It’s FOMO amplified by capitalistic competition. No company wants to be the one left behind. I guarantee Google, Meta and even OpenAI know the limitations of their products. They don’t care, they just want to be at least as good as their competitors, because they assume at some point one of them will reach “good enough.” And at that moment, if they’re not in position to grab market share, they’ll lose a once-in-a-generation chance for billions or trillions of dollars in value.

We’re the casualties, because the people in the middle - companies with no AI but whose C-suite buys into the hype - demand we use unworkable products because they’re too willfully ignorant to know they’re not panaceas to whatever is bothering those C-suite execs at the moment.

Good point, that may bridge the gap.

The examples are pretty scary/impressive. The demo is less scary. It doesn’t seem to have a typical LLM’s proficiency in understanding concepts and direction. A test with “synthwave” and “1980s” produced a vaguely 2010ish pop rap mashup.

So I think this is impressive, especially with understanding verse/chorus/refrain sections and maintaining coherency. But still has a long way to go.

The middest of the midmid.

Just to respond to the people here resigned to or encouraging the switch to all-digital, I get it. But let me rage against the dying of the light just a bit. There are some still-good reasons for preferring or demanding full-game cards:

• Having a complete release-date-version game on a cartridge, even if it is later (or instantly) patched, is typically 99% percent of the game experience. Yes, there will be fixes and DLC and so on. But in a preservation discussion, looking to 50 years from now, having preserved 99% of the experience versus 0%, the gameplay, the complete original graphics, the original sound, is still functionally the difference between a game being preserved or not.
• Hacking the Switch 2 will be required to independently preserve key-card or digital-only games. Full stop. Hackers have been to some extent been our preservationists since the dawn of DRM, but in the world of game-key-cards that Nintendo has chosen to accelerate, they will be the only preservationists. I have no issue with hacking, but it’s unreliable and eventually may stop being viable when hardware DRM and TPM-style modules are part of the core chip design. Our preservation future is a gamble that hackers will continue to defeat DRM.
• The only preservation alternative is to have era-complete sets of games on physical Switch 2s, which will eventually break down. Repairs will require, again, hacking, because hardware DRM already will never make repairs simple again. The game working on one system, versus 100 million (or whatever Switch 2 will sell) is the difference between it being playable for entire generations of people or not, even if the game is never hacked and dumped.
• Digital-only experiences are not incompatible with game preservation. GOG is the model here. Nintendo is not acting in the only way feasible, they’re acting according to a specific corporate business plan that seeks to enforce scarcity and capitalize on long-term capture of any resale markets.
• Yes, competitors are already doing digital-only, DRM-locked distribution. But resigning to this because of that is an all-or-nothing fallacy. Every bit we can preserve helps.

Closing more philosophically: Games are shared culture. When you grow up with a game, or as an adult have a profound experience, that game becomes a part of you. At a societal level, that game becomes a part of us and of human culture - at that point it doesn’t even “belong” to Nintendo exclusively.

Nintendo (not only, but focusing on them here) is choosing a path where there will be no alternative to re-paying to experience that memory throughout your life. SaaS is capitalism’s most tragic 2000-era “innovation” - tether us to a subscription for our whole lives, if possible, extracting value - and Nintendo already has shown they will lock old games behind their subscription service rather than re-release them. Experiencing these games through museums 50 years from now may only be at corporate behest (if Nintendo still exists, which is less sure than it may feel in this moment).

So this may seem “duh, they’re doing what everyone else is.” But it is actually a bellwether moment. The future we’re pointed, that we enable by treating these key-cards as viable, is re-purchasing or subscribing to access basic parts of ourselves and our culture, even after we’ve paid for it.

And to respond to the “but it’s Nintendo’s property” crowd: That is also actually antithetical to modern copyright law, which is vehemently not an inviolable property grant, but meant (since the Statute of Anne) to only give incentive to make more expression. Broader public good and culture is always the end-game of copyright. These works eventually are supposed to belong to us. These game key-cards are just one step in capturing that long-tail - the long-tail that belonged to preservationists, to museums, and to the public - from us all.