buy your labor or your creative output, as well as which companies you support financially, may well be closer to an actual path through the muck.

Outside agitation can also be incredibly useful. An outside actor in contact with people inside a corporate entity have an opportunity to speak out without the chance, legal or otherwise, of employer retaliation. Again, targeted and largely individual action.

Whatever the solution is, I suspect it’ll look a lot more like that if it’s going to challenge the status quo in the United States.

AI art of any reasonable quality still requires significant human input. I don’t just mean prompt engineering, I mean actually having an artist using more traditional techniques to make adjustments or provide a base for the AI work. The output of raw AI art on its own can be impressive at times, but it’s not consistent enough to maintain a style for any sizeable piece of work.

If you want to be able to create a bunch of assets that look like they were designed for the same project with AI, somebody still needs to do some art.

What AI does do, though, is give those artists the ability to exponentially increase their productivity independently, with no particular need for the sort of labor-hour organization that a corporation provides.

It should be telling that the corporate media spin on this is to attack it and to publicize voices that criticize it, but never those that express nuance. That’s because it terrifies every useless corporate lackey who understands its actual potential to empower independent artists of all kinds.