“Snowcrash” to be HBO series, compete with actual early Metaverses for viewers

In that world what the Golds do to humans on Earth is considered ancient history.

The main character’s rise as a Red is certainly a struggle. And the plight of all Reds and the other colors is equally similar.

But overall the story arc is more similar to the Biblical story of Noah, but with gladiators and space ships.

To be fair, the story of Noah might be considered dystopian to prosperous Jewish cultures a few thousand years ago. But at some point everyone’s plights become history.

https://en.wikipedia.org/wiki/Westworld_(film)

https://twitter.com/seinfeldtoday

In a lot of adversarial input stuff for AI, you're trying to get the AI to misclassify something, not necessarily to damage the AI or even change its learning at all. In Snow Crash the perceptions were definitely damaging to the perceivers, but I don't think you have to go nearly that far to have adversarial inputs!

Snow-crash is the first example I know of, of the attack being condensed to a bitmap and experienced solely through the optic nerve and subsequently and substantially condensed in the time domain.

Typically the sort of results of an adversarial attack against a human neural network similar to one described in snowcrash is more indicative of long term and repeated exposure to adversarial stimulus that usually starts at birth and last through sometimes as late as adulthood. Snowcrash condenses this effect and that’s whats striking and interesting.

To elaborate, the sort of adversarial attack’s I’m thinking of, are: indoctrination; gaslighting; cycles of abuse (a very nasty one that can go on for generations!); just about anything in the cia psy-ops manual, oh and I shouldn’t leave off entrapment (that’s a fun one).

Apart from psychological manipulation, of course―as already noted in another comment.

[0] https://en.wikipedia.org/wiki/Blind_spot_(vision)

I think the HiFi idea might be private spaces though, so probably need to be invited. Kinda like how Google Apps let businesses have their own private version of Gmail and Docs.

I guess that's one of the problems of creating a platform... Got to balance being too open or being too closed... One of the coolest things I thought about SL is you can just start building in world and scripting. However now with Mesh you create stuff externally and upload it, but don't think there's a way to really preview it much so stuck to pay to upload it, unless you logged into the beta grid. But not sure how much stuff can be stopped other than responding to abuse reports. I think screening all content like Apple does might be a solution too, but still has it's own pro and cons. I guess give people tools, and they'll abuse it.

I was thinking maybe charge like half of what a high quality game on a console is to create an account, but then I doubt it would grow as much but it would limit people from creating troll accounts and help fund developments and servers.

Hmm interesting on comparison to Facebook. Never thought of comparing it more to IRC chat rooms, but I feel like if you looked at the stats maybe it's better to put your effort into a iPhone or Facebook app if you want a bunch of users. I know there's also some stat that a large amount of the userbase just chats with friends instead of exploring the world. But also some content creators are able to make a full time living too.

http://www.gridsurvey.com/ According to that 41,905 people are online right now. But I guess my point is it seem more niche than mainstream, but still impressive and profitable.

https://nwn.blogs.com/nwn/2014/08/confirmed-facebook-purchas...

However, while HBO's Watchmen is well timed because of the huge popularity of the MCU, there's not currently any similarly well-known cyberpunk body of fiction right now.

It will be interesting to see how they adapt it though. It's probably one of the more "ready for screen" books that Stephenson has written, but even there it relies heavily on internal-monologue and brute writing style more than it does on great plotting.

Of course if you are going by my theory of dystopian SF being the thing right now, The Diamond Age is probably a better fit, plus it's already populated with a few orgy scenes, which seems to be a plus for HBO. I suppose there are casting issues with the plot centering so much around a young girl though.

Even Margaret Atwood says she willingly works with the production company to "make it work" on screen. Plot evaporates in an instant.

As you say, and I agree: its not a sacred text. Speaking of which, I think TV novela versions of sacred texts usually wind up where 'hail ceaser' went: a committee of wise men (and it always is men) arguing about whats sacred anyway..

It's not that it's actually what I expect, it's just that if contemporary futuristic stuff's being made, I'm not watching it. But I have seen the Back to the Future trilogy, and 2010, and so on.

“Why is the Deliverator so equipped? Because people rely on him. He is a roll model. This is America. People do whatever the fuck they feel like doing, you got a problem with that? Because they have a right to. And because they have guns and no one can fucking stop them. As a result, this country has one of the worst economies in the world. When it gets down to it—talking trade balances here—once we've brain-drained all our technology into other countries, once things have evened out, they're making cars in Bolivia and microwave ovens in Tadzhikistan and selling them here—once our edge in natural resources has been made irrelevant by giant Hong Kong ships and dirigibles that can ship North Dakota all the way to New Zealand for a nickel—once the Invisible Hand has taken all those historical inequities and smeared them out into a broad global layer of what a Pakistani brickmaker would consider to be prosperity—y'know what? There's only four things we do better than anyone else:

music, movies, microcode (software), high-speed pizza delivery”

Every Neal Stephenson book rehearses the same ethos. He's consistently asking "but what is consciousness, anyway" in the end.

how many shows did you produce?