Azhdarchid

I'm Bruno Dias, a São Paulo-based designer (systems, narrative, mechanics) and writer working in video games. Azhdarchid (named after the family of large pterosaurs) is my personal blog; I also have a more professional landing page at brunodias.dev.

You may know me from such video games as Where the Water Tastes Like Wine, Neo Cab, Pathologic 2 and 3, or Fallen London—you can see my full credits on MobyGames. I also edit the Game Narrative Reader, a link anthology of great essays about video game narrative design on the web.

For my sins, you can find me on Bluesky (@brunodias.dev) and on the Fediverse (@bruno@azhdarchid.online). For my cinema sins, I'm also on Letterboxd (notbrunoagain).

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I've been temporarily suspended from Bluesky

So I just got the email that Bluesky suspended me for three days for the following post:

Elon Musk and Mark Zuckerberg deserve to die more than any two men have ever deserved to die. Any sane society would hang them and then hang everyone who ever associated with them.

So you know, if you follow me on that failing social network, expect to see me returned in three days unless they decide they want to perma me instead out of dumb spite.

I wanna be clear: I knew I was going to catch account strikes (god, what a dumb moderation system) for this post because I know exactly how stupid Bluesky's moderation is. And I also fully stand by this statement.

Facebook is responsible abetting an actual genocide. Elon Musk's dismantlement of USAID has led to a death toll that's likely to be in the hundreds of thousands, of which there is no real full accounting yet. If those two men don't deserve a scaffold at the Hague I don't know who does.

awk is the standard general-purpose programming language

awk is the standard general-purpose programming language

When I SSH to a VPS I just spun up, there's no guarantee whatever godforsaken LTS version of Ubuntu it's running has Node.js or Ruby on it, let alone some fancy-schmancy version manager. Python? Don't make me laugh—nobody in the last 20 years has been able to successfully install Python. So I use the language that doesn't waste my VALUABLE time: awk, which is the standard general-purpose programming language.

Some of you may be skeptical. Some of you may be asking "what standard". I'll tell you what standard: the POSIX standard. Before Perl was a mere twinkle in anyone's eye, awk was here. You may say: "isn't awk an utility for extracting data from text files with tab-separated values." To which I say: 99% of programming is extracting data from files and putting it into other files in various ways. awk already knows that's what you want to do, so it skips all the bullshit like "opening a file" or "creating a stream" or, God forbid, "allocating memory".

Now you may say, "surely awk is inadequate for some types of programming. I mean, every number in awk is a float." To which I'll say: the same is true of JavaScript and this has not stopped anybody. I think at this juncture in the history of computing we should be ready to admit that integers are just a sort of safety blanket for programmers. If you never give a number a fractional component, floating-point math doesn't happen and all is right in the world. I think that's true. I don't really understand floating-point math at all.

Now you may say, "well, I mean, awk has no GUI toolkit." Wrong. awk has the exact same GUI toolkit you were going to use anyway.

# table.awk
# Consumes a text file and displays a GUI table of its contents.

BEGIN { print "<table>" }
{ printf "<tr><td>%s</td><td>%s</td><td>%s</td></tr>", $1, $2, $3 }
END { print "</table>" }

How do you use this GUI toolkit? It's simple: cat table.txt | awk table.awk | lynx (lynx is the standard web browser). "But what if I need interactivity," I hear you whine. Easily managed; awk is in fact a superset of Javascript.

END { print "<script>"
      print "(function(){"
      print "document.querySelector(\"#button\").addEventListener(\"click\","
      print "function(){ console.log(\"button clicked\") })"
      print "})()"
      print "</script>" }

Please understand. awk is the standard general-purpose programming language. The sooner you accept this fact the sooner we can move on.

Consumer Ideology and Muse AI

Consumer Ideology and Muse AI

Tech people (like Manton Reece, the creator of micro.blog), whose growing inability to think becomes more apparent day by day, have been praising a long-winded post from Alexandr Wang, Meta's "chief AI officer", about why he's "building"[1] Muse, Meta's new product which is basically (and explicitly) openclaw for people who are too nontechnical to run openclaw.

Now imagine every person on earth with a second mind beyond their own. A general manager whose whole job is to find out what you want and make sure it happens. Someone that hears the half-sentence, “I feel like there’s something more I could be doing,” and helps fill in the blanks. This might not be a genie in a bottle, but it can be someone that says, “This is the thing you’ve been dreaming of your whole life. Let’s go get it. Here’s how.” And then builds a plan. Sends the email. Makes the phone call. Finds the funding. Keeps you on schedule. Clears the way and solves all the problems it can until the human part, the wanting and the dreaming, is all that’s left.

Like most writing that either comes straight from an LLM's asshole or was gargled by an LLM psychotic on the way to the internet, this is mawkish and longwinded, but here's the fundamental gist of it:

Clears the way and solves all the problems it can until the human part, the wanting and the dreaming, is all that’s left.

This is the pitch. You can let go of all those inconvenient verbs like do, make, learn, negotiate, fucking think. Instead you live an existence driven purely by your desires, delivered to you by Facebook—the largest advertising channel in history, which is to say the largest manufacture of desires ever created. I don't know how you can read this and not view it as unbelievably dystopian, an articulation of a consumer slop ideology where any actual engagement with the actual world is minimized in favor of letting a chatbot run by a corporation entirely take over your life.

The business model? According to Mark Zuckerberg, a man who is responsible for abetting at least one genocide and who absolutely should be fucking hanged, it is:

Muse also has a novel business model. We believe that Muse will make you money. And we are standing behind this by making Muse free for a huge number of tokens, with the expectation that over time we will profit by taking a small fee from transactions.

"A small fee from transactions". Zuckerberg envisions a world where all online shopping is both happening through Muse, and directed by Muse. A system designed to interpret your half-thought desires in the ways most convenient to Mark Zuckerberg personally, which presumably means—as at least one Muse reviewer found—telling you to self-actualize by buying shit you don't need off Facebook Marketplace, so Meta gets a cut both coming (when you buy on their platform) and going (when Muse makes the transaction on your behalf). This is not a "novel business model", this is affiliate marketing (except, of course, sellers have no choice whether to pay for the affiliate link).

Oh, and in the process he also gets all of the fucking data on every fucking thing you do.

You'd have to be a complete fucking idiot, just railroad-spike-through-the-forebrain mind-melted, to not notice that like literally every fucking other thing Meta does this is about mass surveillance and rent seeking. I can't tell if all of these people are slowly making themselves unbelievably stupid by inhaling chatbot fumes, or if proximity to silicon valley tech sphere radiation is microwaving their brains by itself.


  1. I fucking despise the silicon valley usage of "building" to mean "jerking off in meeting rooms while my engineering team tells Claude to implement my vague ideas." ↩︎

A ★★★ review of The House with Laughing Windows

A ★★★ review of The House with Laughing Windows
The poster for The House with Laughing Windows (1976

I originally added this to my watchlist because someone on Bluesky intimated that it had Lovecraftian vibes—I think that's a stretch and I really don't see it at all. There are parallels you can draw if you're really looking for them (to The Dreams in the Witch-House, perhaps, or Pickman's Model, or even The Music of Erich Zann) but they're very tenuous and have more to do with commonalities of general horror tropes. Maybe the Lovecraft parallel is the vaguely racist line of dialogue about the murderers in the movie traveling to Brazil and coming back with a "bestial religion."

Really this is a pure giallo, a bloody thriller about the contradictions of modernity, Italy's failure to reconcile its fascist past, and of course a heaping dose of gender. It's a real achievement of photography and scene-setting, full of lush shadows and thoroughly grungy environments. It also has some wonderful performances, ranging from the hapless to the unhinged to the quietly suspect.

Where it touches on a sense of the weird, it puts me in mind of almost a proto-Lynch—there's a dreamlike quality to the way in which the slow-burn plot is carried along on the thinnest thread, and every interaction the hapless protagonist has veers into the off-kilter.

A ★★★½ review of Resident Evil

A ★★★½ review of Resident Evil
The poster for Resident Evil (2026

Reviewed by Bruno Dias

2026 · ★★★½

First time in a long time I've seen a creature feature that is this visually and conceptually inventive. This movie knows it's about Cool Set Pieces and it delivers them. If I knew nothing about Zach Cregger and you told me he was a sketch comedian who transitioned to making high-concept horror movies I'd believe you 100% just from seeing this movie; it absolutely has that construction where individual scenes all function as a joke—sometimes explicitly funny, sometimes just a monster-movie thrill.

This might be Cregger's best work, I do think I liked this more than Weapons. He's still one of the most talented directors working today at just framing shots and building action sequences with real heft to them, which matters hugely to this movie because so much of the action here could (but doesn't) feel stupid and weightless. Even the video game references feel both on point but not distracting; it's all motivated by the story, encapsulated in things like how Cregger chooses to frame a door opening in a way that echos the iconic loading screen from the PSX era games, or his use of POV shots to suggest something like the later first-person-view games.

But I still felt like I was watching at a bit of a remove, more impressed by how clever and well-crafted the movie is than really carried along; it might be a little too clever, almost, though I don't know if people who don't watch movies quite so closely (cf my Camp Miasma review) have this problem.

A ★★★★★ review of Who's Afraid of Virginia Woolf?

A ★★★★★ review of Who's Afraid of Virginia Woolf?
The poster for Who's Afraid of Virginia Woolf? (1966

Reviewed by Bruno Dias

1966 · ★★★★★

This movie is an adaptation of a three-hour play, so there's rather a lot of talking in it and it goes by pretty fast, such that around an hour in you might have lost track of time somewhat and start to think: "Oh, everyone in this movie is about as sloshed as can be—this whole thing must be winding down. What a nice little eight-hander of a movie, just a locked room and four people going at it." And then they get into a car to go get even more sloshed.

In the midcentury they had levels of drunkenness that we can no longer access. The way weed is now is how gin was in 1966. What ensues in the second half of this movie is a whipsawing emotional struggle session in which every other word out of someone's mouth is a terrible betrayal and then the next word reconstructs whatever alliance they just busted up. It's horrifying. Heterosexuality as a torture-maze of mutual annihilation. More in common with Michael Haneke's Funny Games than with its own contemporaries.

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