More from Daniel Marino
Beware! This post includes spoilers! I recently built an escape room game called CSScape Room. This isn’t my first JavaScript-free web game, but HTML and CSS have evolved significantly since my previous attempts, with newer additions allowing for more complex selectors and native interactions. Rather than saving this idea for a game jam, I built it purely for fun, which freed me from theme constraints and time pressure. I’ve enjoyed escape room games since childhood, and it was nostalgic to recreate that experience myself. This project pushed my artistic limits while challenging me to design puzzles and translate them into complex HTML and CSS. The learning process was fun, challenging, and sometimes tedious—mostly through trial and error. Process My creative process isn’t linear—it’s a blend of designing, puzzle creation, and coding that constantly influences each other. I frequently had to redesign or recode elements as the project evolved. There was also that time I accidentally deleted half my CSS because I wasn’t backing up to GitHub... lesson learned! 😬 This might sound chaotic, and honestly, it was. If you’re wondering where to start with a project like this, I began by prototyping the room navigation system. I figured that was the minimum viable feature—if I couldn’t make that work, I’d abandon the project. The solution I eventually found seems simple in retrospect, but I went through several iterations to discover it. This flexible approach makes sense for my creative projects. As I build something, both the in-progress work and my growing skills inevitably influences the entire project. I’m comfortable with this non-linear process—it also suits my ADHD brain, where I tend to lose interest if I work on the same thing for too long. Artwork I’d wanted to design a pixel art-styled game for some time but never felt confident enough to attempt it during a game jam because of the learning curve. I watched tutorials from Adam Yunis and Mort to get a crash course in pixel art best practices. Initially, progress was slow. I had to figure out 2D perspective with vanishing points, determine a color palette, practice shading techniques, and decide how much detail to include. While I tried to adhere to pixel art “rules,” I definitely broke some along the way. One challenge I set for myself was using only 32 colors to capture the feeling of an older gaming console. Once I got comfortable with shading and dithering, working within this constraint became easier. An added benefit to using 32 colors was it resulted in smaller image sizes—the game’s 79 images account for only about 25% of the total payload. I attempted to design sprites using dimensions in multiples of eight, but I’ll admit I became less strict about this as the project progressed. At a certain point, I was struggling enough with the color and styling limitations that this guideline became more of a starting point than a rule. I considered creating my own font, but after exhausting myself with all the artwork, I opted for Google’s PixelifySans instead. Almost all animation frames were individually drawn (except for the “one” TV animation). This was tedious, but I was determined to stay true to old-school techniques! I did use CSS to streamline some animations—for instance, I used animation-direction: alternate on the poster page curl to create a palindrome effect, halving the number of required sprites. Mechanics Like my previous game Heiro, this project primarily uses checkbox and radio button mechanics. However, the addition of the :has() pseudo-selector opened up many more possibilities. I also utilized the popover API to create more detailed interactions. Checkbox and Radio Selection Triggering interactions by toggling checkboxes and radio buttons isn’t new, but the :has() selector is a game-changer! Before this existed, you had to structure your markup so interactive elements were siblings. The :has() selector makes this far more flexible because you no longer need to rely on a specific HTML structure. #element { display: none; } :has(#checkbox:checked) #element { display: block; } Using this pattern, :has() looks for #checkbox anywhere on the page, meaning you don’t have to rely on #checkbox, its corresponding <label>, or #element being siblings. The markup structure is no longer a constraint. Most of this game functions on toggling checkboxes and radios to unlock, collect, and use items. Navigation I almost gave up on the current implementation, and used basic compass notation to avoid visual transitions between directions. After several failed attempts, I found a solution. The tricky part was determining how to transition into a direction from either left or right, depending on which arrow was clicked. My solution is conceptually simple but difficult to explain! First, I used radio buttons to determine which direction you’re facing (since you can only face one direction at a time). Second, I needed a way to determine if you’re entering a direction from west or east. This required eight radio buttons—two for each direction. For example, if you’re facing east (having come from facing north), you have two possible directions to go: west (returning to face north) or east (to face south). I needed to make the radio buttons visible that would take you north from east, and south from west. The CSS looks something like this: :has(#east-from-west:checked) :is( [for="south-from-west"], [for="north-from-east"]) { display: block; } This pattern was implemented for each direction, along with animations to ensure each room view slid in and out correctly. Zooming In I initially focused so much on checkbox mechanics that I assumed I’d need the same approach for zooming in on specific areas. Then I had a "Duh!" moment and realized the popover API would be perfect. Here’s the basic markup for looking at an individual book: <button popovertarget="book">Zoom in</button> <div id="book" popover> <!-- Book content goes here --> <button popovertarget="book" popovertargetaction="hide">Close</button> </div> Turning the Lights Off I procrastinated on implementing this feature because I thought I’d need to create darkened variations of all artwork. I don’t recall what inspired me to try blend modes, but I’m glad I did—the solution was surprisingly simple. When the light switch checkbox is toggled, a <div> becomes visible with a dark background color and mix-blend-mode: multiply. This multiplies the colors of the blending and base layers, resulting in a darker appearance. Playing the Crossword This required surprisingly complex CSS. Each square has three letters plus a blank tile, meaning four radio buttons. The :checked letter has a z-index of 3 to display above other letters, but also has pointer-events: none so clicks pass through to the next letter underneath (with z-index: 2). The remaining tiles have a z-index of 1. The CSS becomes even trickier when the last tile is :checked, requiring some creative selector gymnastics to target the first radio button in the stack again. Tools I created all artwork using Aseprite, which is specifically designed for pixel art. I probably only used a fraction of its features, and I’m not sure it actually made my life easier—it might have made things more difficult at times. I’m not giving up on it yet, though. I suspect I’ll occasionally discover features that make me think, “Oh, that’s way easier than what I was doing!” I started coding with basic HTML and CSS but eventually found navigation difficult with such a long HTML file. It also became tedious writing the same attributes for every <img /> element. I migrated the project to Eleventy to improve organization and create custom shortcodes for simplifying component creation. I used the html-minifier-terser npm package, which integrates well with Eleventy. I chose native CSS over Sass for several reasons: CSS now has native nesting for better organization and leaner code CSS has built-in variables HTTP/2 handles asset loading efficiently, eliminating the major benefit of bundling CSS files The game uses 12 CSS files with 12 <link rel="stylesheet" /> tags. The only Sass feature I missed was the ability to loop through style patterns for easier maintenance, but this wasn’t a significant issue. The game is hosted on GitHub Pages. During deployment, it runs an npm command to minify CSS using Lightning CSS. I mentioned accidentally deleting half my CSS earlier—this happened because I initially used Eleventy’s recommended approach with the clean-css npm package. I strongly advise against using this! This package doesn’t work with native CSS nesting. While losing code was frustrating, I rewrote much of it more efficiently, so there was a silver lining. Nice to Haves I initially wanted to make this game fully accessible, but the navigation system doesn’t translate well for screen reader users. I tried implementing a more compass-like navigation approach for keyboard users, but it proved unreliable and conflicted with the side-to-side approach. Adding text labels for interactive elements was challenging because you can’t track the :focus state of a <label> element. While you can track the :focus of the corresponding <input />, it wasn’t consistently reliable. The main keyboard accessibility issue is that the game exists as one long HTML page. When you navigate to face a different direction, keyboard focus remains elsewhere on the page, requiring extensive tabbing to reach navigation elements or item selection. I ultimately decided to make the game deliberately inaccessible by adding tabindex="-1" to all keyboard-accessible elements. I’d rather users recognize immediately that they can’t play with assistive technology than become frustrated with a partially broken experience. Sound would have been a nice addition, but I encountered the same issues as with my previous game Heiro. You can toggle the visibility of an <embed> element, but once it’s visible, you can’t hide it again—meaning there’s no way to toggle sound on and off. Conclusion CSScape Room was a fun but exhausting four-month project. It began as an experiment to see if creating a JavaScript-free escape room was possible—and the answer is definitely yes. I’ve only touched on some aspects here, so if you’re interested in the technical details, check out the source code on GitHub. Finally, I’d like to thank all my playtesters for their valuable feedback!
I’m a bit late to this, but back in summer 2024 I participated in the OST Composing Jam. The goal of this jam is to compose an original soundtrack (minimum of 3 minutes) of any style for an imaginary game. While I’ve composed a lot of video game music, I’ve never created an entire soundtrack around a single concept. Self Avoiding Walk by Daniel Marino To be honest, I wasn’t entirely sure where to start. I was torn between trying to come up with a story for a game to inspire the music, and just messing around with some synths and noodling on the keyboard. I did a little bit of both, but nothing really materialized. Synth + Metal ≈ Synthmetal Feeling a bit paralyzed, I fired up the ’ole RMG sequencer for inspiration. I saved a handful of randomized melodies and experimented with them in Reaper. After a day or two I landed on something I liked which was about the first 30 seconds or so of the second track: "Defrag." I love metal bands like Tesseract, Periphery, The Algorithm, Car Bomb, and Meshuggah. I tried experimenting with incorporating syncopated guttural guitar sounds with the synths. After several more days I finished "Defrag"—which also included "Kernel Panic" before splitting that into its own track. I didn’t have a clue what to do next, nor did I have a concept. Composing the rest of the music was a bit of a blur because I bounced around from song to song—iterating on the leitmotif over and over with different synths, envelopes, time signatures, rhythmic displacement, pitch shifting, and tweaking underlying chord structures. Production The guitars were recorded using DI with my Fender Squire and Behringer Interface. I’m primarily using the ML Sound Labs Amped Roots Free amp sim because the metal presets are fantastic and rarely need much fuss to get it sounding good. I also used Blue Cat Audio free amp sim for clean guitars. All the other instruments were MIDI tracks either programmed via piano roll or recorded with my Arturia MiniLab MKII. I used a variety of synth effects from my library of VSTs. I recorded this music before acquiring my Fender Squire Bass guitar, so bass was also programmed. Theme and Story At some point I had five songs that all sounded like they could be from the same game. The theme for this particular jam was "Inside my world." I had to figure out how I could write a story that corresponded with the theme and could align with the songs. I somehow landed on the idea of the main actor realizing his addiction to AI, embarking on a journey to "unplug." The music reflects his path to recovery, capturing the emotional and psychological evolution as he seeks to overcome his dependency. After figuring this out, I thought it would be cool to name all the songs using computer terms that could be metaphors for the different stages of recovery. Track listing Worm – In this dark and haunting opening track, the actor grapples with his addiction to AI, realizing he can no longer think independently. Defrag – This energetic track captures the physical and emotional struggles of the early stages of recovery. Kernel Panic – Menacing and eerie, this track portrays the actor’s anxiety and panic attacks as he teeters on the brink during the initial phases of recovery. Dæmons – With initial healing achieved, the real challenge begins. The ominous and chaotic melodies reflect the emotional turbulence the character endures. Time to Live – The actor, having come to terms with himself, experiences emotional growth. The heroic climax symbolizes the realization that recovery is a lifelong journey. Album art At the time I was messing around with Self-avoiding walks in generative artwork explorations. I felt like the whole concept of avoiding the self within the context of addiction and recovery metaphorically worked. So I tweaked some algorithms and generated the self-avoiding walk using JavaScript and the P5.js library. I then layered the self-avoiding walk over a photo I found visually interesting on Unsplash using a CSS blend mode. Jam results I placed around the top 50% out of over 600 entries. I would have liked to have placed higher, but despite my ranking, I thoroughly enjoyed composing the music! I’m very happy with the music, its production quality, and I also learned a lot. I would certainly participate in this style of composition jam again!
I’ve always been fascinated to see what other apps or workflows others are using in their day-to-day lives. Every now and then I learn about a new app or some cool trick I didn’t previously know. I doubt anyone seriously cares about what I’m using, but figured I’d list them out anyway—if for no other reason than to keep a historical record at this point in time. Applications Alfred — I have a lifelong license, and I like it. No point in fixing something that isn’t broken. I primarily use it for app switching, but also use it for math, and to search for gifs. Aseprite — Sometimes I do pixel art! Even if the UI is clunky, and some keyboard shortcuts aren’t always convenient, there are some unique features that help facilitate creating pixel art. Audacity — I rarely use it, but sometimes it’s easier to make some quick audio edits with Audacity than to use a full blown DAW. Bear — This is the note-taking, task-tacking app I’ve landed on. The UI is beautiful and it feels snappy. It syncs, so I can use it on my iPhone too. Chrome — I used Arc for the better part of 2024, but after they announced they were done working on it to focus on a new AI-powered browser, I peaced out. There are a couple of features I really missed, but was able to find some extensions to fill those gaps: Copy Current Tab URL, Meetings Page Auto Closer for Zoom, Open Figma app, and JSON Formatter. Figma — I use it because it’s what we use at work. I’m happy enough with Figma. iTerm2 — Has a few features that I like that makes me chose this over Mac’s native Terminal app. Pixelmator Pro — I haven’t paid the Adobe tax for a long time, and it feels good. I started using Pixelmator because at the time it was the best alternative available. I’m comfortable with Pixelmator at this point. I don’t really use image editors often these days, so I probably won’t switch anytime soon. Reaper — My DAW of choice when composing music. It’s very customizable, easyish enough to learn, and the price is right. It also has a die hard community, so I’m always able to find help when I need it. VS Code — I’ve tried a lot of code editors. I prefer Sublime’s UI over VS Code, but VS Code does a lot of things more easily than Sublime does, so I put up with the UI. YouTube Music — I still miss Rdio. YouTube Music works well enough I guess. Paying for YouTube Music has the benefit of not seeing ads on YouTube. Command-line Tools These aren’t apps per se, but these are some tools that I use to help manage packages or that I use regularly when developing. Deno Eleventy Homebrew pure statikk Vite Volta yt-dlp Equipment I have one computer and I use it for everything, and I’m okay with that. It’s more than powerful enough for work, composing music, making games, and occasionaly playing games. Although I have a dedicated home office, lately I tend to work more on the go, often with just my laptop—whether that’s at a cafe, a coworking space, or even just moving around the house. 2021 M1 MacBook Pro AKG K240 Studio Headphones Arturia MiniLab MKII Controller Behringer UMC202HD USB Audio Interface Fender Squire Strat Guitar Fender Squire Bass Guitar Shure SM57 Virtual Instruments This is quite specific for composing music, so if that does’t interest you, feel free to stop reading here. This list is not exhaustive as I’m regularly trying out new VSTs. These are some staples that I use: 🎹 Arturia Analog Lab V (Intro) — My Arturia controller came with this software. It has over 500 presets and I love exploring the variety of sounds. 🎸 Bass Grinder (Free) — I recently came across this VST, and it has a great crunchy overdrive sound for bass guitar. 🥁 Manda Audio Power Drum Kit — Even though you can use this for free, I paid the $9 because it is fantastic. The drums sound real and are great for all styles of music. 🎸 ML Amped Roots (Free) — What I like about this is that I get great metal guitar out of the bost without having to add pedals or chaining other effects. 🥁 ML Drums (Free) — I just started experimenting with this, and the drum tones are amazing. The free set up is pretty limited, but I like how I can add on to the base drum kit to meet my needs rather than having having to buy one big extensive drum VST. 🎹 Spitfire LABS — More variety of eclectic sounds. I also use several built-in VSTs made by Reaper for delay, EQ, reverb, pitch-shifting, and other effects. Reaper’s VSTs are insanely powerful enough for my needs and are much less CPU intensive.
Over the past couple of years I’ve gotten into journaling. Recently I’ve been using a method where you’re given a single inspirational word as a prompt, and go from there. Unfortunately, the process of finding, saving, and accessing inspirational words was a bit of a chore: Google a list of “366 inspirational words”. Get taken to a blog bloated with ads and useless content all in an effort to generate SEO cred. Copy/paste the words into Notion. Fix how the words get formatted becasue Notion is weird, and I have OCD about formatting text. While this gets the job done, I felt like there was room to make this a more pleasant experience. All I really wanted was a small website that serves a single inspirational word on a daily basis without cruft or ads. This would allow me to get the content I want without having to scroll through a long list. I also don't want to manage or store the list of words. Once I've curated a list of words, I want to be done with it. Creating a microsite I love a good microsite, and so I decided to create one that takes all the chore out of obtaining a daily inspirational word. The website is built with all vanilla tech, and doesn’t use any frameworks! It’s nice and lean, and it’s footprint is only 6.5kb. Inspirational words While I’m not a huge fan of AI, I did leverage ChatGPT on obtaining 366 inspirational words. The benefit to ChatGPT was being able to get it to return the words as an array—cutting down on the tedium of having to convert the words I already had into an array. The words are stored in it’s own JSON file, and I use an async/await function to pull in the words, and then process the data upon return. Worth the effort I find these little projects fun and exciting because the scope is super tight, and makes for a great opportunity to learn new things. It’s definitely an overengineered solution to my problem, but it is a much more pleasant experience. And perhaps it will serve other people as well.
Over the past couple of years I’ve gotten into journaling. Recently I’ve been using a method where you’re given a single inspirational word as a prompt, and go from there. Unfortunately, the process of finding, saving, and accessing inspirational words was a bit of a chore: 1. Google a list of “366 inspirational words”. 2. Get taken to a blog bloated with ads and useless content all in an effort to generate SEO cred. 3. Copy/paste the words into Notion. 4. Fix how the words get formatted becasue Notion is weird, and I have OCD about formatting text. While this gets the job done, I felt like there was room to make this a more pleasant experience. All I really wanted was a small website that serves a single inspirational word on a daily basis without cruft or ads. This would allow me to get the content I want without having to scroll through a long list. I also don't want to manage or store the list of words. Once I've curated a list of words, I want to be done with it. ## Creating a microsite I love a good microsite, and so I decided to create one that takes all the chore out of obtaining a [daily inspirational word](https://starzonmyarmz.github.io/daily-inspirational-word/).  The website is built with all vanilla tech, and doesn’t use any frameworks! It’s nice and lean, and it’s footprint is only 6.5kb. ### Inspirational words While I’m not a huge fan of AI, I did leverage ChatGPT on obtaining 366 inspirational words. The benefit to ChatGPT was being able to get it to return the words as an array—cutting down on the tedium of having to convert the words I already had into an array. The words are stored in it’s own JSON file, and I use an async/await function to pull in the words, and then process the data upon return. ## Worth the effort I find these little projects fun and exciting because the scope is super tight, and makes for a great opportunity to learn new things. It’s definitely an overengineered solution to my problem, but it is a much more pleasant experience. And perhaps it will serve other people as well.
More in programming
I loved this talk from Alexander Petros titled “Building the Hundred-Year Web Service”. What follows is summation of my note-taking from watching the talk on YouTube. Is what you’re building for future generations: Useful for them? Maintainable by them? Adaptable by them? Actually, forget about future generations. Is what you’re building for future you 6 months or 6 years from now aligning with those goals? While we’re building codebases which may not be useful, maintainable, or adaptable by someone two years from now, the Romans built a bridge thousands of years ago that is still being used today. It should be impossible to imagine building something in Roman times that’s still useful today. But if you look at [Trajan’s Bridge in Portugal, which is still used today] you can see there’s a little car on its and a couple pedestrians. They couldn’t have anticipated the automobile, but nevertheless it is being used for that today. That’s a conundrum. How do you build for something you can’t anticipate? You have to think resiliently. Ask yourself: What’s true today, that was true for a software engineer in 1991? One simple answer is: Sharing and accessing information with a uniform resource identifier. That was true 30+ years ago, I would venture to bet it will be true in another 30 years — and more! There [isn’t] a lot of source code that can run unmodified in software that is 30 years apart. And yet, the first web site ever made can do precisely that. The source code of the very first web page — which was written for a line mode browser — still runs today on a touchscreen smartphone, which is not a device that Tim Berners-less could have anticipated. Alexander goes on to point out how interaction with web pages has changed over time: In the original line mode browser, links couldn’t be represented as blue underlined text. They were represented more like footnotes on screen where you’d see something like this[1] and then this[2]. If you wanted to follow that link, there was no GUI to point and click. Instead, you would hit that number on your keyboard. In desktop browsers and GUI interfaces, we got blue underlines to represent something you could point and click on to follow a link On touchscreen devices, we got “tap” with your finger to follow a link. While these methods for interaction have changed over the years, the underlying medium remains unchanged: information via uniform resource identifiers. The core representation of a hypertext document is adaptable to things that were not at all anticipated in 1991. The durability guarantees of the web are absolutely astounding if you take a moment to think about it. In you’re sprinting you might beat the browser, but it’s running a marathon and you’ll never beat it in the long run. If your page is fast enough, [refreshes] won’t even repaint the page. The experience of refreshing a page, or clicking on a “hard link” is identical to the experience of partially updating the page. That is something that quietly happened in the last ten years with no fanfare. All the people who wrote basic HTML got a huge performance upgrade in their browser. And everybody who tried to beat the browser now has to reckon with all the JavaScript they wrote to emulate these basic features. Email · Mastodon · Bluesky
You're walking down the street and need to pass someone going the opposite way. You take a step left, but they're thinking the same thing and take a step to their right, aka your left. You're still blocking each other. Then you take a step to the right, and they take a step to their left, and you're back to where you started. I've heard this called "walkwarding" Let's model this in TLA+. TLA+ is a formal methods tool for finding bugs in complex software designs, most often involving concurrency. Two people trying to get past each other just also happens to be a concurrent system. A gentler introduction to TLA+'s capabilities is here, an in-depth guide teaching the language is here. The spec ---- MODULE walkward ---- EXTENDS Integers VARIABLES pos vars == <<pos>> Double equals defines a new operator, single equals is an equality check. <<pos>> is a sequence, aka array. you == "you" me == "me" People == {you, me} MaxPlace == 4 left == 0 right == 1 I've gotten into the habit of assigning string "symbols" to operators so that the compiler complains if I misspelled something. left and right are numbers so we can shift position with right - pos. direction == [you |-> 1, me |-> -1] goal == [you |-> MaxPlace, me |-> 1] Init == \* left-right, forward-backward pos = [you |-> [lr |-> left, fb |-> 1], me |-> [lr |-> left, fb |-> MaxPlace]] direction, goal, and pos are "records", or hash tables with string keys. I can get my left-right position with pos.me.lr or pos["me"]["lr"] (or pos[me].lr, as me == "me"). Juke(person) == pos' = [pos EXCEPT ![person].lr = right - @] TLA+ breaks the world into a sequence of steps. In each step, pos is the value of pos in the current step and pos' is the value in the next step. The main outcome of this semantics is that we "assign" a new value to pos by declaring pos' equal to something. But the semantics also open up lots of cool tricks, like swapping two values with x' = y /\ y' = x. TLA+ is a little weird about updating functions. To set f[x] = 3, you gotta write f' = [f EXCEPT ![x] = 3]. To make things a little easier, the rhs of a function update can contain @ for the old value. ![me].lr = right - @ is the same as right - pos[me].lr, so it swaps left and right. ("Juke" comes from here) Move(person) == LET new_pos == [pos[person] EXCEPT !.fb = @ + direction[person]] IN /\ pos[person].fb # goal[person] /\ \A p \in People: pos[p] # new_pos /\ pos' = [pos EXCEPT ![person] = new_pos] The EXCEPT syntax can be used in regular definitions, too. This lets someone move one step in their goal direction unless they are at the goal or someone is already in that space. /\ means "and". Next == \E p \in People: \/ Move(p) \/ Juke(p) I really like how TLA+ represents concurrency: "In each step, there is a person who either moves or jukes." It can take a few uses to really wrap your head around but it can express extraordinarily complicated distributed systems. Spec == Init /\ [][Next]_vars Liveness == <>(pos[me].fb = goal[me]) ==== Spec is our specification: we start at Init and take a Next step every step. Liveness is the generic term for "something good is guaranteed to happen", see here for more. <> means "eventually", so Liveness means "eventually my forward-backward position will be my goal". I could extend it to "both of us eventually reach out goal" but I think this is good enough for a demo. Checking the spec Four years ago, everybody in TLA+ used the toolbox. Now the community has collectively shifted over to using the VSCode extension.1 VSCode requires we write a configuration file, which I will call walkward.cfg. SPECIFICATION Spec PROPERTY Liveness I then check the model with the VSCode command TLA+: Check model with TLC. Unsurprisingly, it finds an error: The reason it fails is "stuttering": I can get one step away from my goal and then just stop moving forever. We say the spec is unfair: it does not guarantee that if progress is always possible, progress will be made. If I want the spec to always make progress, I have to make some of the steps weakly fair. + Fairness == WF_vars(Next) - Spec == Init /\ [][Next]_vars + Spec == Init /\ [][Next]_vars /\ Fairness Now the spec is weakly fair, so someone will always do something. New error: \* First six steps cut 7: <Move("me")> pos = [you |-> [lr |-> 0, fb |-> 4], me |-> [lr |-> 1, fb |-> 2]] 8: <Juke("me")> pos = [you |-> [lr |-> 0, fb |-> 4], me |-> [lr |-> 0, fb |-> 2]] 9: <Juke("me")> (back to state 7) In this failure, I've successfully gotten past you, and then spend the rest of my life endlessly juking back and forth. The Next step keeps happening, so weak fairness is satisfied. What I actually want is for both my Move and my Juke to both be weakly fair independently of each other. - Fairness == WF_vars(Next) + Fairness == WF_vars(Move(me)) /\ WF_vars(Juke(me)) If my liveness property also specified that you reached your goal, I could instead write \A p \in People: WF_vars(Move(p)) etc. I could also swap the \A with a \E to mean at least one of us is guaranteed to have fair actions, but not necessarily both of us. New error: 3: <Move("me")> pos = [you |-> [lr |-> 0, fb |-> 2], me |-> [lr |-> 0, fb |-> 3]] 4: <Juke("you")> pos = [you |-> [lr |-> 1, fb |-> 2], me |-> [lr |-> 0, fb |-> 3]] 5: <Juke("me")> pos = [you |-> [lr |-> 1, fb |-> 2], me |-> [lr |-> 1, fb |-> 3]] 6: <Juke("me")> pos = [you |-> [lr |-> 1, fb |-> 2], me |-> [lr |-> 0, fb |-> 3]] 7: <Juke("you")> (back to state 3) Now we're getting somewhere! This is the original walkwarding situation we wanted to capture. We're in each others way, then you juke, but before either of us can move you juke, then we both juke back. We can repeat this forever, trapped in a social hell. Wait, but doesn't WF(Move(me)) guarantee I will eventually move? Yes, but only if a move is permanently available. In this case, it's not permanently available, because every couple of steps it's made temporarily unavailable. How do I fix this? I can't add a rule saying that we only juke if we're blocked, because the whole point of walkwarding is that we're not coordinated. In the real world, walkwarding can go on for agonizing seconds. What I can do instead is say that Liveness holds as long as Move is strongly fair. Unlike weak fairness, strong fairness guarantees something happens if it keeps becoming possible, even with interruptions. Liveness == + SF_vars(Move(me)) => <>(pos[me].fb = goal[me]) This makes the spec pass. Even if we weave back and forth for five minutes, as long as we eventually pass each other, I will reach my goal. Note we could also by making Move in Fairness strongly fair, which is preferable if we have a lot of different liveness properties to check. A small exercise for the reader There is a presumed invariant that is violated. Identify what it is, write it as a property in TLA+, and show the spec violates it. Then fix it. Answer (in rot13): Gur vainevnag vf "ab gjb crbcyr ner va gur rknpg fnzr ybpngvba". Zbir thnenagrrf guvf ohg Whxr qbrf abg. More TLA+ Exercises I've started work on an exercises repo. There's only a handful of specific problems now but I'm planning on adding more over the summer. learntla is still on the toolbox, but I'm hoping to get it all moved over this summer. ↩
About half a year ago I encountered a paper bombastically titled “the ultimate conditional syntax”. It has the attractive goal of unifying pattern match with boolean if tests, and its solution is in some ways very nice. But it seems over-complicated to me, especially for something that’s a basic work-horse of programming. I couldn’t immediately see how to cut it down to manageable proportions, but recently I had an idea. I’ll outline it under the “penultimate conditionals” heading below, after reviewing the UCS and explaining my motivation. what the UCS? whence UCS out of scope penultimate conditionals dangling syntax examples antepenultimate breath what the UCS? The ultimate conditional syntax does several things which are somewhat intertwined and support each other. An “expression is pattern” operator allows you to do pattern matching inside boolean expressions. Like “match” but unlike most other expressions, “is” binds variables whose scope is the rest of the boolean expression that might be evaluated when the “is” is true, and the consequent “then” clause. You can “split” tests to avoid repeating parts that are the same in successive branches. For example, if num < 0 then -1 else if num > 0 then +1 else 0 can be written if num < 0 then -1 > 0 then +1 else 0 The example shows a split before an operator, where the left hand operand is the same and the rest of the expression varies. You can split after the operator when the operator is the same, which is common for “is” pattern match clauses. Indentation-based syntax (an offside rule) reduces the amount of punctuation that splits would otherwise need. An explicit version of the example above is if { x { { < { 0 then −1 } }; { > { 0 then +1 } }; else 0 } } (This example is written in the paper on one line. I’ve split it for narrow screens, which exposes what I think is a mistake in the nesting.) You can also intersperse let bindings between splits. I doubt the value of this feature, since “is” can also bind values, but interspersed let does have its uses. The paper has an example using let to avoid rightward drift: if let tp1_n = normalize(tp1) tp1_n is Bot then Bot let tp2_n = normalize(tp2) tp2_n is Bot then Bot let m = merge(tp1_n, tp2_n) m is Some(tp) then tp m is None then glb(tp1_n, tp2_n) It’s probably better to use early return to avoid rightward drift. The desugaring uses let bindings when lowering the UCS to simpler constructions. whence UCS Pattern matching in the tradition of functional programming languages supports nested patterns that are compiled in a way that eliminates redundant tests. For example, this example checks that e1 is Some(_) once, not twice as written. if e1 is Some(Left(lv)) then e2 Some(Right(rv)) then e3 None then e4 Being cheeky, I’d say UCS introduces more causes of redundant checks, then goes to great effort to to eliminate redundant checks again. Splits reduce redundant code at the source level; the bulk of the paper is about eliminating redundant checks in the lowering from source to core language. I think the primary cause of this extra complexity is treating the is operator as a two-way test rather than a multi-way match. Splits are introduced as a more general (more complicated) way to build multi-way conditions out of two-way tests. There’s a secondary cause: the tradition of expression-oriented functional languages doesn’t like early returns. A nice pattern in imperative code is to write a function as a series of preliminary calculations and guards with early returns that set things up for the main work of the function. Rust’s ? operator and let-else statement support this pattern directly. UCS addresses the same pattern by wedging calculate-check sequences into if statements, as in the normalize example above. out of scope I suspect UCS’s indentation-based syntax will make programmers more likely to make mistakes, and make compilers have more trouble producing nice error messages. (YAML has put me off syntax that doesn’t have enough redundancy to support good error recovery.) So I wondered if there’s a way to have something like an “is pattern” operator in a Rust-like language, without an offside rule, and without the excess of punctuation in the UCS desugaring. But I couldn’t work out how to make the scope of variable bindings in patterns cover all the code that might need to use them. The scope needs to extend into the consequent then clause, but also into any follow-up tests – and those tests can branch so the scope might need to reach into multiple then clauses. The problem was the way I was still thinking of the then and else clauses as part of the outer if. That implied the expression has to be closed off before the then, which troublesomely closes off the scope of any is-bound variables. The solution – part of it, at least – is actually in the paper, where then and else are nested inside the conditional expression. penultimate conditionals There are two ingredients: The then and else clauses become operators that cause early return from a conditional expression. They can be lowered to a vaguely Rust syntax with the following desugaring rules. The 'if label denotes the closest-enclosing if; you can’t use then or else inside the expr of a then or else unless there’s another intervening if. then expr ⟼ && break 'if expr else expr ⟼ || break 'if expr else expr ⟼ || _ && break 'if expr There are two desugarings for else depending on whether it appears in an expression or a pattern. If you prefer a less wordy syntax, you might spell then as => (like match in Rust) and else as || =>. (For symmetry we might allow && => for then as well.) An is operator for multi-way pattern-matching that binds variables whose scope covers the consequent part of the expression. The basic form is like the UCS, scrutinee is pattern which matches the scrutinee against the pattern returning a boolean result. For example, foo is None Guarded patterns are like, scrutinee is pattern && consequent where the scope of the variables bound by the pattern covers the consequent. The consequent might be a simple boolean guard, for example, foo is Some(n) && n < 0 or inside an if expression it might end with a then clause, if foo is Some(n) && n < 0 => -1 // ... Simple multi-way patterns are like, scrutinee is { pattern || pattern || … } If there is a consequent then the patterns must all bind the same set of variables (if any) with the same types. More typically, a multi-way match will have consequent clauses, like scrutinee is { pattern && consequent || pattern && consequent || => otherwise } When a consequent is false, we go on to try other alternatives of the match, like we would when the first operand of boolean || is false. To help with layout, you can include a redundant || before the first alternative. For example, if foo is { || Some(n) && n < 0 => -1 || Some(n) && n > 0 => +1 || Some(n) => 0 || None => 0 } Alternatively, if foo is { Some(n) && ( n < 0 => -1 || n > 0 => +1 || => 0 ) || None => 0 } (They should compile the same way.) The evaluation model is like familiar shortcutting && and || and the syntax is supposed to reinforce that intuition. The UCS paper spends a lot of time discussing backtracking and how to eliminate it, but penultimate conditionals evaluate straightforwardly from left to right. The paper briefly mentions as patterns, like Some(Pair(x, y) as p) which in Rust would be written Some(p @ Pair(x, y)) The is operator doesn’t need a separate syntax for this feature: Some(p is Pair(x, y)) For large examples, the penultimate conditional syntax is about as noisy as Rust’s match, but it scales down nicely to smaller matches. However, there are differences in how consequences and alternatives are punctuated which need a bit more discussion. dangling syntax The precedence and associativity of the is operator is tricky: it has two kinds of dangling-else problem. The first kind occurs with a surrounding boolean expression. For example, when b = false, what is the value of this? b is true || false It could bracket to the left, yielding false: (b is true) || false Or to the right, yielding true: b is { true || false } This could be disambiguated by using different spellings for boolean or and pattern alternatives. But that doesn’t help for the second kind which occurs with an inner match. foo is Some(_) && bar is Some(_) || None Does that check foo is Some(_) with an always-true look at bar ( foo is Some(_) ) && bar is { Some(_) || None } Or does it check bar is Some(_) and waste time with foo? foo is { Some(_) && ( bar is Some(_) ) || None } I have chosen to resolve the ambiguity by requiring curly braces {} around groups of alternative patterns. This allows me to use the same spelling || for all kinds of alternation. (Compare Rust, which uses || for boolean expressions, | in a pattern, and , between the arms of a match.) Curlies around multi-way matches can be nested, so the example in the previous section can also be written, if foo is { || Some(n) && n < 0 => -1 || Some(n) && n > 0 => +1 || { Some(0) || None } => 0 } The is operator binds tigher than && on its left, but looser than && on its right (so that a chain of && is gathered into a consequent) and tigher than || on its right so that outer || alternatives don’t need extra brackets. examples I’m going to finish these notes by going through the ultimate conditional syntax paper to translate most of its examples into the penultimate syntax, to give it some exercise. Here we use is to name a value n, as a replacement for the |> abs pipe operator, and we use range patterns instead of split relational operators: if foo(args) is { || 0 => "null" || n && abs(n) is { || 101.. => "large" || ..10 => "small" || => "medium" ) } In both the previous example and the next one, we have some extra brackets where UCS relies purely on an offside rule. if x is { || Right(None) => defaultValue || Right(Some(cached)) => f(cached) || Left(input) && compute(input) is { || None => defaultValue || Some(result) => f(result) } } This one is almost identical to UCS apart from the spellings of and, then, else. if name.startsWith("_") && name.tailOption is Some(namePostfix) && namePostfix.toIntOption is Some(index) && 0 <= index && index < arity && => Right([index, name]) || => Left("invalid identifier: " + name) Here are some nested multi-way matches with overlapping patterns and bound values: if e is { // ... || Lit(value) && Map.find_opt(value) is Some(result) => Some(result) // ... || { Lit(value) || Add(Lit(0), value) || Add(value, Lit(0)) } => { print_int(value); Some(value) } // ... } The next few examples show UCS splits without the is operator. In my syntax I need to press a few more buttons but I think that’s OK. if x == 0 => "zero" || x == 1 => "unit" || => "?" if x == 0 => "null" || x > 0 => "positive" || => "negative" if predicate(0, 1) => "A" || predicate(2, 3) => "B" || => "C" The first two can be written with is instead, but it’s not briefer: if x is { || 0 => "zero" || 1 => "unit" || => "?" } if x is { || 0 => "null" || 1.. => "positive" || => "negative" } There’s little need for a split-anything feature when we have multi-way matches. if foo(u, v, w) is { || Some(x) && x is { || Left(_) => "left-defined" || Right(_) => "right-defined" } || None => "undefined" } A more complete function: fn zip_with(f, xs, ys) { if [xs, ys] is { || [x :: xs, y :: ys] && zip_with(f, xs, ys) is Some(tail) => Some(f(x, y) :: tail) || [Nil, Nil] => Some(Nil) || => None } } Another fragment of the expression evaluator: if e is { // ... || Var(name) && Map.find_opt(env, name) is { || Some(Right(value)) => Some(value) || Some(Left(thunk)) => Some(thunk()) } || App(lhs, rhs) => // ... // ... } This expression is used in the paper to show how a UCS split is desugared: if Pair(x, y) is { || Pair(Some(xv), Some(yv)) => xv + yv || Pair(Some(xv), None) => xv || Pair(None, Some(yv)) => yv || Pair(None, None) => 0 } The desugaring in the paper introduces a lot of redundant tests. I would desugar straightforwardly, then rely on later optimizations to eliminate other redundancies such as the construction and immediate destruction of the pair: if Pair(x, y) is Pair(xx, yy) && xx is { || Some(xv) && yy is { || Some(yv) => xv + yv || None => xv } || None && yy is { || Some(yv) => yv || None => 0 } } Skipping ahead to the “non-trivial example” in the paper’s fig. 11: if e is { || Var(x) && context.get(x) is { || Some(IntVal(v)) => Left(v) || Some(BoolVal(v)) => Right(v) } || Lit(IntVal(v)) => Left(v) || Lit(BoolVal(v)) => Right(v) // ... } The next example in the paper compares C# relational patterns. Rust’s range patterns do a similar job, with the caveat that Rust’s ranges don’t have a syntax for exclusive lower bounds. fn classify(value) { if value is { || .. -4.0 => "too low" || 10.0 .. => "too high" || NaN => "unknown" || => "acceptable" } } I tend to think relational patterns are the better syntax than ranges. With relational patterns I can rewrite an earlier example like, if foo is { || Some(< 0) => -1 || Some(> 0) => +1 || { Some(0) || None } => 0 } I think with the UCS I would have to name the Some(_) value to be able to compare it, which suggests that relational patterns can be better than UCS split relational operators. Prefix-unary relational operators are also a nice way to write single-ended ranges in expressions. We could simply write both ends to get a complete range, like >= lo < hi or like if value is > -4.0 < 10.0 => "acceptable" || => "far out" Near the start I quoted a normalize example that illustrates left-aligned UCS expression. The penultimate version drifts right like the Scala version: if normalize(tp1) is { || Bot => Bot || tp1_n && normalize(tp2) is { || Bot => Bot || tp2_n && merge(tp1_n, tp2_n) is { || Some(tp) => tp || None => glb(tp1_n, tp2_n) } } } But a more Rusty style shows the benefits of early returns (especially the terse ? operator) and monadic combinators. let tp1 = normalize(tp1)?; let tp2 = normalize(tp2)?; merge(tp1, tp2) .unwrap_or_else(|| glb(tp1, tp2)) antepenultimate breath When I started writing these notes, my penultimate conditional syntax was little more than a sketch of an idea. Having gone through the previous section’s exercise, I think it has turned out better than I thought it might. The extra nesting from multi-way match braces doesn’t seem to be unbearably heavyweight. However, none of the examples have bulky then or else blocks which are where the extra nesting is more likely to be annoying. But then, as I said before it’s comparable to a Rust match: match scrutinee { pattern => { consequent } } if scrutinee is { || pattern => { consequent } } The || lines down the left margin are noisy, but hard to get rid of in the context of a curly-brace language. I can’t reduce them to | like OCaml because what would I use for bitwise OR? I don’t want presence or absence of flow control to depend on types or context. I kind of like Prolog / Erlang , for && and ; for ||, but that’s well outside what’s legible to mainstream programmers. So, dunno. Anyway, I think I’ve successfully found a syntax that does most of what UCS does, but much in a much simpler fashion.
The appeal of "vibe coding" — where programmers lean back and prompt their way through an entire project with AI — appears partly to be based on the fact that so many development environments are deeply unpleasant to work with. So it's no wonder that all these programmers stuck working with cumbersome languages and frameworks can't wait to give up on the coding part of software development. If I found writing code a chore, I'd be looking for retirement too. But I don't. I mean, I used to! When I started programming, it was purely because I wanted programs. Learning to code was a necessary but inconvenient step toward bringing systems to life. That all changed when I learned Ruby and built Rails. Ruby's entire premise is "programmer happiness": that writing code should be a joy. And historically, the language was willing to trade run-time performance, memory usage, and other machine sympathies against the pursuit of said programmer happiness. These days, it seems like you can eat your cake and have it too, though. Ruby, after thirty years of constant improvement, is now incredibly fast and efficient, yet remains a delight to work with. That ethos couldn't shine brighter now. Disgruntled programmers have finally realized that an escape from nasty syntax, boilerplate galore, and ecosystem hyper-churn is possible. That's the appeal of AI: having it hide away all that unpleasantness. Only it's like cleaning your room by stuffing the mess under the bed — it doesn't make it go away! But the instinct is correct: Programming should be a vibe! It should be fun! It should resemble English closely enough that line noise doesn't obscure the underlying ideas and decisions. It should allow a richness of expression that serves the human reader instead of favoring the strictness preferred by the computer. Ruby does. And given that, I have no interest in giving up writing code. That's not the unpleasant part that I want AI to take off my hands. Just so I can — what? — become a project manager for a murder of AI crows? I've had the option to retreat up the manager ladder for most of my career, but I've steadily refused, because I really like writing Ruby! It's the most enjoyable part of the job! That doesn't mean AI doesn't have a role to play when writing Ruby. I'm conversing and collaborating with LLMs all day long — looking up APIs, clarifying concepts, and asking stupid questions. AI is a superb pair programmer, but I'd retire before permanently handing it the keyboard to drive the code. Maybe one day, wanting to write code will be a quaint concept. Like tending to horses for transportation in the modern world — done as a hobby but devoid of any economic value. I don't think anyone knows just how far we can push the intelligence and creativity of these insatiable token munchers. And I wouldn't bet against their advance, but it's clear to me that a big part of their appeal to programmers is the wisdom that Ruby was founded on: Programming should favor and flatter the human.
I really like RTS games. I pretty much grew up on them, starting with Command&Conquer 3: Kane’s Wrath, moving on to StarCraft 2 trilogy and witnessing the downfall of Command&Conquer 4. I never had the disks for any other RTS games during my teenage years. Yes, the disks, the ones you go to the store to buy! I didn’t know Steam existed back then, so this was my only source of games. There is something magical in owning a physical copy of the game. I always liked the art on the front (a mandatory huge face for all RTS!), game description and screenshots on the back, even the smell of the plastic disk case.