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📝 Posted:
🚚 Summary of:
P0262, P0263
Commits:
ae2fc28...741d889, 741d889...46cd6e7
💰 Funded by:
Blue Bolt, [Anonymous]
🏷 Tags:

And once again, the Shuusou Gyoku task was too complex to be satisfyingly solved within a single month. Even just finding provably correct loop sections in both the original and arranged MIDI files required some rather involved detection algorithms. I could have just defined what sounded like correct loops, but the results of these algorithms were quite surprising indeed. Turns out that not even Seihou is safe from ZUN quirks, and some tracks technically loop much later than you'd think they do, or don't loop at all. And since I then wanted to put these MIDI loops back into the game to ensure perfect synchronization between the recordings and MIDI versions, I ended up rewriting basically all the MIDI code in a cross-platform way. This rewrite also uncovered a pbg bug that has traveled from Shuusou Gyoku into Windows Touhou, where it survived until ZUN ultimately removed all MIDI code in TH11 (!)

Fortunately, the backlog still had enough general PC-98 Touhou funds that I could spend on picking some soon-important low-hanging fruit, giving me something to deliver for the end of the month after all. TH04 and TH05 use almost identical code for their main/option menus, so decompiling it would make number go up quite significantly and the associated blog post won't be that long…

Wait, what's this, a bug report from touhou-memories concerning the website?

  1. Tab switchers tended to break on certain Firefox versions, and
  2. video playback didn't work on Microsoft Edge at all?

Those are definitely some high-priority bugs that demand immediate attention.

  1. Microsoft Edge's anti-support of AV1
  2. TH04/TH05's main/option menu
  3. TH04/TH05's first-launch sound setup menu
  4. TH05's title animation ☯️

The tab switcher issue was easily fixed by replacing the previous z-index trickery with a more robust solution involving the hidden attribute. The second one, however, is much more aggravating, because video playback on Edge has been broken ever since I 📝 switched the preferred video codec to AV1.
This goes so far beyond not supporting a specific codec. Usually, unsupported codecs aren't supposed to be an issue: As soon as you start using the HTML <video> tag, you'll learn that not every browser supports all codecs. And so you set up an encoding pipeline to serve each video in a mix of new and ancient formats, put the <source> tag of the most preferred codec first, and rest assured that browsers will fall back on the best-supported option as necessary. Except that Edge doesn't even try, and insists on staying on a non-playing AV1 video. 🙄

The codecs parameter for the <source> type attribute was the first potential solution I came across. Specifying the video codec down to the finest encoding details right in the HTML markup sounds like a good idea, similar to specifying sizes of images and videos to prevent layout reflows on long pages during the initial page load. So why was this the first time I heard of this feature? The fact that there isn't a simple ffprobe -show_html_codecs_string command to retrieve this string might already give a clue about how useful it is in practice. Instead, you have to manually piece the string together by grepping your way through all of a video's metadata
…and then it still doesn't change anything about Edge's behavior, even when also specifying the string for the VP9 and VP8 sources. Calling the infamously ridiculous HTMLMediaElement.canPlayType() method with a representative parameter of "video/webm; codecs=av01.1.04M.08.0.000.01.13.00.0" explains why: Both the AV1-supporting Chrome and Edge return "probably", but only the former can actually play this format. 🤦

But wait, there is an AV1 video extension in the Microsoft Store that would add support to any unspecified favorite video app. Except that it stopped working inside Edge as of version 116. And even if it did: If you can't query the presence of this extension via JavaScript, it might as well not exist at all.
Not to mention that the favorite video app part is obviously a lie as a lot of widely preferred Windows video apps are bundled with their own codecs, and have probably long supported AV1.

In the end, there's no way around the utter desperation move of removing the AV1 <source> for Edge users. Serving each video in two other formats means that we can at least do something here – try visiting the GitHub release page of the P0234-1 TH01 Anniversary Edition build in Edge and you also don't get to see anything, because that video uses AV1 and GitHub understandably doesn't re-encode every uploaded video into a variety of old formats.
Just for comparison, I tried both that page and the ReC98 blog on an old Android 6 phone from 2014, and even that phone picked and played the AV1 videos with the latest available Chrome and Firefox versions. This was the phone whose available Firefox version didn't support VP9 in 2019, which was my initial reason for adding the VP8 versions. Looks like it's finally time to drop those… 🤔 Maybe in the far future once I start running out of space on this server.

Removing the <source> tags can be done in one of two places:

  1. server-side, detecting Edge via the User-Agent header, or
  2. client-side, using navigator.userAgentData.brands.

I went with 2) because more dynamic server-side code would only move us further away from static site generation, which would make a lot of sense as the next evolutionary step in the architecture of this website. The client-side solution is much simpler too, and we can defer the deletion until a user actually hovers over a specific video.
And while we're at it, let's also add a popup complaining about this whole state of affairs. Edge is heavily marketed inside Windows as "the modern browser recommended by Microsoft", and you sure wouldn't expect low-quality chroma-subsampled VP9 from such a tagline. With such a level of anti-support for AV1, Edge users deserve to know exactly what's going on, especially since this post also explains what they will encounter on other websites.

A popup on top of a ReC98 blog video, showing the caption "⚠️ Edge does not support AV1, falling back on low-quality video…"
That's the polite way of putting it.

Alright, where was I? For TH01, the main menu was the last thing I decompiled before the 100% finalization mark, so it's rather anticlimactic to already cover the TH04/TH05 one now, with both of the games still being very far away from 100%, just because people will soon want to translate the description text in the bottom-right corner of the screen. But then again, the ZUN Soft logo animation would make for an even nicer final piece of decompiled code, especially since the bouncing-ball logo from TH01, TH02, and TH03 was the very first decompilation I did, all the way back in 2015.

The code quality of ZUN's VRAM-based menus has barely increased between TH01 and TH05. Both the top-level and option menu still need to know the bounding rectangle of the other one to unblit the right pixels when switching between the two. And since ZUN sure loved hardcoded and copy-pasted numbers in the PC-98 days, the coordinates both tend to be excessively large, and excessively wrong. :zunpet: Luckily, each menu item comes with its own correct unblitting rectangle, which avoids any graphical glitches that would otherwise occur.
As for actual observable quirks and bugs, these menus only contain one of each, and both are exclusive to TH04:

And yes, these videos do have a frame rate of 2 FPS.

Now that 100% finalization of their OP.EXE binaries is within reach, all this bloat made me think about the viability of a 📝 single-executable build for TH04's and TH05's debloated and anniversary versions. It would be really nice to have such a build ready before I start working on the non-ASCII translations – not just because they will be based on the anniversary branch by default, but also because it would significantly help their development if there are 4 fewer executables to worry about.
However, it's not as simple for these games as it was for TH01. The unique code in their OP.EXE and MAINE.EXE binaries is much larger than Borland's easily removed C++ exception handler, so I'd have to remove a lot more bloat to keep the resulting single binary at or below the size of the original MAIN.EXE. But I'm sure going to try.


Speaking of code that can be debloated for great effect: The second push of this delivery focused on the first-launch sound setup menu, whose BGM and sound effect submenus are almost complete code duplicates of each other. The debloated branch could easily remove more than half of the code in there, yielding another ≈800 bytes in case we need them.
If hex-editing MIKO.CFG is more convenient for you than deleting that file, you can set its first byte to FF to re-trigger this menu. Decompiling this screen was not only relevant now because it contains text rendered with font ROM glyphs and it would help dig our way towards more important strings in the data segment, but also because of its visual style. I can imagine many potential mods that might want to use the same backgrounds and box graphics for their menus.

TH04's first-launch sound setup menu, showing the BGM mode selectionTH05's first-launch sound setup menu, showing the sound effect mode selection
How about an initial language selection menu in the same style?

With the two submenus being shown in a fixed sequence, there's not a lot of room for the code to do anything wrong, and it's even more identical between the two games than the main menu already was. Thankfully, ZUN just reblits the respective options in the new color when moving the cursor, with no 📝 palette tricks. TH04's background image only uses 7 colors, so he could have easily reserved 3 colors for that. In exchange, the TH05 image gets to use the full 16 colors with no change to the code.


Rounding out this delivery, we also got TH05's rolling Yin-Yang Orb animation before the title screen… and it's just more bloat and landmines on a smaller scale that might be noticeable on slower PC-98 models. In total, there are three unnecessary inter-page copies of the entire VRAM that can easily insert lag frames, and two minor page-switching landmines that can potentially lead to tearing on the first frame of the roll or fade animation. Clearly, ZUN did not have smoothness or code quality in mind there, as evidenced by the fact that this animation simply displays 8 .PI files in sequence. But hey, a short animation like this is 📝 another perfectly appropriate place for a quick-and-dirty solution if you develop with a deadline.
And that's 1.30% of all PC-98 Touhou code finalized in two pushes! We're slowly running out of these big shared pieces of ASM code…

I've been neglecting TH03's OP.EXE quite a bit since it simply doesn't contain any translatable plaintext outside the Music Room. All menu labels are gaiji, and even the character selection menu displays its monochrome character names using the 4-plane sprites from CHNAME.BFT. Splitting off half of its data into a separate .ASM file was more akin to getting out a jackhammer to free up the room in front of the third remaining Music Room, but now we're there, and I can decompile all three of them in a natural way, with all referenced data.
Next up, therefore: Doing just that, securing another important piece of text for the upcoming non-ASCII translations and delivering another big piece of easily finalized code. I'm going to work full-time on ReC98 for almost all of December, and delivering that and the Shuusou Gyoku SC-88Pro recording BGM back-to-back should free up about half of the slightly higher cap for this month.

📝 Posted:
🚚 Summary of:
P0252, P0253, P0254, P0255, P0256, P0257
Commits:
(Seihou) P0251...e98feef, (Seihou) e98feef...24df71c, (Seihou) 24df71c...b7b863b, (Seihou) b7b863b...2b8218e, (Seihou) 2b8218e...P0256, (Website) b79c667...e2ba49b
💰 Funded by:
Arandui, Ember2528, [Anonymous]
🏷 Tags:

And now we're taking this small indie game from the year 2000 and porting its game window, input, and sound to the industry-standard cross-platform API with "simple" in its name.

Why did this have to be so complicated?! I expected this to take maybe 1-2 weeks and result in an equally short blog post. Instead, it raised so many questions that I ended up with the longest blog post so far, by quite a wide margin. These pushes ended up covering so many aspects that could be interesting to a general and non-Seihou-adjacent audience, so I think we need a table of contents for this one:

  1. Evaluating Zig
  2. Visual Studio doesn't implement concepts correctly?
  3. Reusable building blocks for Tup
  4. Compiling SDL 2
  5. The new frame rate limiter
  6. Audio via SDL or SDL_mixer? (Nope, neither)
  7. miniaudio
  8. Resampling defective sound effects (including FLAC not always being lossless)
  9. Joypad input with SDL
  10. Restoring the original screenshot feature
  11. Integer math in hand-written ASM

Before we can start migrating to SDL, we of course have to integrate it into the build somehow. On Linux, we'd ideally like to just dynamically link to a distribution's SDL development package, but since there's no such thing on Windows, we'd like to compile SDL from source there. This allows us to reuse our debug and release flags and ensures that we get debug information, without needing to clone build scripts for every C++ library ever in the process or something.
So let's get my Tup build scripts ready for compiling vendored libraries… or maybe not? Recently, I've kept hearing about a hot new technology that not only provides the rare kind of jank-free cross-compiling build system for C/C++ code, but innovates by even bundling a C++ compiler into a single 279 MiB package with no further dependencies. Realistically replacing both Visual Studio and Tup with a single tool that could target every OS is quite a selling point. The upcoming Linux port makes for the perfect occasion to evaluate Zig, and to find out whether Tup is still my favorite build system in 2023.

Even apart from its main selling point, there's a lot to like about Zig:

However, as a version number of 0.11.0 might already suggest, the whole experience was then bogged down by quite a lot of issues:

So for the time being, I still prefer Tup. But give it maybe two or three years, and I'm sure that Zig will eventually become the best tool for resurrecting legacy C++ codebases. That is, if the proposed divorce of the core Zig compiler from LLVM isn't an indication that the productive parts of the Zig community consider the C/C++ building features to be "good enough", and are about to de-emphasize them to focus more strongly on the actual Zig language. Gaining adoption for your new systems language by bundling it with a C/C++ build system is such a great and unique strategy, and it almost worked in my case. And who knows, maybe Zig will already be good enough by the time I get to port PC-98 Touhou to modern systems.

(If you came from the Zig wiki, you can stop reading here.)


A few remnants of the Zig experiment still remain in the final delivery. If that experiment worked out, I would have had to immediately change the execution encoding to UTF-8, and decompile a few ASM functions exclusive to the 8-bit rendering mode which we could have otherwise ignored. While Clang does support inline assembly with Intel syntax via -fms-extensions, it has trouble with ; comments and instructions like REP STOSD, and if I have to touch that code anyway… (The REP STOSD function translated into a single call to memcpy(), by the way.)

Another smaller issue was Visual Studio's lack of standard library header hygiene, where #including some of the high-level STL features also includes more foundational headers that Clang requires to be included separately, but I've already known about that. Instead, the biggest shocker was that Visual Studio accepts invalid syntax for a language feature as recent as C++20 concepts:

// Defines the interface of a text rendering session class. To simplify this
// example, it only has a single `Print(const char* str)` method.
template <class T> concept Session = requires(T t, const char* str) {
	t.Print(str);
};

// Once the rendering backend has started a new session, it passes the session
// object as a parameter to a user-defined function, which can then freely call
// any of the functions defined in the `Session` concept to render some text.
template <class F, class S> concept UserFunctionForSession = (
	Session<S> && requires(F f, S& s) {
		{ f(s) };
	}
);

// The rendering backend defines a `Prerender()` method that takes the
// aforementioned user-defined function object. Unfortunately, C++ concepts
// don't work like this: The standard doesn't allow `auto` in the parameter
// list of a `requires` expression because it defines another implicit
// template parameter. Nevertheless, Visual Studio compiles this code without
// errors.
template <class T, class S> concept BackendAttempt = requires(
	T t, UserFunctionForSession<S> auto func
) {
	t.Prerender(func);
};

// A syntactically correct definition would use a different constraint term for
// the type of the user-defined function. But this effectively makes the
// resulting concept unusable for actual validation because you are forced to
// specify a type for `F`.
template <class T, class S, class F> concept SyntacticallyFixedBackend = (
	UserFunctionForSession<F, S> && requires(T t, F func) {
		t.Prerender(func);
	}
);

// The solution: Defining a dummy structure that behaves like a lambda as an
// "archetype" for the user-defined function.
struct UserFunctionArchetype {
	void operator ()(Session auto& s) {
	}
};

// Now, the session type disappears from the template parameter list, which
// even allows the concrete session type to be private.
template <class T> concept CorrectBackend = requires(
	T t, UserFunctionArchetype func
) {
	t.Prerender(func);
};
Here's a Godbolt link, configured with both Visual Studio and Clang compilers.

What's this, Visual Studio's infamous delayed template parsing applied to concepts, because they're templates as well? Didn't they get rid of that 6 years ago? You would think that we've moved beyond the age where compilers differed in their interpretation of the core language, and that opting into a current C++ standard turns off any remaining antiquated behaviors…


So let's actually get my Tup build scripts ready for compiling vendored libraries, because the 📝 previous 70 lines of Lua definitely weren't. For this use case, we'd like to have some notion of distinct build targets that can have a unique set of compilation and linking flags. We'd also like to always build them in debug and release versions even if you only intend to build your actual program in one of those versions – with the previous system of specifying a single version for all code, Tup would delete the other one, which forces a time-consuming and ultimately needless rebuild once you switch to the other version.

The solution I came up with treats the set of compiler command-line options like a tree whose branches can concatenate new options and/or filter the versions that are built on this branch. In total, this is my 4th attempt at writing a compiler abstraction layer for Tup. Since we're effectively forced to write such layers in Lua, it will always be a bit janky, but I think I've finally arrived at a solid underlying design that might also be interesting for others. Hence, I've split off the result into its own separate repository and added high-level documentation and a documented example. And yes, that's a Code Nutrition label! I've wanted to add one of these ever since I first heard about the idea, since it communicates nicely how seriously such an open-source project should be taken. Which, in this case, is actually not all too seriously, especially since development of the core Tup project has all but stagnated. If Zig does indeed get better and better at being a Clang frontend/build system, the only niches left for Tup will be Visual Studio-exclusive projects, or retrocoding with nonstandard toolchains (i.e., ReC98). Quite ironic, given Tup's Unix heritage…
Oh, and maybe general Makefile-like tasks where you just want to run specific programs. Maybe once the general hype swings back around and people start demanding proper graph-based dependency tracking instead of just a command runner


Alright, alternatives evaluated, build system ready, time to include SDL! Once again, I went for Git submodules, but this time they're held together by a batch file that ensures that the intended versions are checked out before starting Tup. Git submodules have a bad rap mainly because of their usability issues, and such a script should hopefully work around them? Let's see how this plays out. If it ends up causing issues after all, I'll just switch to a Zig-like model of downloading and unzipping a source archive. Since Windows comes with curl and tar these days, this can even work without any further dependencies, and will also remove all the test code bloat.

Compiling SDL from a non-standard build system requires a bit of globbing to include all the code that is being referenced, as well as a few linker settings, but it's ultimately not much of a big deal. I'm quite happy that it was possible at all without pre-configuring a build, but hey, that's what maintaining a Visual Studio project file does to a project. :tannedcirno:
By building SDL with the stock Windows configuration, we then end up with exactly what the SDL developers want us to use… which is a DLL. You can statically link SDL, but they really don't want you to do that. So strongly, in fact, that they not merely argue how well the textbook advantages of dynamic linking have worked for them and gamers as a whole, but implemented a whole dynamic API system that enforces overridable dynamic function loading even in static builds. Nudging developers to their preferred solution by removing most advantages from static linking by default… that's certainly a strategy. It definitely fits with SDL's grassroots marketing, which is very good at painting SDL as the industry standard and the only reliable way to keep your game running on all originally supported operating systems. Well, at least until SDL 3 is so stable that SDL 2 gets deprecated and won't receive any code for new backends…

However, dynamic linking does make sense if you consider what SDL is. Offering all those multiple rendering, input, and sound backends is what sets it apart from its more hip competition, and you want to have all of them available at any time so that SDL can dynamically select them based on what works best on a system. As a result, everything in SDL is being referenced somewhere, so there's no dead code for the linker to eliminate. Linking SDL statically with link-time code generation just prolongs your link time for no benefit, even without the dynamic API thwarting any chance of SDL calls getting inlined.
There's one thing I still don't like about all this, though. The dynamic API's table references force you to include all of SDL's subsystems in the DLL even if your game doesn't need some of them. But it does fit with their intention of having SDL2.dll be swappable: If an older game stopped working because of an outdated SDL2.dll, it should be possible for anyone to get that game working again by replacing that DLL with any newer version that was bundled with any random newer game. And since that would fail if the newer SDL2.dll was size-optimized to not include some of the subsystems that the older game required, they simply removed (or de-prioritized) the possibility altogether. Maybe that was their train of thought? You can always just use the official Windows DLL, whose whole point is to include everything, after all. 🤷

So, what do we get in these 1.5 MiB? There are:

Unfortunately, SDL 2 also statically references some newer Windows API functions and therefore doesn't run on Windows 98. Since this build of Shuusou Gyoku doesn't introduce any new features to the input or sound interfaces, we can still use pbg's original DirectSound and DirectInput code for the i586 build to keep it working with the rest of the platform-independent game logic code, but it will start to lag behind in features as soon as we add support for SC-88Pro BGM or more sophisticated input remapping. If we do want to keep this build at the same feature level as the SDL one, we now have a choice: Do we write new DirectInput and DirectSound code and get it done quickly but only for Shuusou Gyoku, or do we port SDL 2 to Windows 98 and benefit all other SDL 2 games as well? I leave that for my backers to decide.


Immediately after writing the first bits of actual SDL code to initialize the library and create the game window, you notice that SDL makes it very simple to gradually migrate a game. After creating the game window, you can call SDL_GetWindowWMInfo() to retrieve HWND and HINSTANCE handles that allow you to continue using your original DirectDraw, DirectSound, and DirectInput code and focus on porting one subsystem at a time.
Sadly, D3DWindower can no longer turn SDL's fullscreen mode into a windowed one, but DxWnd still works, albeit behaving a bit janky and insisting on minimizing the game whenever its window loses focus. But in exchange, the game window can surprisingly be moved now! Turns out that the originally fixed window position had nothing to do with the way the game created its DirectDraw context, and everything to do with pbg blocking the Win32 "syscommand" that allows a window to be moved. By deleting a system menu… seriously?! Now I'm dying to hear the Raymond Chen explanation for how this behavior dates back to an unfortunate decision during the Win16 days or something.
As implied by that commit, I immediately backported window movability to the i586 build.

However, the most important part of Shuusou Gyoku's main loop is its frame rate limiter, whose Win32 version leaves a bit of room for improvement. Outside of the uncapped [おまけ] DrawMode, the original main loop continuously checks whether at least 16 milliseconds have elapsed since the last simulated (but not necessarily rendered) frame. And by that I mean continuously, and deliberately without using any of the Windows system facilities to sleep the process in the meantime, as evidenced by a commented-out Sleep(1) call. This has two important effects on the game:

Unsurprisingly, SDL features a delay function that properly sleeps the process for a given number of milliseconds. But just specifying 16 here is not exactly what we want:

  1. Sure, modern computers are fast, but a frame won't ever take an infinitely fast 0 milliseconds to render. So we still need to take the current frame time into account.
  2. SDL_Delay()'s documentation says that the wake-up could be further delayed due to OS scheduling.

To address both of these issues, I went with a base delay time of 15 ms minus the time spent on the current frame, followed by busy-waiting for the last millisecond to make sure that the next frame starts on the exact frame boundary. And lo and behold: Even though this still technically wastes up to 1 ms of CPU time, it still dropped CPU usage into the 0%-2% range during gameplay on my Intel Core i5-8400T CPU, which is over 5 years old at this point. Your laptop battery will appreciate this new build quite a bit.


Time to look at audio then, because it sure looks less complicated than input, doesn't it? Loading sounds from .WAV file buffers, playing a fixed number of instances of every sound at a given position within the stereo field and with optional looping… and that's everything already. The DirectSound implementation is so straightforward that the most complex part of its code is the .WAV file parser.
Well, the big problem with audio is actually finding a cross-platform backend that implements these features in a way that seamlessly works with Shuusou Gyoku's original files. DirectSound really is the perfect sound API for this game:

The last point can't really be an argument against anything, but we'd still be left with 7 other boxes that a cross-platform alternative would have to tick. We already picked SDL for our portability needs, so how does its audio subsystem stack up? Unfortunately, not great:

OK, sure, but you're not supposed to use it for anything more than a single stream of audio. SDL_mixer exists precisely to cover such non-trivial use cases, and it even supports sound effect looping and panning with just a single function call! But as far as the rest of the library is concerned, it manages to be an even bigger disappointment than raw SDL audio:

There is a fork that does add support for an arbitrary number of music streams, but the rest of its features leave me questioning the priorities and focus of this project. Because surely, when I think about missing features in an audio backend, I immediately think about support for a vast array of chiptune file formats… 🤪
And wait, what, they merged this piece of bloat back into the official SDL_mixer library?! Thanks for opening up a vast attack surface for potential security vulnerabilities in code that would never run for the majority of users, just to cover some niche formats that nobody would seriously expect in a general audio library. And that's coming from someone who loves listening to that stuff!
At this rate, I'm expecting SDL_mixer to gain a mail client by the end of the decade. Hmm, what's the closest audio thing to a mail client… oh, right, WebRTC! Yeah, let's just casually drop a giant part of the Chromium codebase into SDL_mixer, what could possibly go wrong?

This dire situation made me wonder if SDL was the wrong choice for Shuusou Gyoku to begin with. Looking at other low-level cross-platform game libraries, you'll quickly notice that all of them come with mostly equally capable 2D renderers these days, and mainly differentiate themselves in minute API details that you'd only notice upon a really close look.
raylib is another one of those libraries and has been getting exceptionally popular in recent years, to the point of even having more than twice as many GitHub stars as SDL. By restricting itself to OpenGL, it can even offer an abstraction for shaders, which we'd really like for the 西方Project lens ball effect.
In the case of raylib's audio system, the lack of sound effect looping is the minute API detail that would make it annoying to use for Shuusou Gyoku. But it might be worth a look at how raylib implements all this if it doesn't use SDL… which turned out to be the best look I've taken in a long time, because raylib builds on top of miniaudio which is exactly the kind of audio library I was hoping to find. Let's check the list from above:

Oh, and it's written by the same developer who also wrote the best FLAC library back in 2018. And that's despite them being single-file C libraries, which I consider to be massively overrated…

The drawback? Similar to Zig, it's only on version 0.11.18, and also focuses on good high-level documentation at the expense of an API reference. Unlike Zig though, the three issues I ran into turned out to be actual and fixable bugs: Two minor ones related to looping of streamed sounds shorter than 2 seconds which won't ever actually affect us before we get into BGM modding, and a critical one that added high-frequency corruption to any mono sound effect during its expansion to stereo. The latter took days to track down – with symptoms like these, you'd immediately suspect the bug to lie in the resampler or its low-pass filter, both of which are so much more of a fickle and configurable part of the conversion chain here. Compared to that, stereo expansion is so conceptually simple that you wouldn't imagine anyone getting it wrong.
While the latter PR has been merged, the fix is still only part of the dev branch and hasn't been properly released yet. Fortunately, raylib is not affected by this bug: It does currently ship version 0.11.16 of miniaudio, but its usage of the library predates miniaudio's high-level API and it therefore uses a different, non-SSE-optimized code path for its format conversions.

The only slightly tricky part of implementing a miniaudio backend for Shuusou Gyoku lies in setting up multiple simultaneously playing instances for each individual sound. The documentation and answers on the issue tracker heavily push you toward miniaudio's resource manager and its file abstractions to handle this use case. We surely could turn Shuusou Gyoku's numeric sound effect IDs into fake file names, but it doesn't really fit the existing architecture where the sound interface just receives in-memory .WAV file buffers loaded from the SOUND.DAT packfile.
In that case, this seems to be the best way:


As a side effect of hunting that one critical bug in miniaudio, I've now learned a fair bit about audio resampling in general. You'll probably need some knowledge about basic digital signal behavior to follow this section, and that video is still probably the best introduction to the topic.

So, how could this ever be an issue? The only time I ever consciously thought about resampling used to be in the context of the Opus codec and its enforced sampling rate of 48,000 Hz, and how Opus advocates claim that resampling is a solved problem and nothing to worry about, especially in the context of a lossy codec. Still, I didn't add Opus to thcrap's BGM modding feature entirely because the mere thought of having to downsample to 44,100 Hz in the decoder was off-putting enough. But even if my worries were unfounded in that specific case: Recording the Stereo Mix of Shuusou Gyoku's now two audio backends revealed that apparently not every audio processing chain features an Opus-quality resampler…

If we take a look at the material that resamplers actually have to work with here, it quickly becomes obvious why their results are so varied. As mentioned above, Shuusou Gyoku's sound effects use rather low sampling rates that are pretty far away from the 48,000 Hz your audio device is most definitely outputting. Therefore, any potential imaging noise across the extended high-frequency range – i.e., from the original Nyquist frequencies of 11,025 Hz/5,512.5 Hz up to the new limit of 24,000 Hz – is still within the audible range of most humans and can clearly color the resulting sound.
But it gets worse if the audio data you put into the resampler is objectively defective to begin with, which is exactly the problem we're facing with over half of Shuusou Gyoku's sound effects. Encoding them all as 8-bit PCM is definitely excusable because it was the turn of the millennium and the resulting noise floor is masked by the BGM anyway, but the blatant clipping and DC offsets definitely aren't:

KEBARI TAME LASER LASER2 BOMB SELECT HIT CANCEL WARNING SBLASER BUZZ MISSILE JOINT DEAD SBBOMB BOSSBOMB ENEMYSHOT HLASER TAMEFAST WARP
<code>SOUND.DAT</code>, file 1/20<code>SOUND.DAT</code>, file 2/20<code>SOUND.DAT</code>, file 3/20<code>SOUND.DAT</code>, file 4/20<code>SOUND.DAT</code>, file 5/20<code>SOUND.DAT</code>, file 6/20<code>SOUND.DAT</code>, file 7/20<code>SOUND.DAT</code>, file 8/20<code>SOUND.DAT</code>, file 9/20<code>SOUND.DAT</code>, file 10/20<code>SOUND.DAT</code>, file 11/20<code>SOUND.DAT</code>, file 12/20<code>SOUND.DAT</code>, file 13/20<code>SOUND.DAT</code>, file 14/20<code>SOUND.DAT</code>, file 15/20<code>SOUND.DAT</code>, file 16/20<code>SOUND.DAT</code>, file 17/20<code>SOUND.DAT</code>, file 18/20<code>SOUND.DAT</code>, file 19/20<code>SOUND.DAT</code>, file 20/20
Waveforms for all 20 of Shuusou Gyoku's sound effects, in the order they appear inside SOUND.DAT and with their internal names. We can see quite an abundance of clipping, as well as a significant DC offset in WARNING, BUZZ, JOINT, SBBOMB, and BOSSBOMB.

Wait a moment, true peaks? Where do those come from? And, equally importantly, how can we even observe, measure, and store anything above the maximum amplitude of a digital signal?

The answer to the first question can be directly derived from the Xiph.org video I linked above: Digital signals are lollipop graphs, not stairsteps as commonly depicted in audio editing software. Converting them back to an analog signal involves constructing a continuous curve that passes through each sample point, and whose frequency components stay below the Nyquist frequency. And if the amplitude of that reconstructed wave changes too strongly and too rapidly, the resulting curve can easily overshoot the maximum digital amplitude of 0 dBFS even if none of the defined samples are above that limit.

But I can assure you that I did not create the waveform images above by recording the analog output of some speakers or headphones and then matching the levels to the original files, so how did I end up with that image? It's not an Audacity feature either because the development team argues that there is no "true waveform" to be visualized as every DAC behaves differently. While this is correct in theory, we'd be happy just to get a rough approximation here.
ffmpeg's ebur128 filter has a parameter to measure the true peak of a waveform and fairly understandable source code, and once I looked at it, all the pieces suddenly started to make sense: For our purpose of only looking at digital signals, 💡 resampling to a floating-point signal with an infinite sampling rate is equivalent to a DAC. And that's exactly what this filter does: It picks 192,000 Hz and 64-bit float as a format that's close enough to the ideal of "analog infinity" for all practical purposes that involve digital audio, and then simply converts each incoming 100 ms of audio and keeps the sample with the largest floating-point value.

So let's store the resampled output as a FLAC file and load it into Audacity to visualize the clipped peaks… only to find all of them replaced with the typical kind of clipping distortion? 😕 Turns out that I've stumbled over the one case where the FLAC format isn't lossless and there's actually no alternative to .WAV: FLAC just doesn't support floating-point samples and simply truncates them to discrete integers during encoding. When we measured inter-sample peaks above, we weren't only resampling to a floating-point format to avoid any quantization to discrete integer values, but also to make it possible to store amplitudes beyond the 0 dBFS point of ±1.0 in the first place. Once we lose that ability, these amplitudes are clipped to the maximum value of the integer bit depth, and baked into the waveform with no way to get rid of them again. After all, the resampled file now uses a higher sampling rate, and the clipping distortion is now a defined part of what the sound is.
Finally, storing a digital signal with inter-sample peaks in a floating-point format also makes it possible for you to reduce the volume, which moves these peaks back into the regular, unclipped amplitude range. This is especially relevant for Shuusou Gyoku as you'll probably never listen to sound effects at full volume.

Now that we understand what's going on there, we can finally compare the output of various resamplers and pick a suitable one to use with miniaudio. And immediately, we see how they fall into two categories:

miniaudio only comes with a linear resampler – but so does DirectSound as it turns out, so we can get actually pretty close to how the game sounded originally:

All of Shuusou Gyoku's sound effects combined and resampled into a single 48,000 Hz / 32-bit float .WAV file, using GoldWave's File Merger tool. By converting to 32-bit float first and then resampling, the conversion preserved the exact frequency range of the original 22,050 Hz and 11,025 Hz files, even despite clipping. There are small noise peaks across the entire frequency range, but they only occur at the exact boundary between individual sound effects. These are a simple result of the discontinuities that naturally occur in the waveform when concatenating signals that don't start or end at a 0 sample.
As mentioned above, you'll only get this sound out of your DAC at lower volumes where all of the resampled peaks still fit within 0 dBFS. But you most likely will have reduced your volume anyway, because these effects would be ear-splittingly loud otherwise.
The result of converting 1️⃣ into FLAC. The necessary bit depth conversion from 32-bit float to 16-bit integers clamps any data above 0 dBFS or ±1.0f to the discrete -32,678 32,767, the maximum value of such an integer. The resulting straight lines at maximum amplitude in the time domain then turn into distortion across the entire 24,000 Hz frequency domain, which then remains a part of the waveform even at lower volumes. The locations of the high-frequency noise exactly match the clipped locations in the time-domain waveform images above.
The resulting additional distortion can be best heard in BOSSBOMB, where the low source frequency ensures that any distortion stays firmly within the hearing range of most humans.
All of Shuusou Gyoku's sound effects as played through DirectSound and recorded through Stereo Mix. DirectSound also seems to use a linear low-pass filter that leaves quite a bit of high-frequency noise in the signals, making these effects sound crispier than they should be. Depending on where you stand, this is either highly inaccurate and something that should be fixed, or actually good because the sound effects really benefit from that added high end. I myself am definitely in the latter camp – and hey, this sound is the result of original game code, so it is accurate at least in that regard. :tannedcirno:
All of Shuusou Gyoku's sound effects as converted by miniaudio and directly saved to a file, with the same low-pass filter setting used in the P0256 build. This first-order low-pass filter is a decent approximation of DirectSound's resampler, even though it sounds slightly crispier as the high-frequency noise is boosted a little further. By default, miniaudio would use a 4th-order low-pass filter, so this is the second-lowest resampling quality you can get, short of disabling the low-pass filter altogether.
Conversion results when using miniaudio's 8th-order low-pass filter for resampling, the highest quality supported. This is the closest we can get to the reference conversion without using a custom resampler. If we do want to go for perfect accuracy though, we might as well go for 1️⃣ directly?

These spectrum images were initially created using ffmpeg's -lavfi showspectrumpic=mode=combined:s=1280x720 filter. The samples appear in the same order as in the waveform above.

And yes, these are indeed the first videos on this blog to have sound! I spent another push on preparing the 📝 video conversion pipeline for audio support, and on adding the highly important volume control to the player. Web video codecs only support lossy audio, so the sound in these videos will not exactly match the spectrum image, but the lossless source files do contain the original audio as uncompressed PCM streams.


Compared to that whole mess of signals and noise, keyboard and joypad input is indeed much simpler. Thanks to SDL, it's almost trivial, and only slightly complicated because SDL offers two subsystems with seemingly identical APIs:

To match Shuusou Gyoku's original WinMM backend, we'd ideally want to keep the best aspects from both APIs but without being restricted to SDL_GameController's idea of a controller. The Joy Pad menu just identifies each button with a numeric ID, so SDL_Joystick would be a natural fit. But what do we do about directional controls if SDL_Joystick doesn't tell us which joypad axes correspond to the X and Y directions, and we don't have the SDL-recommended configuration UI yet? Doing that right would also mean supporting POV hats and D-pads, after all… Luckily, all joypads we've tested map their main X axis to ID 0 and their main Y axis to ID 1, so this seems like a reasonable default guess.

Fortunately, there is a solution for our exact issue. We can still try to open a joypad via SDL_GameController, and if that succeeds, we can use a function to retrieve the SDL_Joystick ID for the main X and Y axis, close the SDL_GameController instance, and keep using SDL_Joystick for the rest of the game.
And with that, the SDL build no longer needs DirectInput 7, certain antivirus scanners will no longer complain about its low-level keyboard hook, and I turned the original game's single-joypad hot-plugging into multi-joypad hot-plugging with barely any code. 🎮

The necessary consolidation of the game's original input handling uncovered several minor bugs around the High Score and Game Over screen that I sufficiently described in the release notes of the new build. But it also revealed an interesting detail about the Joy Pad screen: Did you know that Shuusou Gyoku lets you unbind all these actions by pressing more than one joypad button at the same time? The original game indicated unbound actions with a [Button 0] label, which is pretty confusing if you have ever programmed anything because you now no longer know whether the game starts numbering buttons at 0 or 1. This is now communicated much more clearly.

Joypad button unbinding in the original version of Shuusou Gyoku, indicated by a rather confusing [Button 0] labelJoypad button unbinding in the P0256 build of Shuusou Gyoku, using a much clearer [--------] label
ESC is not bound to any joypad button in either screenshot, but it's only really obvious in the P0256 build.

With that, we're finally feature-complete as far as this delivery is concerned! Let's send a build over to the backers as a quick sanity check… a~nd they quickly found a bug when running on Linux and Wine. When holding a button, the game randomly stops registering directional inputs for a short while on some joypads? Sounds very much like a Wine bug, especially if the same pad works without issues on Windows.
And indeed, on certain joypads, Wine maps the buttons to completely different and disconnected IDs, as if it simply invents new buttons or axes to fill the resulting gaps. Until we can differentiate joypad bindings per controller, it's therefore unlikely that you can use the same joypad mapping on both Windows and Linux/Wine without entering the Joy Pad menu and remapping the buttons every time you switch operating systems.

Still, by itself, this shouldn't cause any issues with my SDL event handling code… except, of course, if I forget a break; in a switch case. 🫠
This completely preventable implicit fallthrough has now caused a few hours of debugging on my end. I'd better crank up the warning level to keep this from ever happening again. Opting into this specific warning also revealed why we haven't been getting it so far: Visual Studio did gain a whole host of new warnings related to the C++ Core Guidelines a while ago, including the one I was looking for, but actually getting the compiler to throw these requires activating a separate static analysis mode together with a plugin, which significantly slows down build times. Therefore I only activate them for release builds, since these already take long enough. :onricdennat:

But that wasn't the only step I took as a result of this blunder. In addition, I now offer free fixes for regressions in my mod releases if anyone else reports an issue before I find it myself. I've already been following this policy 📝 earlier this year when mu021 reported the unblitting bug in the initial release of the TH01 Anniversary Edition, and merely made it official now. If I was the one who broke a thing, I'll fix it for free.


Since all that input debugging already started a 5th push, I might as well fill that one by restoring the original screenshot feature. After all, it's triggered by a key press (and is thus related to the input backend), reads the contents of the frame buffer (and is thus related to the graphics backend), and it honestly looks bad to have this disclaimer in the release notes just because we're one small feature away from 100% parity with pbg's original binary.
Coincidentally, I had already written code to save a DirectDraw surface to a .BMP file for all the debugging I did in the last delivery, so we were basically only missing filename generation. Except that Shuusou Gyoku's original choice of mapping screenshots to the PrintScreen key did not age all too well:

As a result, both Arandui and I independently arrived at the idea of remapping screenshots to the P key, which is the same screenshot key used by every Windows Touhou game since TH08.

The rest of the feature remains unchanged from how it was in pbg's original build and will save every distinct frame rendered by the game (i.e., before flipping the two framebuffers) to a .BMP file as long as the P key is being held. At a 32-bit color depth, these screenshots take up 1.2 MB per frame, which will quickly add up – especially since you'll probably hold the P key for more than 1/60 of a second and therefore end up saving multiple frames in a row. We should probably compress them one day.


Since I already translated some of Shuusou Gyoku's ASM code to C++ during the Zig experiment, it made sense to finish the fifth push by covering the rest of those functions. The integer math functions are used all throughout the game logic, and are the main reason why this goal is important for a Linux port, or any port to a 64-bit architecture for that matter. If you've ever read a micro-optimization-related blog post, you'll know that hand-written ASM is a great recipe that often results in the finest jank, and the game's square root function definitely delivers in that regard, right out of the gate.
What slightly differentiates this algorithm from the typical definition of an integer square root is that it rounds up: In real numbers, √3 is ≈ 1.73, so isqrt(3) returns 2 instead of 1. However, if the result is always rounded down, you can determine whether you have to round up by simply squaring the calculated root and comparing it to the radicand. And even that is only necessary if the difference between the two doesn't naturally fall out of the algorithm – which is what also happens with Shuusou Gyoku's original ASM code, but pbg didn't realize this and squared the result regardless. :tannedcirno:

That's one suboptimal detail already. Let's call the original ASM function in a loop over the entire supported range of radicands from 0 to 231 and produce a list of results that I can verify my C++ translation against… and watch as the function's linear time complexity with regard to the radicand causes the loop to run for over 15 hours on my system. 🐌 In a way, I've found the literal opposite of Q_rsqrt() here: Not fast, not inverse, no bit hacks, and surely without the awe-inspiring kind of WTF.
I really didn't want to run the same loop over a literal C++ translation of the same algorithm afterward. Calculating integer square roots is a common problem with lots of solutions, so let's see if we can go better than linear.

And indeed, Wikipedia also has a bitwise algorithm that runs in logarithmic time, uses only additions, subtractions, and bit shifts, and even ends up with an error term that we can use to round up the result as necessary, without a multiplication. And this algorithm delivers the exact same results over the exact same range in… 50 seconds. 🏎️ And that's with the I/O to print the first value that returns each of the 46,341 different square root results.

"But wait a moment!", I hear you say. "Why are you bothering with an integer square root algorithm to begin with? Shouldn't good old round(sqrt(x)) from <math.h> do the trick just fine? Our CPUs have had SSE for a long time, and this probably compiles into the single SQRTSD instruction. All that extra floating-point hardware might mean that this instruction could even run in parallel with non-SSE code!"
And yes, all of that is technically true. So I tested it, and my very synthetic and constructed micro-benchmark did indeed deliver the same results in… 48 seconds. :thonk: That's not enough of a difference to justify breaking the spirit of treating the FPU as lava that permeates Shuusou Gyoku's code base. Besides, it's not used for that much to begin with:

After a quick C++ translation of the RNG function that spells out a 32-bit multiplication on a 32-bit CPU using 16-bit instructions, we reach the final pieces of ASM code for the 8-bit atan2() and trapezoid rendering. These could actually pass for well-written ASM code in how they express their 64-bit calculations: atan8() prepares its 64-bit dividend in the combined EDX and EAX registers in a way that isn't obvious at all from a cursory look at the code, and the trapezoid functions effectively use Q32.32 subpixels. C++ allows us to cleanly model all these calculations with 64-bit variables, but unfortunately compiles the divisions into a call to a comparatively much more bloated 64-bit/64-bit-division polyfill function. So yeah, we've actually found a well-optimized piece of inline assembly that even Visual Studio 2022's optimizer can't compete with. But then again, this is all about code generation details that are specific to 32-bit code, and it wouldn't be surprising if that part of the optimizer isn't getting much attention anymore. Whether that optimization was useful, on the other hand… Oh well, the new C++ version will be much more efficient in 64-bit builds.

And with that, there's no more ASM code left in Shuusou Gyoku's codebase, and the original DirectXUTYs directory is slowly getting emptier and emptier.


Phew! Was that everything for this delivery? I think that was everything. Here's the new build, which checks off 7 of the 15 remaining portability boxes:

:sh01: Shuusou Gyoku P0256

Next up: Taking a well-earned break from Shuusou Gyoku and starting with the preparations for multilingual PC-98 Touhou translatability by looking at TH04's and TH05's in-game dialog system, and definitely writing a shorter blog post about all that…

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:stripe: Stripe is now properly integrated into this website as an alternative to PayPal! Now, you can also financially support the project if PayPal doesn't work for you, or if you prefer using a provider out of Stripe's greater variety. It's unfortunate that I had to ship this integration while the store is still sold out, but the Shuusou Gyoku OpenGL backend has turned out way too complicated to be finished next to these two pushes within a month. It will take quite a while until the store reopens and you all can start using Stripe, so I'll just link back to this blog post when it happens.

Integrating Stripe wasn't the simplest task in the world either. At first, the Checkout API seems pretty friendly to developers: The entire payment flow is handled on the backend, in the server language of your choice, and requires no frontend JavaScript except for the UI feedback code you choose to write. Your backend API endpoint initiates the Stripe Checkout session, answers with a redirect to Stripe, and Stripe then sends a redirect back to your server if the customer completed the payment. Superficially, this server-based approach seems much more GDPR-friendly than PayPal, because there are no remote scripts to obtain consent for. In reality though, Stripe shares much more potential personal data about your credit card or bank account with a merchant, compared to PayPal's almost bare minimum of necessary data. :thonk:
It's also rather annoying how the backend has to persist the order form information throughout the entire Checkout session, because it would otherwise be lost if the server restarts while a customer is still busy entering data into Stripe's Checkout form. Compare that to the PayPal JavaScript SDK, which only POSTs back to your server after the customer completed a payment. In Stripe's case, more JavaScript actually only makes the integration harder: If you trigger the initial payment HTTP request from JavaScript, you will have to improvise a bit to avoid the CORS error when redirecting away to a different domain.

But sure, it's all not too bad… for regular orders at least. With subscriptions, however, things get much worse. Unlike PayPal, Stripe kind of wants to stay out of the way of the payment process as much as possible, and just be a wrapper around its supported payment methods. So if customers aren't really meant to register with Stripe, how would they cancel their subscriptions? :thonk:
Answer: Through the… merchant? Which I quite dislike in principle, because why should you have to trust me to actually cancel your subscription after you requested it? It also means that I probably should add some sort of UI for self-canceling a Stripe subscription, ideally without adding full-blown user accounts. Not that this solves the underlying trust issue, but it's more convenient than contacting me via email or, worse, going through your bank somehow. Here is how my solution works:

I might have gone a bit overboard with the crypto there, but I liked the idea of not storing any of the Stripe session IDs in the server database. It's not like that makes the system more complex anyway, and it's nice to have a separate confirmation step before canceling a subscription.

But even that wasn't everything I had to keep in mind here. Once you switch from test to production mode for the final tests, you'll notice that certain SEPA-based payment providers take their sweet time to process and activate new subscriptions. The Checkout session object even informs you about that, by including a payment status field. Which initially seems just like another field that could indicate hacking attempts, but treating it as such and rejecting any unpaid session can also reject perfectly valid subscriptions. I don't want all this control… 🥲
Instead, all I can do in this case is to tell you about it. In my test, the Stripe dashboard said that it might take days or even weeks for the initial subscription transaction to be confirmed. In such a case, the respective fraction of the cap will unfortunately need to remain red for that entire time.

And that was 1½ pushes just to replicate the basic functionality of a simple PayPal integration with the simplest type of Stripe integration. On the architectural site, all the necessary refactoring work made me finally upgrade my frontend code to TypeScript at least, using the amazing esbuild to handle transpilation inside the server binary. Let's see how long it will now take for me to upgrade to SCSS…


With the new payment options, it makes sense to go for another slight price increase, from up to per push. The amount of taxes I have to pay on this income is slowly becoming significant, and the store has been selling out almost immediately for the last few months anyway. If demand remains at the current level or even increases, I plan to gradually go up to by the end of the year.
📝 As 📝 usual, I'm going to deliver existing orders in the backlog at the value they were originally purchased at. Due to the way the cap has to be calculated, these contributions now appear to have increased in value by a rather awkward 13.33%.


This left ½ of a push for some more work on the TH01 Anniversary Edition. Unfortunately, this was too little time for the grand issue of removing byte-aligned rendering of bigger sprites, which will need some additional blitting performance research. Instead, I went for a bunch of smaller bugfixes:

The final point, however, raised the question of what we're now going to do about 📝 a certain issue in the 地獄/Jigoku Bad Ending. ZUN's original expensive way of switching the accessed VRAM page was the main reason behind the lag frames on slower PC-98 systems, and search-replacing the respective function calls would immediately get us to the optimized version shown in that blog post. But is this something we actually want? If we wanted to retain the lag, we could surely preserve that function just for this one instance…
The discovery of this issue predates the clear distinction between bloat, quirks, and bugs, so it makes sense to first classify what this issue even is. The distinction comes all down to observability, which I defined as changes to rendered frames between explicitly defined frame boundaries. That alone would be enough to categorize any cause behind lag frames as bloat, but it can't hurt to be more explicit here.

Therefore, I now officially judge observability in terms of an infinitely fast PC-98 that can instantly render everything between two explicitly defined frames, and will never add additional lag frames. If we plan to port the games to faster architectures that aren't bottlenecked by disappointing blitter chips, this is the only reasonable assumption to make, in my opinion: The minimum system requirements in the games' README files are minimums, after all, not recommendations. Chasing the exact frame drop behavior that ZUN must have experienced during the time he developed these games can only be a guessing game at best, because how can we know which PC-98 model ZUN actually developed the games on? There might even be more than one model, especially when it comes to TH01 which had been in development for at least two years before ZUN first sold it. It's also not like any current PC-98 emulator even claims to emulate the specific timing of any existing model, and I sure hope that nobody expects me to import a bunch of bulky obsolete hardware just to count dropped frames.

That leaves the tearing, where it's much more obvious how it's a bug. On an infinitely fast PC-98, the ドカーン frame would never be visible, and thus falls into the same category as the 📝 two unused animations in the Sariel fight. With only a single unconditional 2-frame delay inside the animation loop, it becomes clear that ZUN intended both frames of the animation to be displayed for 2 frames each:

No tearing, and 34 frames in total for the first of the two instances of this animation.

:th01: TH01 Anniversary Edition, version P0239 2023-05-01-th01-anniv.zip

Next up: Taking the oldest still undelivered push and working towards TH04 position independence in preparation for multilingual translations. The Shuusou Gyoku OpenGL backend shouldn't take that much longer either, so I should have lots of stuff coming up in May afterward.

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Yes, I'm still alive. This delivery was just plagued by all of the worst luck: Data loss, physical hard drive failure, exploding phone batteries, minor illness… and after taking 4 weeks to recover from all of that, I had to face this beast of a task. 😵

Turns out that neither part of improving video performance and usability on this blog was particularly easy. Decently encoding the videos into all web-supported formats required unexpected trade-offs even for the low-res, low-color material we are working with, and writing custom video player controls added the timing precision resistance of HTML <video> on top of the inherent complexity of frontend web development. Why did this need to be 800 lines of commented JavaScript and 200 lines of commented CSS, and consume almost more than 5 pushes?! Apparently, the latest price increase also seemed to have raised the minimum level of acceptable polish in my work, since that's more than the maximum of 3.67 pushes it should have taken. To fund the rest, I stole some of the reserved JIS trail word rendering research pushes, which means that the next towards anything will go back towards that goal.


The codec situation is especially sad because it seems like so much of a solved problem. ZMBV, the lossless capture codec introduced by DOSBox, is both very well suited for retro game footage and remarkably simple too: DOSBox-X's implementation of both an encoder and decoder comes in at under 650 lines of C++, excluding the Deflate implementation. Heck, the AVI container around the codec is more complicated to write than the compressed video data itself, and AVI is already the easiest choice you have for a widely supported video container format.
Currently, this blog contains 9:02 minutes of video across 86 files, with a total frame count of 24,515. In case this post attracts a general video encoding audience that isn't familiar with what I'm encoding here: The maximum resolution is 640×400, and most of the video uses 16 colors, with some parts occasionally using more. With ZMBV, the lossless source files take up 43.8 MiB, and that's even with AVI's infamously bad overhead. While you can always spend more time on any compression task and precisely tune your algorithm to match your source data even better, 43.8 MiB looks like a more than reasonable amount for this type of content.

Especially compared with what I actually have to ship here, because sadly, ZMBV is not supported by browsers. 😔 Writing a WebAssembly player for ZMBV would have certainly been interesting, but it already took 5 pushes to get to what we have now. So, let's instead shell out to ffmpeg and build a pipeline to convert ZMBV to the ill-suited codecs supported by web browsers, replacing the previously committed VP9 and VP8 files. From that point, we can then look into AV1, the latest and greatest web-supported video codec, to save some additional bandwidth.

But first, we've got to gather all the ZMBV source files. While I was working on the 📝 2022-07-10 blog post, I noticed some weirdly washed-out colors in the converted videos, leading to the shocking realization that my previous, historically grown conversion script didn't actually encode in a lossless way. 😢 By extension, this meant that every video before that post could have had minor discolorations as well.
For the majority of videos, I still had the original ZMBV capture files straight out of DOSBox-X, and reproducing the final videos wasn't too big of a deal. For the few cases where I didn't, I went the extra mile, took the VP9 files, and manually fixed up all the minor color errors based on reference videos from the same gameplay stage. There might be a huge ffmpeg command line with a complicated filter graph to do the job, but for such a small 4-digit number of frames, it is much more straightforward to just dump each frame as an image and perform the color replacement with ImageMagick's -opaque and -fill options. :tannedcirno:


So, time to encode our new definite collection of source files into AV1, and what the hell, how slow is this codec? With ffmpeg's libaom-av1, fully encoding all 86 videos takes almost 9 hours on my mid-range development system, regardless of the quality selected.
But sure, the encoded videos are managed by a cache, and this obviously only needs to be done once. If the results are amazing, they might even justify these glacial encoding speeds. Unfortunately, they don't: In its lossless -crf 0 mode, AV1 performs even worse than VP9, taking up 222 MiB rather than 182 MiB. It might not sound bad now, but as we're later going to find out, we want to have a lot of keyframes in these videos, which will blow up video sizes even further.

So, time to go lossy and maybe take a deep dive into AV1 tuning? Turns out that it only gets worse from there:

Because that's what all this tuning ended up being: a complete waste of time. No matter which tuning options I tried, all they did was cut down encoding time in exchange for slightly larger files on average. If there is a magic tuning option that would suddenly cause AV1 to maybe even beat ZMBV, I haven't found it. Heck, at particularly low settings, -enable-intrabc even caused blocky glitches with certain pellet patterns that looked like the internal frame block hashes were colliding all over the place. Unfortunately, I didn't save the video where it happened.

So yeah, if you've already invested the computation time and encoded your content by just specifying a -crf value and keeping the remaining settings at their time-consuming defaults, any further tuning will make no difference. Which is… an interesting choice from a usability perspective. :thonk: I would have expected the exact opposite: default to a reasonably fast and efficient profile, and leave the vast selection of tuning options for those people to explore who do want to wait 5× as long for their encoder for that additional 5% of compression efficiency. On the other hand, that surely is one way to get people to extensively study your glorious engineering efforts, I guess? You know what would maybe even motivate people to intrinsically do that? Good documentation, with examples of the intent behind every option and its optimal use case. Nobody needs long help strings that just spell out all of the abbreviations that occur in the name of the option…
But hey, that at least means there's no reason to not use anything but ZMBV for storing and archiving the lossless source files. Best compression efficiency, encodes in real-time, and the files are much easier to edit.

OK, end of rant. To understand why anyone could be hyped about AV1 to begin with, we just have to compare it to VP9, not to ZMBV. In that light, AV1 is pretty impressive even at -crf 1, compressing all 86 videos to 68.9 MiB, and even preserving 22.3% of frames completely losslessly. The remaining frames exhibit the exact kind of quality loss you'd want for retro game footage: Minor discoloration in individual pixels, so minuscule that subtracting the encoded image from the source yields an almost completely black image. Even after highlighting the errors by normalizing such a difference image, they are barely visible even if you know where to look. If "compressed PNG size of the normalized difference between ZMBV and AV1 -crf 1" is a useful metric, this would be its median frame among the 77.7% of non-lossless frames:

The lossless source imageThe same image encoded in AV1The normalized difference between both images
That's frame 455 (0-based) of 📝 YuugenMagan's reconstructed Phase 5 pattern on Easy mode. The AV1 version does in fact expand the original image's 16 distinct colors to 38.

For comparison, here's the 13th worst one. The codec only resorts to color bleeding with particularly heavy effects, exactly where it doesn't matter:

The lossless source imageThe same image encoded in AV1The normalized difference between both images
Frame 25 (0-based) of the 📝 TH05 Reimu bomb animation quirk video. 139 colors in the AV1 version.

Whether you can actually spot the difference is pretty much down to the glass between the physical pixels and your eyes. In any case, it's very hard, even if you know where to look. As far as I'm concerned, I can confidently call this "visually lossless", and it's definitely good enough for regular watching and even single-frame stepping on this blog.
Since the appeal of the original lossless files is undeniable though, I also made those more easily available. You can directly download the one for the currently active video with the button in the new video player – or directly get all of them from the Git repository if you don't like clicking.


Unfortunately, even that only made up for half of the complexity in this pipeline. As impressive as the AV1 -crf 1 result may be, it does in fact come with the drawback of also being impressively heavy to decode within today's browsers. Seeking is dog slow, with even the latencies for single-frame stepping being way beyond what I'd consider tolerable. To compensate, we have to invest another 78 MiB into turning every 10th frame into a keyframe until single-stepping through an entire video becomes as fast as it could be on my system.
But fine, 146 MiB, that's still less than the 178 MiB that the old committed VP9 files used to take up. However, we still want to support VP9 for older browsers, older hardware, and people who use Safari. And it's this codec where keyframes are so bad that there is no clear best solution, only compromises. The main issue: The lower you turn VP9's -crf value, the slower the seeking performance with the same number of keyframes. Conversely, this means that raising quality also requires more keyframes for the same seeking performance – and at these file sizes, you really don't want to raise either. We're talking 1.2 GiB for all 86 videos at -crf 10 and -g 5, and even on that configuration, seeking takes 1.3× as long as it would in the optimal case.

Thankfully, a full VP9 encode of all 86 videos only takes some 30 minutes as opposed to 9 hours. At that speed, it made sense to try a larger number of encoding settings during the ongoing development of the player. Here's a table with all the trials I've kept:

Codec -crf -g Other parameters Total size Seek time
VP9 32 20 -vf format=yuv420p 111 MiB 32 s
VP8 10 30 -qmin 10 -qmax 10 -b:v 1G 120 MiB 32 s
VP8 7 30 -qmin 7 -qmax 7 -b:v 1G 140 MiB 32 s
AV1 1 10 146 MiB 32 s
VP8 10 20 -qmin 10 -qmax 10 -b:v 1G 147 MiB 32 s
VP8 6 30 -qmin 6 -qmax 6 -b:v 1G 149 MiB 32 s
VP8 15 10 -qmin 15 -qmax 15 -b:v 1G 177 MiB 32 s
VP8 10 10 -qmin 10 -qmax 10 -b:v 1G 225 MiB 32 s
VP9 32 10 -vf format=yuv422p 329 MiB 32 s
VP8 0-4 10 -qmin 0 -qmax 4 -b:v 1G 376 MiB 32 s
VP8 5 30 -qmin 5 -qmax 5 -b:v 1G 169 MiB 33 s
VP9 63 40 47 MiB 34 s
VP9 32 20 -vf format=yuv422p 146 MiB 34 s
VP8 4 30 -qmin 0 -qmax 4 -b:v 1G 192 MiB 34 s
VP8 4 40 -qmin 4 -qmax 4 -b:v 1G 168 MiB 35 s
VP9 25 20 -vf format=yuv422p 173 MiB 36 s
VP9 15 15 -vf format=yuv422p 252 MiB 36 s
VP9 32 25 -vf format=yuv422p 118 MiB 37 s
VP9 20 20 -vf format=yuv422p 190 MiB 37 s
VP9 19 21 -vf format=yuv422p 187 MiB 38 s
VP9 32 10 553 MiB 38 s
VP9 32 10 -tune-content screen 553 MiB
VP9 32 10 -tile-columns 6 -tile-rows 2 553 MiB
VP9 15 20 -vf format=yuv422p 207 MiB 39 s
VP9 10 5 1210 MiB 43 s
VP9 32 20 264 MiB 45 s
VP9 32 20 -vf format=yuv444p 215 MiB 46 s
VP9 32 20 -vf format=gbrp10le 272 MiB 49 s
VP9 63 24 MiB 67 s
VP8 0-4 -qmin 0 -qmax 4 -b:v 1G 119 MiB 76 s
VP9 32 107 MiB 170 s
The bold rows correspond to the final encoding choices that are live right now. The seeking time was measured by holding → Right on the 📝 cheeto dodge strategy video.

Yup, the compromise ended up including a chroma subsampling conversion to YUV422P. That's the one thing you don't want to do for retro pixel graphics, as it's the exact cause behind washed-out colors and red fringing around edges:

The lossless source imageThe same image encoded in VP9, exhibiting a severe case of chroma subsamplingThe normalized difference between both images
The worst example of chroma subsampling in a VP9-encoded file according to the above metric, from frame 130 (0-based) of 📝 Sariel's restored leaf "spark" animation, featuring smeared-out contours and even an all-around darker image, blowing up the image to a whopping 3653 colors. It's certainly an aesthetic.

But there simply was no satisfying solution around the ~200 MiB mark with RGB colors, and even this compromise is still a disappointment in both size and seeking speed. Let's hope that Safari users do get AV1 support soon… Heck, even VP8, with its exclusive support for YUV420P, performs much better here, with the impact of -crf on seeking speed being much less pronounced. Encoding VP8 also just takes 3 minutes for all 86 videos, so I could have experimented much more. Too bad that it only matters for really ancient systems… :onricdennat:
Two final takeaways about VP9:


Alright, now we're done with codecs and get to finish the work on the pipeline with perhaps its biggest advantage. With a ffmpeg conversion infrastructure in place, we can also easily output a video's first frame as a poster image to be passed into the <video> tag. If this image is kept at the exact resolution of the video, the browser doesn't need to wait for an indeterminate amount of "video metadata" to be loaded, and can reserve the necessary space in the page layout much faster and without any of these dreaded loading spinners. For the big /blog page, this cuts down the minimum amount of required resources from 69.5 MB to 3.6 MB, finally making it usable again without waiting an eternity for the page to fully load. It's become pretty bad, so I really had to prioritize this task before adding any more blog posts on top.

That leaves the player itself, which is basically a sum of lots of little implementation challenges. Single-frame stepping and seeking to discrete frames is the biggest one of them, as it's technically not possible within the <video> tag, which only returns the current time as a continuous value in seconds. It only sort of works for us because the backend can pass the necessary FPS and frame count values to the frontend. These allow us to place a discrete grid of frame "frets" at regular intervals, and thus establish a consistent mapping from frames to seconds and back. The only drawback here is a noticeably weird jump back by one frame when pausing a video within the second half of a frame, caused by snapping the continuous time in seconds back onto the frame grid in order to maintain a consistent frame counter. But the whole feature of frame-based seeking more than makes up for that.
The new scrubbable timeline might be even nicer to use with a mouse or a finger than just letting a video play regularly. With all the tuning work I put into keyframes, seeking is buttery smooth, and much better than the built-in <video> UI of either Chrome or Firefox. Unfortunately, it still costs a whole lot of CPU, but I'd say it's worth it. 🥲

Finally, the new player also has a few features that might not be immediately obvious:

And with that, development hell is over, and I finally get to return to the core business! Just more than one month late. :tannedcirno: Next up: Shipping the oldest still pending order, covering the TH04/TH05 ending script format. Meanwhile, the Seihou community also wants to keep investing in Shuusou Gyoku, so we're also going to see more of that on the side.

📝 Posted:
🚚 Summary of:
P0170, P0171
Commits:
(Website) 0c4ab41...4f04091, (Website) 4f04091...e12cf26
💰 Funded by:
[Anonymous]
🏷 Tags:

The "bad" news first: Expanding to Stripe in order to support Google Pay requires bureaucratic effort that is not quite justified yet, and would only be worth it after the next price increase.

Visualizing technical debt has definitely been overdue for a while though. With 1 of these 2 pushes being focused on this topic, it makes sense to summarize once again what "technical debt" means in the context of ReC98, as this info was previously kind of scattered over multiple blog posts. Mainly, it encompasses

Technically (ha), it would also include all of master.lib, which has always been compiled into the binaries in this way, and which will require quite a bit of dedicated effort to be moved out into a properly linkable library, once it's feasible. But this code has never been part of any progress metric – in fact, 0% RE is defined as the total number of x86 instructions in the binary minus any library code. There is also no relation between instruction numbers and the time it will take to finalize master.lib code, let alone a precedent of how much it would cost.

If we now want to express technical debt as a percentage, it's clear where the 100% point would be: when all RE'd code is also compiled in from a translation unit outside the big .ASM one. But where would 0% be? Logically, it would be the point where no reverse-engineered code has ever been moved out of the big translation units yet, and nothing has ever been decompiled. With these boundary points, this is what we get:

Visualizing technical debt in terms of the total amount of instructions that could possibly be not finalized

Not too bad! So it's 6.22% of total RE that we will have to revisit at some point, concentrated mostly around TH04 and TH05 where it resulted from a focus on position independence. The prices also give an accurate impression of how much more work would be required there.

But is that really the best visualization? After all, it requires an understanding of our definition of technical debt, so it's maybe not the most useful measurement to have on a front page. But how about subtracting those 6.22% from the number shown on the RE% bars? Then, we get this:

Visualizing technical debt in terms of the absolute number of 'finalized' instructions per binary

Which is where we get to the good news: Twitter surprisingly helped me out in choosing one visualization over the other, voting 7:2 in favor of the Finalized version. While this one requires you to manually calculate € finalized - € RE'd to obtain the raw financial cost of technical debt, it clearly shows, for the first time, how far away we are from the main goal of fully decompiling all 5 games… at least to the extent it's possible.


Now that the parser is looking at these recursively included .ASM files for the first time, it needed a small number of improvements to correctly handle the more advanced directives used there, which no automatic disassembler would ever emit. Turns out I've been counting some directives as instructions that never should have been, which is where the additional 0.02% total RE came from.

One more overcounting issue remains though. Some of the RE'd assembly slices included by multiple games contain different if branches for each game, like this:

; An example assembly file included by both TH04's and TH05's MAIN.EXE:
if (GAME eq 5)
	; (Code for TH05)
else
	; (Code for TH04)
endif

Currently, the parser simply ignores if, else, and endif, leading to the combined code of all branches being counted for every game that includes such a file. This also affects the calculated speed, and is the reason why finalization seems to be slightly faster than reverse-engineering, at currently 471 instructions per push compared to 463. However, it's not that bad of a signal to send: Most of the not yet finalized code is shared between TH04 and TH05, so finalizing it will roughly be twice as fast as regular reverse-engineering to begin with. (Unless the code then turns out to be twice as complex than average code… :tannedcirno:).

For completeness, finalization is now also shown as part of the per-commit metrics. Now it's clearly visible what I was doing in those very slow five months between P0131 and P0140, where the progress bar didn't move at all: Repaying 3.49% of previously accumulated technical debt across all games. 👌


As announced, I've also implemented a new caching system for this website, as the second main feature of these two pushes. By appending a hash string to the URLs of static resources, your browser should now both cache them forever and re-download them once they did change on the server. This avoids the unnecessary (and quite frankly, embarrassing) re-requests for all static resources that typically just return a 304 Not Modified response. As a result, the blog should now load a bit faster on repeated visits, especially on slower connections. That should allow me to deliberately not paginate it for another few years, without it getting all too slow – and should prepare us for the day when our first game reaches 100% and the server will get smashed. :onricdennat: However, I am open to changing the progress blog link in the navigation bar at the top to the list of tags, once people start complaining.

Apart frome some more invisible correctness and QoL improvements, I've also prepared some new funding goals, but I'll cover those once the store reopens, next year. Syntax highlighting for code snippets would have also been cool, but unfortunately didn't make it into those two pushes. It's still on the list though!

Next up: Back to RE with the TH03 score file format, and other code that surrounds it.

📝 Posted:
🚚 Summary of:
P0143, P0144, P0145
Commits:
(Website) 9069fb7...c8ac7e5, (Website) c8ac7e5...69dd597, (Website) 69dd597...71417b6
💰 Funded by:
[Anonymous], Yanga, Lmocinemod
🏷 Tags:

Who said working on the website was "fun"? That code is a mess. :tannedcirno: This right here is the first time I seriously wrote a website from (almost) scratch. Its main job is to parse over a Git repository and calculate numbers, so any additional bulky frameworks would only be in the way, and probably need to be run on some sort of wobbly, unmaintainable "stack" anyway, right? 😛 📝 As with the main project though, I'm only beginning to figure out the best structure for this, and these new features prompted quite a lot of upfront refactoring…

Before I start ranting though, let's quickly summarize the most visible change, the new tag system for this blog!

Finally, the order page now shows the exact number of pushes a contribution will fund – no more manual divisions required. Shoutout to the one email I received, which pointed out this potential improvement!


As for the "invisible" changes: The one main feature of this website, the aforementioned calculation of the progress metrics, also turned out as its biggest annoyance over the years. It takes a little while to parse all the big .ASM files in the source tree, once for every push that can affect the average number of removed instructions and unlabeled addresses. And without a cache, we've had to do that every time we re-launch the app server process.
Fundamentally, this is – you might have guessed it – a dependency tracking problem, with two inputs: the .ASM files from the ReC98 repo, and the Golang code that calculates the instruction and PI numbers. Sure, the code has been pretty stable, but what if we do end up extending it one day? I've always disliked manually specified version numbers for use cases like this one, where the problem at hand could be exactly solved with a hashing function, without being prone to human error.

(Sidenote: That's why I never actively supported thcrap mods that affected gameplay while I was still working on that project. We still want to be able to save and share replays made on modded games, but I do not want to subject users to the unacceptable burden of manually remembering which version of which patch stack they've recorded a given replay with. So, we'd somehow need to calculate a hash of everything that defines the gameplay, exclude the things that don't, and only show replays that were recorded on the hash that matches the currently running patch stack. Well, turns out that True Touhou Fans™ quite enjoy watching the games get broken in every possible way. That's the way ZUN intended the games to be experienced, after all. Otherwise, he'd be constantly maintaining the games and shipping bugfix patches… 🤷)

Now, why haven't I been caching the progress numbers all along? Well, parallelizing that parsing process onto all available CPU cores seemed enough in 2019 when this site launched. Back then, the estimates were calculated from slightly over 10 million lines of ASM, which took about 7 seconds to be parsed on my mid-range dev system.
Fast forward to P0142 though, and we have to parse 34.3 million lines of ASM, which takes about 26 seconds on my dev system. That would have only got worse with every new delivery, especially since this production server doesn't have as many cores.

I was thinking about a "doing less" approach for a while: Parsing only the files that had changed between the start and end commit of a push, and keeping those deltas across push boundaries. However, that turned out to be slightly more complex than the few hours I wanted to spend on it. And who knows how well that would have scaled. We've still got a few hundred pushes left to go before we're done here, after all.

So with the tag system, as always, taking longer and consuming more pushes than I had planned, the time had come to finally address the underlying dependency tracking problem.
Initially, this sounded like a nail that was tailor-made for 📝 my favorite hammer, Tup: Move the parser to a separate binary, gather the list of all commits via git rev-list, and run that parser binary on every one of the commits returned. That should end up correctly tracking the relevant parts of .git/ and the new binary as inputs, and cause the commits to be re-parsed if the parser binary changes, right? Too bad that Tup both refuses to track anything inside .git/, and can't track a Golang binary either, due to all of the compiler's unpredictable outputs into its build cache. But can't we at least turn off–

> The build cache is now required as a step toward eliminating $GOPATH/pkg. — Go 1.12 release notes

Oh, wonderful. Hey, I always liked $GOPATH! 🙁

But sure, Golang is too smart anyway to require an external build system. The compiler's build ID is exactly what we need to correctly invalidate the progress number cache. Surely there is a way to retrieve the build ID for any package that makes up a binary at runtime via some kind of reflection, right? Right? …Of course not, in the great Unix tradition, this functionality is only available as a CLI tool that prints its result to stdout. 🙄
But sure, no problem, let's just exec() a separate process on the parser's library package file… oh wait, such a thing doesn't exist anymore, unless you manually install the package. This would have added another complication to the build process, and you'd still have to manually locate the package file, with its version-specific directory name. That might have worked out in the end, but figuring all this out would have probably gone way beyond the budget.

OK, but who cares about packages? We just care about one single file here, anyway. Didn't they put the official Golang source code parser into the standard library? Maybe that can give us something close to the build ID, by hashing the abstract syntax tree of that file. Well, for starters, one does not simply serialize the returned AST. At least into Golang's own, most "native" Gob format, which requires all types from the go/ast package to be manually registered first.
That leaves ast.Fprint() as the only thing close to a ready-made serialization function… and guess what, that one suffers from Golang's typical non-deterministic order when rendering any map to a string. 🤦

Guess there's no way around the simplest, most stupid way of simply calculating any cryptographically secure hash over the ASM parser file. 😶 It's not like we frequently change comments in this file, but still, this could have been so much nicer.
Oh well, at least I did get that issue resolved now, in an acceptable way. If you ever happened to see this website rebuilding: That should now be a matter of seconds, rather than minutes. Next up: Shinki's background animations!

📝 Posted:
🚚 Summary of:
P0016, P0017
Commits:
(Website) 98b5090...bca833b, (Website) 3f81d1f...d5b9ea2
💰 Funded by:
qp
🏷 Tags:

Website development time: 12/12

Calculating the average speed of the previous crowdfunded pushes, we arrive at estimated "goals" of…

Crowdfunding estimate at 60235fc

So, time's up, and I didn't even get to the entire PayPal integration and FAQ parts… 😕 Still got to clarify a couple of legal questions before formally starting this, though. So for now, let's continue with zorg's next 5 TH05 reverse-engineering and decompilation pushes, and watch those prices go down a bit… hopefully quite significantly!

📝 Posted:
🚚 Summary of:
P0013, P0014, P0015
Commits:
(Website) b9805d2...efeddd8, (Website) 31474a0...9dc9632, (Website) 9dc9632...8d3652f
💰 Funded by:
qp
🏷 Tags:

Website development time: 10/12

In order to be able to calculate how many instructions and absolute memory references are actually being removed with each push, we first need the database with the previous pushes from the Discord crowdfunding days. And while I was at it, I also imported the summary posts from back then.

Also, we now got something resembling a web design!

Crowdfunding logBlog
📝 Posted:
🚚 Summary of:
P0012
Commits:
(Website) b9918cc...b9805d2
💰 Funded by:
qp
🏷 Tags:

Website development time: 7/12

So yeah, "upper bound" and "probability". In reality it's certainly better than the numbers suggest, but as I keep saying, we can't say much about position independence without having reverse-engineered everything.

Next up: Money goals.

Upper bound of remaining absolute memory references at 60235fcProbability of position independence at 60235fc
📝 Posted:
🚚 Summary of:
P0011
Commits:
(Website) 40c1e98...b9918cc
💰 Funded by:
qp
🏷 Tags:

Website development time: 6/12

Here we go, overall ReC98 reverse-engineering progress. Now viewable for every commit on the page.

Number of not yet reverse-engineered x86 instructions at 60235fcReverse-engineering completion percentage at 60235fc
📝 Posted:
🚚 Summary of:
P0010, P0054, P0055
Commits:
(Website) cbda977...94127fb, (Website) 94127fb...3161d7e, (Website) 3161d7e...40c1e98
💰 Funded by:
DTM, Egor
🏷 Tags:

Website development time: 5/12

Now with the number of not yet RE'd x86 instructions the you might have seen in the thpatch Discord. They're a bit smaller now, didn't filter out a couple of directives back then.

Yes, requesting these currently is super slow. That's why I didn't want to have everyone here yet!

Next step: Figuring out the actual total number of game code instructions, for that nice "% done". Also, trying to do the same for position independence.