More usage examples?

[unfa]

I wonder if anybody has made any more complex programs in IBNIZ.
It seems like it should be possible to make games in it, since the VM can take keyboard and mouse input.
I've been looking fro more examples online, but couldn't find anything outside of what the linked JS implementations ship with.

[sxiii]

I've been looking into examples myself as well, but so far only the official ones (from docs) and the ones under the youtube video. No examples of input handling though. Could be cool to see games on it!

[GeminiSquishGames]

Earthbound Music and Background generator = dd01.00r*02.00&* (ctrl+ up or down to tweak the numbers and get interesting results. BOING! But that's only part of a very hard process that is much more taxing than ASM development, that probably no one has time to put into, but we can try. It takes hours to do in IBNIZ what you can do in ASM in... less hours. But it can be fun to try. A lot of the problem is wrangling an already existing audio loop from being a solid saw wave drone, or the other half being the already existing video loop that insists on being a gradient shifting through a palette. It is Turing-complete as a language, though.

So, yeah, use case examples are going to be hard. It's purposely non-intuitive and esoteric, so you kinda just have to keep messing about until you make something cool. I've tried to break it down into an intuitive design and it's pretty much intuition-proof. It's a creative tool but not one of intuition. You kind of have to make a low-level thing, learn how to iterate it and use the ! and @ ops to manipulate values in the loop with the input features. So, 1. read the help file to learn how it works as a stack-based popping operators machine. 2. realise that means nothing to an artist/musician/creative type. 3. ??? 4. Profit!

To describe my script: Start state each cycle (audio) is basically T. In video it’s T Y X, but the same logic still applies—just with extra operands sloshing around.

dd gives you three copies so you can burn two of them and still have a “carrier” left at the end.

01.00r is rotate-right by 1 bit (since r consumes “a b” and rotates a by b). That is basically a crude phase distortion / bit-scrambler.

• multiplies original T by that rotated version: this is a classic way to get that “buzzy but musical” pseudo-FM / waveshaping thing.

02.00& masks the result to only a tiny set of bits (depending on how the fixed-point lands, this acts like brutal quantisation/stepping).

final * multiplies the quantised control back into a saved copy, which creates rhythmic gating + those “bouncy background” intensity pulses in video.

I could change one operation in this and might have to re-describe everything, because it's a machine that makes video and sound effects using a language that is used to describe very specific stack-based operations in a FORTH-like manner. It's two parts that don't go together at all. Bless those of us who try.

So yeah. You could make a game, but you'll be fighting against the machine every step of the way to figure out how to implement the game in these weird little chunks. And no, it's not going to look like an NES game or Atari game even. It's going to be a very specific-looking and feeling type of game. You'll run out of cycles long before you emulate traditional engines, you'll basically have to make an IBNIZ engine. Games are possible, but you are going to have to play by how this VM is using it's cycles. It will be a very IBNIZ like game in other words.