What’s that? Today’s Riven: the Sequel to Myst‘s 25th Anniversary? And because the whole game is based around the number 25, that makes it an extra special anniversary?? Time for me to release something extra special then!
Time for me to release a fully restored version of Riven Elementary.
Riven Elementary was a basic maths game inspired by the Wahrk counting number toy in the schoolroom in Riven (more information on it at the Guild of Archivists). The player has to work out what the D’ni symbols for the numbers 1-10 are by observing what happens when you play with the toy. Riven Elementary takes this a step further, and the player has to work out not only the D’ni symbols for numbers using the Wahrk toy but also the D’ni symbols for addition/subtraction/multiplication/division based on which questions they get right & wrong. It was originally released on the 26th of August 1998, 10 months after Riven’s original CD release and coinciding with Riven’s DVD release. A contest was also part of the original release of Riven Elementary – you could only submit your details if you won a perfect game, and there were two winners a week earning a free CD copy of Riven.
The game itself was made by Jig Interactive using Macromedia Director and designed to play in-browser using Macromedia Shockwave Player, the precursor to Adobe Shockwave. The original version went offline around 20 years ago, but fragments of it lived on in some mirrors. Before now, if you were dedicated it was possible to re-create most of the game to have a functional-but-not-with-original-graphics version you could get running with an old version of a web browser that still supported plug-ins (like I had it running on my Myst book). But what I’m releasing here is a restored version using not only all the original graphics, but in a form that’s easily playable on modern computers.
The all-authoritative RAWA has said many times that the mathematical operand symbols in Riven Elementary are officially not canon. But hey, they’re also the only mathematical symbols we’ve got, official/canon or not. So people have been hungry for them anyway.
Huge thanks goes out to @tomysshadow for most of the effort! They managed to track down the old Jig Interactive employee, Gabe Jensen, who originally programmed the game (he’s now a children’s book author; you can check him out at https://gabejensenbooks.com). He still had the original source files, which filled all the gaps missing from the versions you could recreate from the Internet Archive. @tomysshadow also leveraged their experience dealing with old Shockwave files to create a projector for the ancient game so it could be played on modern Windows systems without needing an old web browser with the Shockwave plugin installed.
Riven Elementary was originally designed to run on Internet Explorer 4-era of Web Browsers with the Macromedia Shockwave Player plug-in installed. Thankfully the world has since moved on from such dark, primitive times. What I’m releasing has been tested & confirmed to run on Windows 10 and Windows 11, and it’ll probably run on earlier releases of Windows too. Sorry MacOS users; Apple’s long-term war against backwards compatibility and Adobe Director’s discontinuation in 2017 mean no easy export to a modern native .app for Shockwave files. Those who know how on MacOS/Linux may have some luck with Crossover, WINE, a virtual machine, or similar emulation/virtualisation environment; if you do, let me know in the comments! Other system requirements like RAM or CPU speed mattered back in the day, but today they’re so low a calculator app may be more demanding so they’re not worth mentioning.
Just download the zip file, extract everything somewhere, run rivenelem.exe, and you’re away!
Some anti-virus providers may not like this game, likely just because it’s old Shockwave content. I’ve scanned these files thoroughly through the likes of VirusTotal and others, but to make sure nothing’s been tampered with here’s a description of the archive’s contents plus their SHA-1 hashes:
So, first off, the primary intended audience of this post is current/future members of HSBNE aka Hackerspace Brisbane. If you’re wondering why I’m writing this here somewhere open & public, it’s partly because I’m being blocked from posting it in the forums, but also because saying these things only in private has only allowed the bad behaviour to flourish. This censorship is wrong; if you can’t discuss issues then you can’t hope to fix them. It’s even worse when this censoring is being used to hide evidence of wrongdoing so members don’t know what’s really happening at their own space. But that’s the currently acceptable standard at HSBNE, and frankly, I don’t think the average member would agree with what’s actually being enforced if they knew it was happening.
For the newer members who don’t know me, I’m Mike & I’ve been a very active HSBNE member & volunteer for 8 years until recently. I’ve spent nearly a decade helping build HSBNE up as best as I can, and I still want it to succeed as much as possible. It’s a one-of-a-kind place, after all. But I’m deeply concerned that the direction it’s taking will cause the place to implode, and the fact that members aren’t permitted to know the direction it’s taking is incredibly worrying to me. I think it’s fair to say that anyone who volunteers to improve HSBNE does so because they want to make it a better place, however what’s “better” is sometimes a matter of opinion. For instance, wanting to portray HSBNE in the best possible light has been a thing for as long as I can remember, and in general it’s a good thing. Unfortunately, with time that’s morphed at first into hiding structural issues that are wrong without fixing them, into discouraging members from bringing them up, into outright punishing anyone who mentions them. This is an incredibly dangerous anti-pattern, because it not only perpetuates the original problem, it ends up actively encouraging it and the problematic behaviour increases. Bad things happen at all organisations and HSBNE is not some magical exemption; it’s how you deal with them that matters most.
I have been experiencing discrimination and defamation at HSBNE and I’m both being blocked from even telling other members this has occurred and also being actively prevented from having any opportunity to clear my name. This has even gone as low as lying about and attacking me for my disability. Because all my attempts to get these issues resolved internally have failed, I’m forced to take it externally with legal options. As such, I’ve filed a complaint with the Australian Human Rights Commission about the treatment I’ve received at HSBNE. I would like to share more details, but out of respect for the process & the current executive it’s best to avoid publicly discussing active complaints. So I’d ask anyone reading this to withhold your judgement if you have heard rumours about me as I have evidence backing me up that multiple members have been lying about me.
I’d also like to bring attention to sexual assault & sexual harassment happening at HSBNE. Yes, this is clearly against HSBNE’s rules, but that would require the rules to be enforced. A few years ago I was sexually assaulted by another member. I mostly shrugged it off at the time, until I was at a party last year where I mentioned HSBNE and the person I was speaking to said they quit after they were sexually harassed by the same member. Another person at the party overheard us and said they were also sexually harassed at HSBNE, but by a different member, and they said the place has a reputation for providing safe harbour to sexual predators. I messaged some other ex members that I felt left for suspicious reasons, and before I knew it the number was over half a dozen. This appears to have been happening for a period of time and there’s potentially more cases out there too. This is a perfect example of how silence is helping perpetuate this system as those responsible can keep getting away with it. I’ve debated how much information I should share about my case to warn others, but the fact that the systems are so broken at HSBNE that this keeps happening is far more worrying to me than my own incident, so I’ll just say that there are still active HSBNE members who have sexually harassed other members and visitors. I won’t be naming people for my own safety, fearing retribution, but I’ll simply recommend that women, fem presenting and vulnerable people avoid HSBNE, as my experience has shown that no action will be taken by the HSBNE executives to protect victims of these crimes.
In saying all this, I withdraw all past recommendations I’ve given for HSBNE aka Hackerspace Brisbane, particularly if you’re a woman, fem presenting, vulnerable or disabled person. I cannot in good conscience continue to endorse a place that is not a safe space and where the rules are borderline worthless and enforced unequally.
EDIT: Since I originally posted this, I’ve been private messaged by some ex HSBNE members. The number of incidents of sexual harassment I’m aware of has now increased by 3. Tell me with a straight face there isn’t a problem.
EDIT2: In case anyone tried to write off this post as just one member’s ranting, another core member has made a similar blog post, covering the above plus other issues I also agree with but was scared of mentioning myself lest I suffer retaliation for calling them out. Speaking of retaliation, I’ve been given a Schedule Three 3-month ban aka the toughest ban available, for filing a complaint with the Australian Human Rights Commission. This is not an exaggeration or misleading or putting words in their mouth; filing the complaint was the only reason given for the ban. I’m saying this as a warning to any current/future members about what the current executive consider punishable/forbidden behaviour, such as trying to enforce the law when it’s been broken. Also, the rule used to justify this punishment was not brought in through the usual public discussion/vote by membership route, it bypassed all this to be rushed in unilaterally by the current executive under their override powers with just an announcement that it was now in effect, placing the onus entirely on them. I will not be commenting further on this ban as it will be addressed as part of the AHRC proceedings.
On the 7th of November 2020, Cyan Worlds announced the first annual Myst Island Cake Baking Contest, under the #MystIslandCake hashtag. I couldn’t resist having a go… Around 60 hours of work between us later, here’s the end result!
We started with planing the design – specifically, how could we make a unique approach to this cake, so it wasn’t just another iteration of Myst island. That’s when I had the idea to show a cross-section of the island to display the subterranean caverns. Meka loved this idea, and with his background in architecture, he was well equipped to visualise the final product.
As a way to take stock of what ingredients are available to make this edible diorama, we took a few trips to different stores to find the best ingredients for sculpting and cake decorating. The grocery store had a decent selection that would have been fine, but the trip to a specialist cake decorating shop had fantastic things such as bronze food paint & powdered food colouring.
The making process begun with choosing an appropriate scale to make the cake. Using a 3D model of Myst Island, we found a size that would allow Meka to sculpt the smallest models we wanted to include, as well as considering how much fruit cake we can realistically eat (side note: this is Australian-style fruit cake, which is far more edible & tastes far better than its international counterpart). The board is around 600mm by 300mm, or around 2′ by 1′. I then printed out scaled drawings of the plan view of the island for Meka to start sculpting. Being able to consult these wireframe images, as well as measure dimensions straight off the 3D model, was super handy to make sure everything was scaled correctly & in the right place. Sculpting all the individual buildings, trees & artefacts took many days of fiddly work until we had the majority of the chocolate and sugar cake toppers finished.
2 days put from the deadline, the cake sculpting began. A copy of the island plan was made on baking paper, which was used to make approximate placement of the landscape, contours, buildings & the dock. Again I was in charge of scaling the elevations of the landscape, while Meka’s sticky but far steadier hands sliced away at the cake.
Once we were happy with the overall shape of the island (taking into consideration the underwater portion of the island that Meka approximated), the cake was generously drenched in rum so that it would stay preserved for weeks. There was also the added bonus that the rum helped pull the crumbling cake together after much cutting & piecing together.
It was now time to put on some top soil. A thin layer of brown fondant was stretched across the fruitcake & massaged into shape. The rock portions of the island were painted with a palate of royal icing in different colours to approximate granite, and a layer of moulding chocolate put on the cake board, ready for the ocean water (a mistake we would soon find out) The tricky job of making the sectional view of the internal chambers took a little planing & creative licence. As many Myst fans may know, the chambers don’t exactly fit in the island faithfully, and to make a clean section, a small amount of artistic license was required.
Grass made of crushed digestive biscuits mixed with shredded coconut was applied to the appropriate areas. The buildings, pathways, stairs, ships, pillars & trees were positioned and blended into the landscape, before a dam of packing tape & cardboard was constructed around the cake ready for the sea water. The ocean water was made with agar powder, water, sugar & flavouring, which was cooled to 40’C/105’F before being poured around the cake. The underwater chocolate & the fondant of the island began to dissolve in the agar, even though the jelly was hard. This was not a major problem as the colour stayed in the jelly, and the dissolving fondant dripped slowly, which we continued to mop up.
There’s a running joke amongst my friends that I’m an actual time-travelling mad scientist – mostly because it’s more true than false. So I figured, why not run with it a little and have some fun with it. So that’s what I’ve done here – I’ve restored this old Mad Scientist’s Knife Switch into perfect working order!
Just cleaning it & replacing the springs was the easy part. Safety is important – especially when you’re going to have “exposed” bare copper like I have here. For this knife switch the exposed bare copper is only ever running at 5 Volts, and those +5V connections are used to open/close some relays, with additional protection if the exposed areas ever go too high in voltage or current. You could lick the bare copper if you wanted without feeling so much as a tingle. But I don’t recommend licking copper; it tastes bad.
Fully restored/repaired/running, this knife switch is now sitting around my house as a random extension cord you can use to turn on/off any appliance it’s paired with. Because why not make turning on a lamp a little bit more Mad Sciencey.
My DeLorean‘s now 39 years old, which means it’s got a long list of “nice to haves” that aren’t critical but they either need some attention or outright replacing. One example is the foam in the door trim panel upholstery – that collapsed into a black powder a long time ago and left the door interiors completely flat, hard, and with no depth or shape to them. So let’s fix that! DeLorean Go offer a Door Card Foam Repair Kit with what you need. Since I’m in Australia with shipping restrictions on certain chemicals I ordered the kit with 2 tubes of glue instead of the tin of glue. I personally would’ve found it better to use 3 tubes of glue and I would recommend you buy 3 tubes just in case, but you can definitely make do with just 2 tubes. You could probably DIY this cheaper by finding a suitable foam in the 1/4″ or 6-8mm thickness range but I’m not sure what the best density/firmness you would want, let alone the right foam material; I’m sticking with the vendor-provided option for this job.
As far as jobs go this one is more fiddly than actually tricky. There’s a trick to popping the door trim panels out – have your the window down while you do it and use an upholstery fork/fir tree/trim removal tool to pop the fir tree fasteners one at a time. You can use a screwdriver if you must, but I highly recommend even the cheap plastic trim/fir tree removal tools to save you time. Carefully peel the vinyl off your fibreglass/plastic inner door frame. The dust from the old disintegrated foam will want to go everywhere; make sure you completely vacuum out the old foam dust from all the pockets otherwise you might accidentally get some on the adhesives and they won’t stick as well. Cut to size and insert the new foam – the roll would do maybe 3 doors worth so there’s plenty if you mess up, but remember the old advice that it’s easier to make a bigger piece smaller than a smaller piece bigger. The doors are theoretically mirror images, but these cars were hand-made so there might be a tiny bit of variance between them. When gluing, apply the glue to both surfaces and let them dry a little bit before pressing them together. It’s also important to keep the vinyl stretched taut over the backing piece as you work when gluing it on to avoid any bunching or ripples. Finally, this is a good time to replace your door’s fir tree fasteners if your old ones have gotten all mangled up over the decades.
The end result should look something like this – the extra curves & shaped definition in the vinyl are subtle, but definitely there and make it look that little bit better! I’ve done my best to take both of these photos from the same position/angle with as close to identical natural lighting as I could, to make the comparison easier to see. By now all DeLoreans will have collapsed door foam if it wasn’t already replaced; whether or not you think this needs doing to your car is entirely down to your personal opinion.
My wall clock in my house recently died, and with there being a running joke that I’m a time traveller thanks to my DeLorean, I thought I might as well build a replacement clock myself so it could be extra unique. Here’s what I came up with: a self-setting, self-correcting, self-adjusting wall clock/chronometer that tells time both in our timekeeping system and in the 25-hour D’ni timekeeping system used in the Myst series of video games. This is actually pretty handy if you want to know if it’s the right time to log in for certain events in Myst Online: Uru Live.
Technically it’s more a “chronometer” than a “clock” – the main difference between the two is that chronometers have far higher accuracy & precision, to the point that they can be used for scientific experiments. For this one, it’s generally safe to assume it shouldn’t read outside 0.003s of the actual time, but in practice it’s usually under 0.001s of the actual time. It’s no atomic clock, but it’ll do for most of my slow-mo needs. The whole project’s been designed to be as cheap, low-tech, skill-free, and expensive-tool-free as possible.
First up, a little primer – the digits used in the Myst games, aka D’ni digits, are a base-25 numbering system. This means they count up using symbols like , , ,  … , , , . That is, what they call “10”, we call “25” – the same way that in hexadecimal “10” represents what we call “16”. The numbers themselves are based on the numbers 0-4, which are then rotated anticlockwise 90° to represent 5/10/15/20. Here’s an example of D’ni numbers, showing how you add the row & column header symbols together to get the final number symbol:
Each D’ni “day”, or “yahr”, is roughly 30 hours, 14 minutes long and each D’ni “second”, or “prorahn”, is roughly 1.4 seconds. The Guild of Archivists has more details on how the actual D’ni timekeeping system works if that interests you. There’s nothing like these digits anywhere out there on the market, aside from something crazy like using LCD displays, but that didn’t interest me much and wouldn’t meet the goals of cheap or low-tech. So I had to come up with my own… And here’s how that turned out!
There’s so many places I could start with describing how this project was made so I’m gonna pick the one that probably interests most people reading this – the custom D’ni digit 25-segment displays! These are basically like my own custom 7-segment displays, but they’re easier to read with much higher contrast than store-bought 7-segs. I couldn’t find any instructions or guides out there on how to make your own (I’m sure there has to be some out there somewhere), so I had to work it all out myself from trial and error. The design itself was all made in Inkscape. Laser cutting holes in sheet acrylic and filling them with translucent resin was the way to go. The trickiest part is to have even light diffusion throughout an entire cell. The black parts are made from laser-cut 4.5mm black acrylic.
To help bounce light around inside each cell as much as possible, I airbrushed them with a thin white paint before filling them with resin. For the side that was to be the “front”, aka the good-quality side, I wanted the poured resin cells to be smooth & flush with the surface of the acrylic, which is tricky. I placed a piece of clear packing tape on a table with the sticky side up, stretched it out as far as I could, then carefully placed the front of the acrylic piece on the stretched tape. This kept the packing tape under constant tension, so that the resin cured against a smooth flat surface. The empty cells were filled with a 7:1 mixture of clear resin with super fine plaster of paris (mixed before pouring, obviously), which was the best-looking diffusing medium I tried. If you try this, sift the plaster into the resin while stirring to make it as evenly distributed as possible and to reduce plaster clumps in the resin. Use a needle to break up the remaining clumps and to remove any air bubbles that might be stuck in the corners. I recommend carefully picking up the cured acrylic blocks and looking at them from underneath to check for any plaster clumps or bubbles too. A vacuum chamber would be great if you’ve got one to remove the bubbles, but I didn’t have one. Once the resin was cured I carefully removed the packing tape and the segments were ready.
At 4.5mm thick, a single layer of diffusion from this material is likely good enough for most people, but just to make the light segments look extra smooth I used two layers of resin-filled acrylic. However, in this video you can see that there’s a lot of light bleeding from one cell to another, so to seal the edges well, I laser-cut some cardboard gaskets out of 2mm thick black cardboard backing board. I painted the interior edges with a silver pen to increase reflection. I used these gaskets between the two layers of acrylic as well as between the acrylic and the circuit board. I tried adding layers of proper light diffusion film between the gaskets, but they did so little and they would’ve been so fiddly to place in each cell that I didn’t bother.
The custom circuit boards were all made in EasyEDA, which is simple enough to use that it runs in your web browser. The layout was imported from Inkscape’s SVG and I used that to properly position the LEDs. Each board has 50 individual LEDS in strings ranging from 1 LED to 4 LEDs long. There’s 36 discrete cells, or resin-filled holes in the acrylic, but some are always lit up together so there’s only 26 controllable segments. There were 2 different voltages used for these boards – 9 Volts for the strings of 4 & 3 LEDs, and 5 Volts for the strings of 2 & 1 LEDs.
I know a lot of people like to rag on the autorouter feature of EDA software, but for something like this it works perfectly. Aside from a few starting obvious straight traces I put down myself, and a few extra links added right at the end to reduce the chances of the top or bottom planes acting like antennae, everything else was autorouted.
With so many tiny SMD LEDs needing soldering, I definitely recommend paying extra to order a solder stencil along with your circuit board. I have pretty shaky hands due to some medication I’m currently on, but I could manage placing them on the small pads of solder paste left by the stencils. It’s called solder paste but it’s easier to work with (and more accurate) if you think of it as a bunch of tiny beads in oil, rather than an actual paste. If you’ve ever wondered what solder paste looks like up close, here’s some microscope photos!
You can use a fancy reflow oven or an electronics hot plate to fuse the solder, but you can also just use a frying pan on a stove, so long as your pan is actually properly flat. Getting the right temperature is important so check with your brand of solder paste – I used Maker Paste which needs 140’C/284’F. Note that standard cheap IR spot thermometers won’t normally work on metal pans (the pan will reflect the IR light giving a wrong reading), but thermal cameras or cooking thermometers work. One clever hack is to add a few drops of water to the pan & count how long it takes for those drops to boil, add half of that time again, and you should be at around 140’C. Preheat the frying pan and the moment the paste all melts & goes shiny, remove the board from heat – this should take under 10 seconds.
Pro tip – you can use baking paper to help make it easier to pick up when you’re done, but make sure you use paper that’s rated for whatever temperature you’re using. This is what happens when you use cheap paper that’s not rated that high. Oops. Made a super pretty pattern, though.
And here’s what they look like with the solder paste melted solid. Note that you don’t have to actually get the LEDs perfectly lined up when you’re using solder paste to do SMD soldering, if you’re slightly off then surface tension will (hopefully) pull them all into near perfect alignment.
I tried 0804 LEDs but they were too big to fit within the segments so I dropped down to 0603, which if you don’t know what that means, they’re 0.06 inches by 0.03 inches, or around 1.5mm by 0.76mm. This is 100% tweezer territory. Here’s a size comparison for you.
Here’s what the circuit board looks like all lit up
Here’s what the final thing looks like with only one layer of diffuser over the top! It honestly could’ve been fine like this, but because I went the extra mile and made 2 diffuser layers, those segments are more evenly lit than the standard 7-segments I used for the normal digits!
Just because, this is what the digit circuit boards look like with a thermal camera, which is a great way to make sure that all the connections are good. This step certainly isn’t necessary, but I have access to a thermal camera with work, so I figured why not use it.
Put this all together, and you get a finished 25-segment display module for showing D’ni digits! The screws are carefully positioned so the threads will go through the case but the head of the screws overlap the modules to hold them in place. Here’s what they look like – layered like an onion, or maybe an Ogre.
Here’s what the insides look like without any wires connected. Bottom left in pink are some TLC5947 constant-current variable brightness LED drivers, and they’re sitting in standard off-the-shelf breakout boards with heatsinks attachedto them. These are what turn on/off all the LEDs behind the D’ni digits. Bottom right is some power supplies to convert the 9V in to the 5V some chips require (this takes some of the heat load off the TLC5947’s for the segments with only 1 or 2 LEDs in them).
Top middle is another custom circuit board with high-current shift registers to display the “normal” digits. This whole board was designed to be through-hole, as an “easy” design for a beginner solderer to start with. The reason why I’m using a bank of shift registers to control all the LEDs instead of just alternating between them in banks is that this means the display has no flicker and still works during high-speed/slow-motion photography experiments – which is part of what makes it a chronometer and not just yet another fancy clock. Rounding it off is the guts, a branded (not Chinese knock-off; they often have bad power regulators) WeMos/Lolin D1 Mini ESP8266. Having 802.11n-speed WiFi capabilities means it’s already equipped with a reasonably accurate Quartz crystal, to the point that I found an external timekeeping regulator like a temperature/oven based crystal to be unnecessary. The logic it runs isn’t too complicated – connect to the nearest available WiFi point, perform a geoIP lookup, perform a timezone lookup for that location, then poll a few of the nearest NTP servers every few hours. The initial sync is pretty much always within 3ms, and by keeping track of the ESP8266’s clock drift as well as the latency/jitter to the nearest NTP servers (plus a few additional tricks like time of day to estimate the crystal’s temperature variance and waiting for a quiet moment on the WiFi network before transmitting to reduce jitter), its accuracy is refined with each update. Internally it calculates its accuracy in picoseconds (that’s the unit prefix smaller than nanoseconds), but that’s mostly because I’ve been stung enough times by weird edge cases that I try to avoid floating-point maths wherever possible. Officially I’m only calling it accurate to within a best-case of 1ms because that’s a nice round number & is already beyond my home DIY abilities to measure or improve, and just to make extra sure I’m not “overselling” its accuracy that’s why the display only shows a 100ms & a 10ms digit, but not a 1ms digit. One hidden feature of this chronometer is because of the choice of drivers used for the LEDs, I can fully control their brightness and not just turn them on or off – for instance, at night the display dims and the squares around the D’ni digits turn off so it isn’t blindingly bright if you have to go to the bathroom at 2am.
These circuit boards are held up by custom 3D printed standoffs – sure, I could’ve just bought some, but 3D printing some was cheaper.
This design was very cheap and very modular, but its one problem was a ridiculous number of wires were involved – over 450 (!) connection points, all of which have to be connected to wires long enough that you’ve still got enough space to access them, which occasionally gives signal integrity flickers. If I was doing this again, I absolutely would design the digit circuit boards to at least have the shift registers included on them, to drastically reduce the number of potential failure points.
The final step was to laser cut a box to fit this all within. I used the fantastic online tool Boxes.py to make this happen – this is the “Display Case” option. All I had to do here was place holes for the displays & power cable, then get laser cutting. I recommend doing a small test first to make sure you get the play or burn correction settings right depending on how snug a fit you want. This also shows what the box actually looks like, since it’s so hard to photograph glossy black acrylic.
Oh and before I forget – don’t ever give up on your electronics projects just because they seem too hard. I started trying to build this clock nineteen years ago by trying to assemble it out of individual transistors, because modern cheap easy-to-use microcontrollers like Arduinos weren’t a thing, and higher-speed wireless-enabled ones like the ESP8266 were even further away. Building things with electronics is literally getting both easier and cheaper every single year. So if you think something is “too hard” right now, wait a few years and you’d be surprised what other options might be available for you! Here’s one of my failed attempts to build this project from back in 2002 (yes really that old!).
Finally, here’s the SVG of the D’ni Digits including segment numbers, and Gerber files of both the SMD 25-Segment D’ni Display Digit circuit boards and the through-hole normal digit shift register circuit board. You’re free to create whatever you want with these – just credit & link back to me plus let me know so I can see what cool stuff you make! I officially unveiled & presented this chronometer at Mysterium 2019, the annual fan convention for Myst fans. My slides are here, and you can watch my presentation below – I skip over some of the more technical areas but I go more into actual D’ni timekeeping than I do on here.
One final final thing – just to show that the 10ms digit really works and isn’t just a random blur, here’s a slow-mo recording of it at 240fps.
(Before anyone tries to correct me – yes I know there are technically 36 discrete light cells making up 26 controllable segments in these displays, neither of which are 25. But I asked myself “what will people search for when looking to find this project?”, and since D’ni numbers are base-25 that’s what people are likely to use, so that’s why I decided to call them 25-segment displays instead. So there. 😉 )
I needed some new art for one of my walls and I thought that this time I’d try making something myself. So I came up with this – an array of 21 Silicon Wafers of various types, styles and sizes. The front and back pieces are made from laser-cut acrylic, and the wafers are held in place with 3D-printed/laser-cut clips based on the Chevrons around the Stargate.
The selection of wafers is as varied as I could make it, made by multiple manufacturers across both Europe & America, from 76mm/3 inches to 150mm/6 inches in diameter, from the late 1970s though to the 2000s. Examples include an 8051-compatible microcontroller, a monitor driver chip, military/industrial grade ruggedised memory, a thermometer (DS1775), a Lexmark printer cartridge lockout chip, an Operational Amplifier (DS4812), a MIPS R3010 floating-point co-processor similar to that used in the PlayStation 1 and the SGI workstations used to render 90s things like Jurassic Park and my favourite game Riven: The Sequel to Myst, Solar Photovoltaic panels, interposers, test patterns, bare unpolished Silicon, and even a thin layer of pure 24k gold.
Because the etchings on the wafers are so small, a lot of them produce fantastically vibrant rainbow patterns when the light catches them at the right angle.
Some background if you don’t know what these are: computer chips are created by first growing giant cylindrical crystals of almost-pure Silicon. These are then sliced up into thin wafers and these wafers are chemically etched with all the wires & transistors using mask & a UV light source. Think of it like creating an image on photography paper using shadow puppets & a flashlight. Each wafer normally has hundreds of individual chips, or dies, etched into it. Then they’re cut up, tested, and packaged into their final form. Companies don’t normally sell the raw whole wafers but you can often buy them on eBay, mostly for older wafers and/or manufacturing runs that had defects and were destined for the bin. Prices for etched Silicon wafers vary anywhere between a few dollars to a few ten thousand dollars per wafer, depending on what it is. In total, the whole artwork is made up of many thousands of dies, far too many for me to try and count.
The first step in producing this wall artwork was to create a smaller test version, to see if the whole concept would work & how it’d look, and to iron out any kinks in the process. The prototype I created was made with just one wafer. This wafer was held in place by just the raw screw threads, which didn’t really do a good job to hold it securely in place. Valuable experience gained – come up with a better mounting system for the large design. I used a laser cutter at a lower power level to engrave-remove a few millimetres of acrylic to countersink the screw heads so they didn’t stick out. It took some trial & error but eventually I had it dialled in perfectly so the screws were perfectly flush with the acrylic. This test run was to be a present for my mother, so I picked a wafer that was made the year I was born and shines mostly pinkish (her favourite colour). The actual chips are 256K SRAM memory, so the back’s got a cheesy engraving text about “memories” on it.
Despite some of the wafers being supposedly the same size, I noticed that a lot varied in size a little bit. To account for this, and to hold them in place so they wouldn’t rattle or rotate, each wafer was individually measured and individual mounting spacers were laser cut out of 2mm thick black backing cardboard. Since the wafers are round, I modelled the top holding clips to look like the Chevrons that surround the Stargate. These Chevron clips were 3D-printed on a resin printer – resin printers might be normally slow but when you can print 18 clips at a time, they’re not only quicker than an FDM 3D printer, the end quality is far better too.
The whole display piece was far too large (730mm high * 830mm wide) to be cut in one go on a laser cutter, so the piece was broken into 4 smaller pieces and glued together. A brutalist aesthetic was adopted for both the jigsaw-like interlocking lines as well as the whole shape. This worked well to hide some of the size limitations so I could get the maximum usable area possible out of the raw sheets of acrylic. For instance, the notch cut out on the middle left isn’t just there for aesthetics, it gives me a couple more centimetres of length for both the upper left and the bottom pieces. Without that notch, neither piece would fit within standard 300mm * 600mm sheets of Acrylic. A top layer of clear acrylic was added to both keep dust away and to protect the wafers. Some of these wafers are so delicate even a single gentle wipe with a fresh microfibre cloth will instantly destroy them (which I accidentally did trying to clean fingerprints off one, oops). It took around 9 months to build, most of which was taken up with trying to acquire as wide a variety of wafers as I could.
When doing any project involving lots of something, it’s important to remember that the time required can quickly balloon if you have to do that job many times over. For instance, there’s 63 3D-printed Chevron clips in this project – spending 8 minutes per object cleaning them up means over 8 hours just cleaning. I tried to keep the part count to a minimum, but even still there’s 21 wafers held in place by 63 3D-printed clips and 63 laser-cut mounting spacers, held together with 63 bolts plus 63 nuts and 63 black end caps, mounted on 4 sheets of black acrylic with 4 sheets of protective clear acrylic over the top, separated by 16 bolts with 48 nuts and 16 end caps… Phew. This all means the total part count for this project was 424 pieces. If I could do it again I would consider removing the laser-cut spacers and merging them with the 3D-printed Chevron clips to reduce the number of parts a little & eliminate one of the construction materials.
Finally, since I know some people love them, here’s some photos of the Silicon Wafers taken with a 500x digital microscope so you can see what they look like up close. The patterns vary widely depending on the wafer – memory tends to look like repeating structures, logic gates tend to look like a random mess, and sensors/anything analogue/test patterns tend to look like some abstract painting. I could swear that one of them has Silicon art of an OR-gate with one leg shorter to make it look more like the Star Trek logo, but it’s just slightly beyond the magnification limits of my microscope so I can’t photograph it. Most of these are from the wafers you see in this artwork, but there’s a few from other wafers I didn’t use.
For the 2018 Supanova pop culture convention in Brisbane, Australia I had the crazy idea to make three very similar costumes following three rules:
I still can’t believe that I managed to get three costumes out of something so restrictive.
To go with this costume I made a red sound box to play music that I could dance to. That’s mostly what I want to write about on here, but let’s just get the costume photos out of the way first.
Friday’s costume: ring ring ring ring ring ring ring, BANANAPHONE!
Saturday’s costume: it’s Peanut Butter Jelly Time!
Sunday’s costume: Rejected by Don Hertzfeldt’s My Spoon Is Too Big (which, by pure luck, was re-released in 1080p just two weeks before the convention)
As you can no doubt tell, I spared no expense with these costumes.
The red sound box was one of those things that “should” have been easy, but because I used cheap Chinese parts & left it to the last minute, it became a giant cascade of one hack after another. The idea was to have a button that when pressed played a short piece of music to accompany that day’s costume variation. I wanted the front button to be super enticing so other people would want to press it, and nothing’s more enticing than a giant glowing red button. I eventually got there with everything, but it ended up way more complicated than I had anticipated.
The software on the box isn’t too complicated – press the button, music plays for a bit (just the first stanza). Press it again while it’s still running, it’ll play a little longer. The list of stanza stopping points was all pre-calculated per song. I’ll say right now, with anything like this it’s very important to consider how trolls could abuse what you’re building. In this case if someone ran up, pressed it a dozen times in quick succession then ran off, it only extended the music by at most one stanza beyond what’s currently playing – if you wanted to keep the music going you had to stay there and keep on pressing it as each stanza plays. And yes, many people tried doing that – much to their frustration when it didn’t work.
Here’s a numbered photo of the box’s innards, showing that copious quantities of hot glue & electrical tape are totally valid mounting & insulating techniques.
Now for some of those hacks I mentioned:
If I had one piece of advice I learned from this project, it’s that knock-off parts from China can get you by if you’re on a budget or while you’re testing things, but for the final version I absolutely recommend purchasing the genuine products. This project would’ve taken me a fraction of the time it did if I had just spent a little extra for quality parts in the beginning.
(If I had a second piece of advice, it would be to set yourself a deadline well before something’s due. That way you’re not stuck hacking things together at the last minute from whatever you’ve got on hand plus what you can buy locally at exorbitant prices… But we both know neither you nor I are ever gonna actually do that one)
This audio box’s going to be disassembled shortly, because I need some of its parts for another project (and it also served as a semi prototype of yet another underway project… I have too many things in progress).
The Myst 25th Anniversary Kickstarter rewards are finally getting sent out! Since I got lucky & somehow managed to be one of the first in the world to gain access to one, I thought I’d post some photos & a bit of a review of them. Particularly since I’m the guy who made the real Myst book, so I’m probably the non-Cyan-employee who has spent the highest number of hours obsessing over what this book is supposed to look like. Fair warning, this post is gonna be a bit long & a bit image-heavy, but that’s probably what you’re looking for anyway!
It seems to be pretty well made. It’s bigger than mine/Cyan’s book, but I kindof expected that might be required to make the ink well parts fit. To try and compensate for this the covers are thinner than the original, which I think is a fair compromise. I need to point out that the outside cover has been made with a lot more detail than is immediately obvious – this thing’s been constructed in enough layers to impress an ogre. There’s the plain bare cardboard, which is most easily visible through the infamous damage notch on the left. Then there’s the dark brown leather/cloth layer on the left side and on the two corner triangles, which has had both a bit of a shine and a rough surface added to it that roughly matches the shine & feel on the original book. On top of this is the main central texture as a normal paper print, and on top of that are sections that have been raised/embossed, and on top of that are sections that have been gilded. Some of the damage marks on the book aren’t just in the image’s print but are actual cut-out holes where one layer gives way to show a lower layer, which I think is all pretty darned cool. This applies to both the spine and the back of the book too – speaking of, the back of the book is what the back of Cyan’s actual book looks like; for once it isn’t just a mirror of the front texture like it is in all the games!
Speaking of just the front texture, it’s a bit different to what was shown in the Kickstarter. The Kickstarter version was a blend between Cyan’s actual well-worn physical prop book and my own replica, whereas this final version is mostly like Cyan’s one (and for what it’s worth my one was supposed to be my interpretation of what the Myst book might’ve looked like when “brand new”, mostly because luck meant I found a copy of the right book in near-perfect condition, which is why it had no damage). There’s a couple design points similar to mine – for instance the font used for the raising/gilding looks like it’s been modified a little from the original MYST font to straighten the serifs a little, the same as I did, which makes it look better when embossed or raised. The main image is also darker than Cyan’s actual physical book, and has had more damage added to it than Cyan’s book actually has, particularly around the edges. It’s worth mentioning here that back in 1993 Cyan did scan their physical prop book to use as a texture, however back then they modified that image so it had less damage in-game vs what it had in real life. This makes one more version of what this book is supposed to look like, and when you add in how it looked during Myst 5 I think I’ve lost track of how many different versions we’re up to now. 😛
Because I knew people would ask, I took a few photos comparing the Kickstarter Myst book to my replica Myst book so you can see the size difference. I also took a few photos comparing it to the original book Cyan used as the Riven descriptive book (The 1954 printing of the 1951 edition Webster’s Unified Dictionary & Encyclopedia if you’re curious). Turns out it’s much closer in size to Riven’s descriptive book than Myst’s linking book!
The book has been enlarged but the linking panel LCD has been kept the same size, so it looks a little smaller than it should be. However it’s sized so that on the lower tier versions the images on the game disc sleeves can be the linking panels themselves, so it’s not like they could’ve made the sleeves much larger. Its colours are bright & vibrant, its got a pretty fantastic viewing angle, and its brightness level has clearly been tuned so it looks “right” for normal indoor brightness levels – as in, it looks close to a window to another world and not a brightly glowing LCD, and it photographs very well. The video plays automatically when you open the book, which is cool, and the battery level indicator displays momentarily in the top right, which is nice I guess but I wish there was some way to turn it off. In case you’re wondering, it’s got a standard 3.7V 800mAh 2.96Wh Lithium battery inside which charges from the included USB cable at 1A. The best way to store this battery long-term is to leave it at around 50% capacity, which isn’t too hard to do given the book has a battery level indicator. Loading alternate videos onto the book seems like it would be easy but I haven’t tried it to see what formats or codecs it can handle. I like the “hidden” button markers that are smudges on the page, they’re sneaky. The speaker in the top right is a bit quiet, a bit tinny and seems to be peaking a lot – I haven’t pulled apart the electronics yet but I think it’s because it’s hidden behind the front paper. There’s only so much you can do when a speaker is obscured like that. I suspect a few holes in the paper would improve the audio quality but pulling that apart is another job.
For what it’s worth, from experience I can say that there aren’t many options for suitable LCDs of around the right size with the right specs for a linking panel. Particularly if you want 15,000 of them, and you’re not willing to spend $80/panel. For reference the LCD for my Myst book cost $140USD, and that’s for just the raw LCD panel itself without any driver board, embedded computer to display content, battery, charging circuit, etc. Cyan only charged an extra $70 for the tier with all the electronics, so to pull that off at scale their choices would’ve been limited and I’m super impressed they managed to do it on such a comparatively tight budget.
Now, the content on the book. First off – the original classic Myst intro has been re-rendered at 30fps at the resolution of the book, so it looks amazing! 😀 The other content on the book is a bit of a mixed bag and honestly feels a little like they got half-way through making videos for it when they hit the deadline and abruptly stopped. There’s no videos from Revelation or End of Ages, and only a single video from Uru. You totally need to check out the Uru video, UruFly.mp4 – I don’t want to say any more, just play that one and enjoy! Cyanlogo.mp4 looks like a re-rendered version of Cyan’s original 1993 logo just for this book – the blurred text at the end is different but the model is the 3d model is the original one, and it’s crisp like it’s been rendered at the right resolution. There’s plenty of classic Myst, realMyst Masterpiece and even re-rendered classic Myst flyby videos, Sirrus/Achenar/Atrus videos, Riven flybys, and even Exile flybys (even if they are weirdly labelled “Energy” “Jnanin” “Life” and “Matter”)… But no Revelation or End of Ages. It’d be cool if Cyan offers a few flybys from the missing games for download in the future, but who knows if that will happen.
The “extra storage” section contains a bunch of high-res images in here which make me completely drool – I don’t know which have been re-rendered and which are from their archives, but a 4000×1000 pixel panorama of Gehn’s Age is beautiful, Gehn’s Stained Glass is something I don’t remember seeing before, and the 3692×3075 Channelwood photos are so clear I wish I could be there in person.
I hope I don’t get in trouble for sharing this, but it’s located in the book’s readme file, you can find it yourself by literally just searching myst.com for “myst” and 10,000 people are about to know this URL when their books arrive sooo I figure it’s gonna be public soon anyway – you can download a copy of all this from https://myst.com/mystbookfiles/. Get on it and enjoy those high-res images & exclusive re-rendered videos!
I don’t know the full capabilities of the video player but as a data point for you, the main video is an mp4 file with the video in H264 AVC encoded at Level 3.1 complexity, 800×480 resolution, 30fps, ~2367kbps, while the audio’s AAC, 44.1KHz, mono, ~125kbps.
Oh man. This thing is gorgeous. My expectations have been completely blown away. It’s made of what feels like clear-coated brass, and there’s over a dozen separately-cast parts to this thing that have been assembled together into sub-pieces ready for your final assembly via the included screwdriver & two screws (I had four screws; I guess extra in case you lose some). It feels solid & heavy, it feels well machined, and above all it feels well made. The D’ni writing is cast into the actual mould instead of just engraving it. The legs are held on magnetically (which makes the legs handy to use to simulate closing the book while it’s open – the reed switch is in the middle center right). The top has a small plastic bottle hidden inside it to hold the ink (which you can access & completely remove via a screw on the beetle’s underside). And there’s even little rubber feet on the bottom of it – five of them, in fact – which wasn’t necessary but goes to show that every part of this had thought put into it, not just as a quick throwaway thing.
Assembly is pretty easy – the parts are all keyed so they can only go together one way. There’s only two screws involved, both different sizes, and that’s it. But just in case you can’t work it out there’s some instructions included too (the oil smudge on the front page didn’t come with it, whoops). The whole thing comes in a form-fitting foam box to keep everything in place & protected during shipping.
Speaking of the foam box, I’m pretty sure the inkwell is the reason why the book had to be enlarged. Here’s a side-on view of how some of the inkwell pieces fit inside the box. There’s not much width left over. I’m sure some clever 3-dimensional stacking arrangement would’ve been possible, particularly if you’re re-using some of the empty space from the other box, but that would’ve made it all so much more complex than it already is.
Finally, the dip pen. This looks like a standard pen with a beetle/ink nib marking on the sheath. It’s subtle, but shows that this is a custom part too and not just something they grabbed off the shelf to use unmodified. The included replaceable nib is a #5, because of course it’s that number. If you’re having trouble finding the pen, look below the flap on the bottom edge of the book.
Overall, I gotta say that I’m pretty happy with these rewards. It definitely feels like I got my money’s worth, and the end results are higher quality than anticipated. I’m one satisfied backer!