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| | ==Explanation== | | ==Explanation== |
| − | This strip is a parody of the first verse (and in the title text, the end of the last verse) of {{w|Leonard Cohen}}'s "{{w|Hallelujah (Leonard Cohen song)|Hallelujah}}", which has become a distinctive and popular song of which {{w|Cover version|covers}} and versions exist. Written as a {{w|Sentimental ballad|ballad}}, it is partly based upon the allegory of a mystical {{w|Chord (music)|musical chord}} of several musical notes, that the words and tune both describe and illustrate by example.
| + | {{incomplete|Created by LEONARD COHEN - Someone with proper computer knowledge should probably elaborate on the terms "chorded keyboard" and "keyboard config". Do NOT delete this tag too soon.}} |
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| − | Here is the verse from the song (see the lyrics [https://genius.com/Leonard-cohen-hallelujah-lyrics here]):
| + | This strip is a parody of the first verse (and in the title text, the end of the last verse) of {{w|Leonard Cohen}}'s "{{w|Hallelujah (Leonard Cohen song)|Hallelujah}}". Cueball has somehow set up his computer so that, upon pressing a certain combination of keys on his keyboard, the system will automatically type out the word "hallelujah" (xkcd's all-caps typesetting makes it unclear how the word is capitalized). |
| − | :Now I've heard there was a secret chord
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| − | :That David played, and it pleased the Lord
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| − | :But you don't really care for music, do ya?
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| − | :It goes like this, the fourth, the fifth
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| − | :The minor fall, the major lift
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| − | :The baffled king composing "Hallelujah"
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| − | [[Cueball]] is {{w|Filk music|filking}} upon this theme, but in his case he has somehow set up his computer so that, upon pressing a certain combination of multiple keys on his keyboard, the system will automatically type out the word "hallelujah" (xkcd's all-caps lettering makes it unclear how the word is capitalized). In his description of the process, in both the comic proper and the title text, he uses adapted lyrics that again both describe and illustrate by example. Most of the initial lyrics are floating 'thoughts'. The punchline "hallelujah", however, is 'spoken' out of his computer monitor - typical of how on-screen text is indirectly shown in this comic series. It partially continues as a song parody through the title text but then trails off into a typical computer-complaint that he perhaps [[:Category:Cueball Computer Problems|may often have cause to make]].
| + | Technically, a {{w|chorded keyboard}} is one in which (nearly) all inputs are made by simultaneous pressing of a given combination of a limited number of keys, such as a literal handful of non-alphabetic keys that the user learns to combine to represent the key-presses of more standard keyboards. The workings of such a keyboard tends to be handled internally, sending to the computer the signal(s) that ''would'' have been sent from its larger cousin. |
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| − | The original lyrics rely upon typically nuanced rhymes, such as "do you" (or "do ya'") with "Hallelujah", and "fifth" with "lift", but fairly reliably rhymes "chord" with "Lord". In [[Randall]]'s version, it starts with "chord" and "word" which ''look'' like they should rhyme, but would be /kɔɹd/ {{w|International Phonetic Alphabet|vs.}} /wɝd/ in a typical US accent. Similarly "shift" and "left" might be considered not a {{w|Perfect and imperfect rhymes|perfect rhyme}} when read as prose, but should still be possible to meaningfully sing.
| + | By inclusion of traditional key descriptions for a 'standard' keyboard (e.g. the 104-key US QWERTY version that Randall is probably most familiar with), the meaning is probably instead that of using a combination of normally single-use keys (the 'H' and a cursor) with others, including modifiers ('shift' and 'control'), i.e. 'chording' ''with'' his keyboard. This seems to go beyond regular use (shift and an an alphabetic character changes the character case, whilst ctrl and a character may initiate an editing command) or normal multi-modifier combinations (ctrl, alt and the 'e' may result in the 'é', where the keyboard does not otherwise support it) and even goes beyond [[378: Real Programmers|emacs-like command ''sequences'']] which are generally software-specific. It seems more likely that such a setup is handled within the computer, either defined within the OS or (as is often the case with specialist configurable gaming keyboards) via the driver installed to mediate such esoteric keyboard combinations as the user has predefined for themselves. |
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| − | Technically, a {{w|Chorded_keyboard|chorded keyboard}} is one in which (nearly) all inputs are made by simultaneous pressing of a given combination of a limited number of keys, such as a literal handful of non-alphabetic keys, that the user learns to combine to represent the key-presses of more standard keyboards or (in some cases) signify entire phonemes or words. The workings of such a keyboard tends to be handled internally, sending to the computer the signal(s) that ''would'' have been sent from its larger cousin.
| + | Cueball's combination-keypress may in fact be better termed a 'macro', in some contexts. The single event, somehow triggered by this particular simultaneous multi-key input, invokes the injection of a pre-specified sequence of standard characters into the appropriate text-buffer/-stream in lieu of manual input. |
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| − | A big thing among Xennial hackers like Randall and his original audience was customising keyboard uses. The linux operating system was originally designed and used for personal customisation, and people move their configurations from system to system, often customising how things respond to such a degree that other users struggle to make use of their system at all. The first two major text editors, vim and emacs, were composed of different camps of how to efficiently type. The emacs camp believed it was more effective to hit many keys at once to accomplish a large task, but both editors were designed to be highly customisable. It's {{w|QWERTY#Properties|erroneously believed}} that the traditional qwerty keyboard was specifically designed to make typing inefficient so as to reduce engineering burden in making old typewriters responsive and reliable. Given the prevalence of them, it has been common among hackers to remap a keyboard to something they may personally consider more efficient, such as to use a {{w|dvorak keyboard layout|dvorak layout}} layout rather than a qwerty layout. Chorded configurations are an order of magnitude more efficient than the dvorak layout, but are more complex to configure because the result is not at all a one-to-one mapping. The {{w|Stenotype|traditional court reporting device}} is a chorded keyboard, to keep up with human speech.
| + | The title text spoofs the last verse of the song, with "Hallelujah" being replaced by Cueball trailing off musing about having apparently lost the backup of his keyboard configuration, implying that he ended up in a position where he would want to restore said backup (for instance, having tampered with it to the point he is no longer capable of operating the keyboard efficiently, if at all). |
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| − | Using a combination of normally single-use keys (the 'H' and a cursor) with others, including modifiers ('shift' and 'control'), i.e. 'chording' ''with'' his keyboard, is a kind of key combination found traditionally in emacs and operating system commands (such as pressing ctrl+alt+c, to copy a selection to clipboard). The ballad then comes across as an ode to system customisation and the practice of user-interface hacking, wherein a computer user knows how to rebuild their interface in almost any way they desire.
| + | As added irony, while in the original that verse is hopeful, with the singer being thankful for experiencing joy even from a relationship that ultimately failed, contrarily in the alt text Cueball is apparently expressing regret. Or, if taken literally, it could instead imply that God himself is questioning Cueball about his tampering with software, which could fit with the running gag of [[:Category:Cueball Computer Problems|Cueball's (often self-inflicted) computer problems being hyperbolically atrocious]]. |
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| − | The chording example goes beyond mainstream use (shift and an alphabetic character changes the character case, whilst ctrl and a character may initiate an editing command) or mainstream multi-modifier combinations (ctrl, alt and the 'e' may result in the 'é', where the keyboard does not otherwise support it) and even goes beyond [[378: Real Programmers|emacs-like command ''sequences'']] which are generally software-specific. It seems likely that a setup such as that depicted in this comic is handled within the computer, either defined within the OS (all mainstream desktop operating systems support alternative keyboard mapping and customisable key-combinations, often for accessibility and international keyboard support), or (as is often the case with specialist configurable gaming keyboards) via the driver installed to mediate such esoteric keyboard combinations as the user has predefined for themselves.
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| − | Cueball's combination-keypress may in fact be better termed a 'macro', in some contexts. The single event, somehow triggered by this particular simultaneous multi-key input, invokes the injection of a pre-specified sequence of standard characters into the appropriate text-buffer/-stream, in lieu of manual per-character input.
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| − | The title text spoofs the last verse of the (original) song, with "Hallelujah" being replaced by Cueball trailing off musing about having apparently lost the backup of his keyboard configuration, implying that he ended up in a position where he would want to restore said backup (for instance, having tampered with it to the point he is no longer capable of operating the keyboard efficiently, if at all).
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| − | Here is the original verse, where the title text spoofs the last three lines:
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| − | :I did my best, it wasn't much
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| − | :I couldn't feel, so I tried to touch
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| − | :I've told the truth, I didn't come to fool ya
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| − | :And even though it all went wrong
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| − | :I'll stand before the lord of song
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| − | :With nothing on my tongue but hallelujah
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| − | As added irony, while in the original that verse is hopeful, with the singer being thankful for experiencing joy even from a relationship that ultimately failed, contrarily in the title text Cueball is apparently expressing regret. Or, if taken literally, it could instead imply that God himself is questioning Cueball about his tampering with software, which could fit with the running gag of [[:Category:Cueball Computer Problems|Cueball's (often self-inflicted) computer problems being hyperbolically atrocious]]. | |
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| − | When one modifies one's keyboard config, it can make the system seem unusable (or at least highly unexpected) to things like a boss, a spouse, or an automated maintenance system. When an error is made somewhere in the process, it can make the system seem unusable to the very person who made the changes, making it hard to change them back.
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| | ==Transcript== | | ==Transcript== |
| − | :[Cueball is sitting in an office chair at his desk, typing on his keyboard as shown by small lines over one hand, while looking at the screen of his stationary computer. The screen is on a raised platform on his desk. Lyrical text is written upon each scene, presumably what Cueball is typing.] | + | {{incomplete transcript|Do NOT delete this tag too soon.}} |
| | + | :[Cueball is sitting in an office chair at his desk, hands on his keyboard, looking at his desktop.] |
| | :I heard there was a secret chord | | :I heard there was a secret chord |
| | :That David pressed and it typed a word | | :That David pressed and it typed a word |
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| − | :[A closeup on Cueball in a slim panel. We see him from the waist up, with his hands on the keyboard just beneath the panels frame.] | + | :[The camera zoomed in on Cueball, and we see him from the waist up] |
| | :But you don't use a chorded keyboard, do you | | :But you don't use a chorded keyboard, do you |
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| − | :[Same setting as in the first panel, except Cueball's arms have moved and there are movement lines above and below his arms.] | + | :[The third frames are like the first, except Cueball's arms are moved] |
| | :It goes like this, <control> and <shift> | | :It goes like this, <control> and <shift> |
| | :The other hand hits H and <left> | | :The other hand hits H and <left> |
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| − | :[Slimmer panel but same setting as in the first panel, again the arms have moved a bit, with movement lines above them. The final written word of text is marked as arising directly from the computer.] | + | :[The fourth frame is like the first and third, but the arms are moved again] |
| | :And all at once it types out | | :And all at once it types out |
| − | :Computer: Hallelujah
| + | :Hallelujah |
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| | {{comic discussion}} | | {{comic discussion}} |
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| | [[Category:Comics featuring Cueball]] | | [[Category:Comics featuring Cueball]] |
| | [[Category:Songs]] | | [[Category:Songs]] |
| − | [[Category:Cueball Computer Problems]] <!-- In the title text -->
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