npinsker

yes, GP is slightly off, but the idea of <= and < is accurate.

O(n) is: "there exists a K such that, for sufficiently large n, K*n is always larger".

o(n) is: "for every K, for sufficiently large n, K*n is always larger". (So o(2n+1) and o(2n) and o(n) are the same thing.)

There are large mechanical surprises similar to typical grid-based puzzle games on the market nowadays, but no, nothing "like that".

That said -- like The Witness, OotSS also reaches for a message beyond just its mechanics. In this case, it focuses on how a small number of mechanics interacting can produce a combinatorial explosion of situations; the role of the puzzle designer in surfacing "interesting" situations; the relationship between designer and player; and the way we pass an understanding of design on to the next generation.

I appreciate the attempt, but I thought it fell far short of The Witness; it didn't really saying anything insightful about the themes and also didn't even hint at them until you're 30+ hours in.

I felt this was true until 30 hours in, but after that, it starts feeling much more repetitive. Smaller ideas are stretched much further and IMO they're not nearly as exciting as the beginning ones.

The point of transportation is to get from point A to point B, so almost nobody will care whether that's done via automation.

The point of e.g. art isn't just to produce a finished piece, so people may care about more than the end result, making AI replacement of human artists more contentious.

Tao is arguing that the point of math is also not just to produce solutions to problems.

“How much you enjoy the prose” doesn’t really seem like the metric by which we should rank these? I’d prefer to read whatever’s most faithful to the original, which isn’t measured here.

One consistent tell is in hair. The most obvious manifestation is how long hair splits and merges back into itself (as at 0:27).

AI hair often doesn't follow proper "form" and looks like overcomplicated, random tufts that can clash and overlap. It might not be obvious on a first glance, but you can learn to tell the difference pretty quickly.

You say those things like they're a short step away, but that might not be how it works out.

For example, AI has made zero progress in the last few years in surpassing professionals at art or writing. Its prompt-following skill is much better, and sure, it can render hands and text now, but its artistic sensibility is completely stagnant.

I love this :) Thanks very much for making it, it's elegantly designed.

Since you asked for feedback: in terms of usability, I found the 'seek next' and 'seek previous' buttons confusing, since they're positioned left/right but control motion up/down, and even switch their direction based on loop. (This is because "forward" and "back" also change based on loop -- an indicator for that would help.) Adding navigation via mouse wheel would be perfect here too.

Sorry to ask for even more, but I'd personally love to see door opening / door closing sounds added (along with 'ドアが閉まります' and the alarm) to fully round out the soundscape.

Don't mean to be too picky! -- it's very enjoyable as is.

Also, studios with their own engine may release one or two fresh-feeling games, but across repeated releases, a custom engine is going to become strangling and repetitive way faster than any off-the-shelf option.

It's one of my favorite visual novels and is so underappreciated.

Maybe it's because (unlike others in the VN space) it totally eschews unusual settings, gimmicks, or flashy set pieces to sell itself... I only bought it because I liked the tidbits of story in Shenzhen and Infinifactory, by the same author. Every part of it is unbelievably strong though.

Yes, oysters used to be extremely cheap and popular (and nutritious); that's probably the main reason.