nyuuzyou/wikis huggingface dataset:
House Rules

A couple of rules before you start experimenting in either E0.05 or E0.25. Some of these may apply elsewhere. The first rule of AttentionLab is... that you do not talk about AttentionLab. Sorry, bit of a lame joke. All seriousness from hereon out.
#1. Do not, under any circumstances, touch the screens. By this we mean the display part of the screen. Finger grease permanently affects the screen. By touching the screen you've created a new stimulus. And unless you are testing the effects of smudgy screens, this is something we want to avoid at all costs.
#2. Please do not use your own USB stick. We have had viruses on the stimulus computer because of this. We have clean USB sticks for you to transport your data on. And yes, USB sticks can contain viruses. So you might want to think twice before sticking your dirty stick into USB ports without consent.
#3. Eat and drink outside of the lab. The lab equipment is very expensive (like, muy expensivo). No matter how much you trust yourself with food and such, you might have an insane participant making a mess. So just eat and drink outside of the lab and go for a stroll while you're at it.
Rules one to three are crucial, the rest are general guidelines
#4. Don't move the stimulus screen without letting people know. If you do move a screen, please take care to move it back to where you found it. There should be markings (in tape) on the desk to show you where it belongs. The same goes for other experiment equipment, like the chin rest.
#5. Take care to turn the red light off when you leave. Otherwise people might waste time waiting for you to exit the lab while you're on your way to the Bahamas.
#6. Always be sure to get informed consent from your participants. Just to be sure. We do not like lawsuits.
#7. It's okay to be harsh on your participants... if it gets you better data. If the participant is still terrible, just stop the experiment. Incomplete data can be excluded, complete data has to be included in whatever you are writing.
#8. Check the cables before starting, make sure they are nice and tucked away in the corner. A participant may bump into them otherwise and knock all the loose fitting cables out of the host pc. That means you might lose your data and your mind. So, just a quick check will do.
Thank you for reading these and taking them into consideration. Happy testing!
A Small Needful Fact (Ross Gay)

Is that Eric Garner worked
for some time for the Parks and Rec.
Horticultural Department, which means,
perhaps, that with his very large hands,
perhaps, in all likelihood,
he put gently into the earth
some plants which, most likely,
some of them, in all likelihood,
continue to grow, continue
to do what such plants do, like house
and feed small and necessary creatures,
like being pleasant to touch and smell,
like converting sunlight
into food, like making it easier
for us to breathe.
Encontro em Samarra (W. Somerset Maugham)

Havia um mercador em Bagdá que enviou seu servo ao mercado para comprar provisões. Pouco depois o servo voltou, pálido e trêmulo, e disse:
— Mestre, agora mesmo, quando eu estava no mercado, fui empurrado por uma mulher da multidão; quando me virei, vi que era a Morte que me havia empurrado. Ela olhou para mim e fez um gesto de ameaça; ora, empreste-me seu cavalo e eu cavalgarei para longe desta cidade e evitarei meu destino. Irei para Samarra, e lá a Morte não me encontrará.
O mercador emprestou-lhe seu cavalo e o servo montou, fincou as esporas nos flancos dele e se foi tão rápido quanto o cavalo podia galopar. Então o mercador desceu ao mercado, me viu no meio da multidão e veio até mim, dizendo:
— Por que você fez um gesto de ameaça para meu servo, quando o viu esta manhã?
— Aquele não foi um gesto de ameaça — respondi — foi apenas um movimento de surpresa. Fiquei espantada ao vê-lo em Bagdá, pois esta noite eu tinha um encontro marcado com ele em Samarra.
Engführung (Paul Celan)

VERBRACHT ins
Gelände
mit der untrüglichen Spur:
Gras, auseinandergeschrieben. Die Steine, weiß,
mit den Schatten der Halme:
Lies nicht mehr – schau!
Schau nicht mehr – geh!
Geh, deine Stunde
hat keine Schwestern, du bist –
bist zuhause. Ein Rad, langsam,
rollt aus sich selber, die Speichen
klettern,
klettern auf schwärzlichem Feld, die Nacht
braucht keine Sterne, nirgends
fragt es nach dir.
*
Nirgends
fragt es nach dir –
Der Ort, wo sie lagen, er hat
einen Namen – er hat
keinen. Sie lagen nicht dort. Etwas
lag zwischen ihnen. Sie
sahn nicht hindurch.
Sahn nicht, nein,
redeten von
Worten. Keines
erwachte, der
Schlaf
kam über sie.
*
Kam, kam. Nirgends
fragt es –
Ich bins, ich,
ich lag zwischen euch, ich war
offen, war
hörbar, ich tickte euch zu, euer Atem
gehorchte, ich
bin es noch immer, ihr
schlaft ja.
*
Bin es noch immer –
Jahre.
Jahre, Jahre, ein Finger
tastet hinab und hinan, tastet
umher:
Nahtstellen, fühlbar, hier
klafft es weit auseinander, hier
wuchs es wieder zusammen – wer
deckte es zu?
*
Deckte es
zu – wer?
Kam, kam.
Kam ein Wort, kam,
kam durch die Nacht,
wollt leuchten, wollt leuchten.
Asche.
Asche, Asche.
Nacht.
Nacht-und-Nacht. – Zum
Aug geh, zum feuchten.
*
Zum
Aug geh,
zum feuchten –
Orkane.
Orkane, von je,
Partikelgestöber, das andre,
du
weißts ja, wir
lasens im Buche, war
Meinung.
War, war
Meinung. Wie
faßten wir uns
an – an mit
diesen
Händen?
Es stand auch geschrieben, daß.
Wo? Wir
taten ein Schweigen darüber,
giftgestillt, groß,
ein
grünes
Schweigen, ein Kelchblatt, es
hing ein Gedanke an Pflanzliches dran –
grün, ja
hing, ja
unter hämischem
Himmel.
An, ja,
Pflanzliches.
Ja.
Orkane, Par-
tikelgestöber, es blieb
Zeit, blieb,
es beim Stein zu versuchen – er
war gastlich, er
fiel nicht ins Wort. Wie
gut wir es hatten:
Körnig,
körnig und faserig. Stengelig,
dicht;
traubig und strahlig; nierig,
plattig und
klumpig; locker, ver-
ästelt –: er, es
fiel nicht ins Wort, es
sprach,
sprach gerne zu trockenen Augen, eh es sie schloß.
Sprach, sprach.
War, war.
Wir
ließen nicht locker, standen
inmitten, ein
Porenbau, und
es kam.
Kam auf uns zu, kam
hindurch, flickte
unsichtbar, flickte
an der letzten Membran,
und
die Welt, ein Tausendkristall,
schoß an, schoß an.
*
Schoß an, schoß an.
Dann –
Nächte, entmischt. Kreise,
grün oder blau, rote
Quadrate: die
Welt setzt ihr Innerstes ein
im Spiel mit den neuen
Stunden. – Kreise,
rot oder schwarz, helle
Quadrate, kein
Flugschatten,
kein
Meßtisch, keine
Rauchseele steigt und spielt mit.
*
Steigt und
spielt mit –
In der Eulenflucht, beim
versteinerten Aussatz,
bei
unsern geflohenen Händen, in
der jüngsten Verwerfung,
überm
Kugelfang an
der verschütteten Mauer:
sichtbar, aufs
neue: die
Rillen, die
Chöre, damals, die
Psalmen. Ho, ho-
sianna.
Also
stehen noch Tempel. Ein
Stern
hat wohl noch Licht.
Nichts,
nichts ist verloren.
Ho-
sianna.
In der Eulenflucht, hier,
die Gespräche, taggrau,
der Grundwasserspuren.
*
(– – taggrau,
der
Grundwasserspuren –
Verbracht
ins Gelände
mit
der untrüglichen
Spur:
Gras.
Gras,
auseinandergeschrieben.)
Estreito (Guilherme Gontijo Flores)

Enviados ao
terreno
com o inequívoco rastro:
capim, escrito à parte. As pedras, brancas,
com as sombras dos talos:
Leia não — olhe!
Olhe não — vá!
Vá, tua hora
não tem irmãs, você está —
está em casa. Uma roda, lenta,
gira em si mesma, os raios
sobem,
sobem em campo breu, a noite
não pede estrela, nenhures
perguntam por você.
*
Nenhures
perguntam por você —
O lugar onde jaziam tem
um nome — tem
nenhum. Não jaziam ali. Algo
jazia entre eles. Não
viam através.
Não viam, não,
falavam de
palavras. Nenhum
despertou, o
sono
veio sobre todos.
*
Veio, veio. Nenhures
perguntam —
Eu sou, eu,
eu jazia entre vocês, estava
aberto, estava
audível, tiquei pra vocês, seu alento
assentiu, sou
eu ainda, vocês
dormem sim.
*
Sou eu ainda —
anos.
Anos, anos, um dedo
tateia acima, abaixo, tateia
em torno:
Suturas, palpáveis, aqui
tudo se fende à parte, aqui
tudo se junta outra vez — quem
o cobriu?
*
O cobriu —
quem?
Veio, veio.
Veio uma palavra, veio,
veio pela noite.
queria luzir, queria luzir.
Cinzas.
Cinzas, cinzas.
Noite.
Noite-e-noite. — Vá
no olho, no úmido.
•
Vá
no olho,
no úmido —
ciclones.
ciclones, desde sempre,
borrasca de partículas, o outro,
você
bem sabe, nós
o lemos no livro, era
opinião.
Era, era
opinião. Como
nos tocamos —
como com
estas
mãos?
Também está escrito que.
Onde? Nós
fizemos silêncio sobre isso,
veneno-estático, imenso,
um
verde
silêncio, um sépalo, nele
pende um pensamento de vegetal —
verde, sim
pende, sim
sob um perverso
céu.
De, sim,
vegetal.
Sim.
Ciclones, borras-
cas de partículas, sobrou
tempo, sobrou,
pra tentar com a pedra – ela
foi acolhedora, ela
não cortava a palavra. Como
estávamos bem:
granulada,
granulada e fibrosa. Hasteada,
densa;
uval e radiante; renal,
plana e
grumosa; porosa, rami
ficada – ela, isso
não cortava a palavra,
falava:
falava com gosto a olhos secos, antes de cerrá-los.
Falava, falava.
era, era.
Nós
não cedemos, paramos
de pé no meio, um
prédio-poro, e
ele veio.
Veio sobre nós, veio
através, remendou
invisível, remendou
na última membrana,
e
o mundo, um milicristal,
medrou, medrou.
•
Medrou, medrou.
Então —
Noites, desmistas. Círculos
azuis ou verdes, rubros
quadrados: o
mundo põe seu mais íntimo
em jogo com as novas
horas. — Círculos,
rubros ou negros, claros
quadrados, sem
sombra de voo,
sem
prancheta, sem
alma-fumo que sobe e segue o jogo.
•
Sobe e
segue o jogo —
No voo da coruja, junto
à lepra pétrea,
junto
às nossas mãos fugidas, na
mais nova recusa,
sobre
o para-balas no
paredão enterrado:
visível, de
novo: os
sulcos, os
coros, outrora, os
salmos. Ho, ho-
sianna.
Assim
estão de pé os templos. Uma
estrela
talvez mantenha a luz.
Nada,
nada está perdido.
Ho-
sianna.
No voo da coruja, aqui
as conversas, gris-dia,
dos rastros de aquíferos.
•
( — — gris-dia,
dos rastros de aquíferos —
Enviados ao
terreno
com
o inequívoco
rastro:
Capim.
Capim,
escrito à parte.)
Peço silêncio (Bruno Barcelos)

Me deixem tranquilo.
Se acostumem sem mim.
Vou fechar os olhos.
E só quero cinco coisas,
cinco fontes preferidas.
Uma é o amor sem fim.
A segunda é ver o outono.
Não vivo sem as folhas
que voam e voltam à terra.
A terceira é o forte inverno,
a chuva que amei, a carícia
do fogo no frio silvestre.
Em quarto lugar o verão
redondo como a melancia.
A quinta coisa são seus olhos,
Matilde, minha amada,
não quero dormir sem seus olhos,
não quero viver sem que me veja:
eu troco a primavera
pra que você continue a me olhar.
Amigos, é isso que eu quero.
É quase nada e quase tudo.
Agora, se quiserem, vão.
Vivi tanto que um dia,
terão que me esquecer à força,
me apagando do quadro-negro:
meu coração foi interminável.
Mas só porque peço silêncio,
não pensem que vou morrer:
acho exatamente o contrário:
acontece que vou viver.
Acontece que sou e sigo.
Não será porque aqui dentro
de mim crescerão cereais,
primeiro os grãos que rompem
a terra pra ver a luz,
mas a mãe terra é escura:
e dentro de mim sou escuro:
sou como um poço em cujas águas
a noite deixa suas estrelas
e segue só pelo campo.
É que de tanto que vivi,
quero viver outro tanto.
Nunca me senti tão sonoro,
nunca ganhei tantos beijos.
Agora, como sempre, é cedo.
Voa a luz com suas abelhas.
Me deixem só com o dia.
Peço permissão pra nascer.
Categoria: Bruno Barcelos
Categoria: Traduções
Pido silencio (Pablo Neruda)

Ahora me dejen tranquilo.
Ahora se acostumbren sin mí.
Yo voy a cerrar los ojos.
Y sólo quiero cinco cosas,
cinco raíces preferidas.
Una es el amor sin fin.
Lo segundo es ver el otoño.
No puedo ser sin que las hojas
vuelen y vuelvan a la tierra.
Lo tercero es el grave invierno,
la lluvia que amé, la caricia
del fuego en el frío silvestre.
En cuarto lugar el verano
redondo como una sandía.
La quinta cosa son tus ojos,
Matilde mía, bienamada,
no quiero dormir sin tus ojos,
no quiero ser sin que me mires:
yo cambio la primavera
por que tú me sigas mirando.
Amigos, eso es cuanto quiero.
Es casi nada y casi todo.
Ahora si quieren se vayan.
He vivido tanto que un día
tendrán que olvidarme por fuerza,
borrándome de la pizarra:
mi corazón fue interminable.
Pero porque pido silencio
no crean que voy a morirme:
me pasa todo lo contrario:
sucede que voy a vivirme.
Sucede que soy y que sigo.
No será, pues, sino que adentro
de mi crecerán cereales,
primero los granos que rompen
la tierra para ver la luz,
pero la madre tierra es oscura:
y dentro de mí soy oscuro:
soy como un pozo en cuyas aguas
la noche deja sus estrellas
y sigue sola por el campo.
Se trata de que tanto he vivido que
quiero vivir otro tanto.
Nunca me sentí tan sonoro,
nunca he tenido tantos besos.
Ahora, como siempre, es temprano.
Vuela la luz con sus abejas.
Déjenme solo con el día.
Pido permiso para nacer.
Categoria: Pablo Neruda
Pneumotórax (Manuel Bandeira)

Febre, hemoptise, dispnéia e suores
noturnos.
A vida inteira que podia ter sido e que não foi.
Tosse, tosse, tosse.
Mandou chamar o médico:
— Diga trinta e três.
— Trinta e três… trinta e três… trinta e três…
— Respire.
.........................................................................
— O senhor tem uma escavação no pulmão esquerdo e o pulmão direito infiltrado.
— Então, doutor, não é possível tentar o pneumotórax?
— Não. A única coisa a fazer é tocar um tango argentino.
Main Page

This is Foone Turing's personal wiki
I'm a programmer who works on old hardware/software, archival, floppy disks, and reverse engineering. 
(I'm still migrating data over from my old wiki. Please imagine a geocities-style "under construction" GIF here) 
Interested in hiring me? See My Resume.
==Projects==
*Reverse Engineering documentation
*Software Projects
*Hardware Projects
*Video Projects
*My Games
*Archival Projects
*Twitter Info Threads
*Floppy Controllers
==Other sites==
*My Twitter
*My Mastodon((me))
*My YouTube channel
*My Blog
*My Tumblr
*My GitHub
*The Death Generator
*My Ko-fi
*My Patreon
*My Etsy
3D Movie Maker

It's been open sourced. Big if true.
==Languages==
Language 	Title 	Archived ISO
English US	3D Movie Maker 	3dmoviemaker
English UK	3D Movie Maker 	3-dmoviemaker_worldenglish
Spanish 	3D Creador de Películas 	3d-creador-de-peliculas
French 	Mon Atelier de Cinéma en 3D	mon-atelier-au-cinema
Italian 	3D Movie Maker 	ms3dmm
German 	3D FilmStudio 	3d-filmstudio
Japanese 	3D Movie Maker 	3d-movie-maker-japan
Russian 	 	Not yet found
== Other releases ==
Name 	Archived ISO
3D Movie Maker Sept. 1995 Beta 	3dmmbeta
Doraemon Character Kit for Microsoft 3D Movie Maker	doraemon100_201910
Nickelodeon 3D Movie Maker 	nick3dmm
==Repos==
Original Microsoft release
My fork
==Discord==
The Open3DMM discord is used for development on the 3D Movie Maker source and future projects.
==Misc==
3DMM Chunks List
AGPA

An AGPA chunk lists fonts used in a textbox
 Length: varies
 00: Chunk Signature (4 bytes)
 04: Number of fonts (4 bytes)
 08: offset/length of some sort (4 bytes)
from end of file, number of fonts * 8:
 00: offset of font selector(from offset 20 in the file)
 04: length
font selectors:
 08: unknown (03 03 03 03)
 0C: length of font name (1 byte)
 0D: font bytes
AMPRO A13013-B CGA MiniModule

== CGA connector pinout ==
Pins
Ground	1	6 	Intensity
Ground	2	7 	???
Red 	3	8 	H. sync
Green 	4	9 	V. sync
Blue 	5	10	???
== Images ==
File:Ampro_cga_A13013-b-front.jpg|Front of module
File:Ampro_cga_A13013-b-back.jpg|Back of module
{...}
Atari STart Magazine Cover Disks

===Backstory:===
STart magazine ran from Summer of 1986 to April/May 1991. It usually used single-sided disks, but in November of 1989 they switched to a double-sided format but using a special bootsector that made them look like single-sided disks.
This is called the "Heidi Format", and they explain it in an Editorial note. Instructions on how to use these disks are on page 64 of the November 1989 issue.
The last issue using the format was April 1990 (Vol 4, No 9) as explained in another Editorial Note
But the end result is that these disks are double-sided, but disk imaging software may mistake them for single-sided. This happened when all the STart disks were imaged, so existing collections of the disks are actually missing half the content.
=== Archiving: ===
Thanks to the help of Ian Muttoo in loaning me their disks, I've been able to archive all the affected disks.
They're now available on the Internet Archive.
Method: I imaged the disks on a PC disk using a Kryoflux, then used Disk-Analyse to convert the stream files into ST files. 
I used Steem Engine 3.2 to create backups and extract their contents.
The December 1989 disk had a bad sector in the first track of the second side, but this seems to not have affected extraction. 
I'm not certain if the archive format used (ARC) has checksums, or if it just produced corrupted output. 
===Issues affected:===
Date 	Volume/Number 	Affected?	Reimaged yet?	Notes
October 1989 & earlier 	Vol 4 No 3 	No 	Not needed 	
November 1989 	Vol 4 No 4 	Yes 	Yes 	The first issue affected.
December 1989 	Vol 4 No 5 	Yes 	Yes 	
January 1990 	Vol 4 No 6 	Yes 	Yes 	
February 1990 	Vol 4 No 7 	Yes 	Yes 	
March 1990 	Vol 4 No 8 	Yes 	Yes 	
April 1990 	Vol 4 No 9 	Yes 	Yes 	Last issue to use the Heidi Format
May 1990 - April/May 1991	Vol 4 No 10 - Vol 5 No 7	No 	Not needed 	
===External Links:===
*Internet archive upload of the disks
*My twitter thread explaining the issue
*Atari Forum thread about the issue
*Collection of existing disk images
*Internet Archive collection of STart Magazine issues
*AtariMania collection
BMDL

BMDL is the low-level model format used by 3DMM.
Length: varies
 00: Chunk Signature (4 bytes)
 04: Vertex count (2 bytes)
 06: Triangle count (2 bytes)
 08: Unknown (40 bytes)
 48: First vertex (32 bytes):
 00: X coordinate (4 bytes)
 04: Y coordinate (4 bytes)
 08: Z coordinate (4 bytes)
 12: U coordinate (4 bytes)
 16: V coordinate (4 bytes)
 20: Unknown (12 bytes)
 NN: First triangle (32 bytes, at position 48+triangle count*32)
 00: Point 1 index (2 bytes)
 02: Point 2 index (2 bytes)
 06: Point 3 index (2 bytes)
 08: Unknown (26 bytes)
Barbie Fashion Show

== Basic details ==
Barbie Fashion Show was released in 2004 by Vivendi, developed by Knowledge Adventure (now known as Jumpstart Games). It uses the Power Render game engine, targeting DirectX.
Scripting is provided by Python 2.2, implemented through SIP by Riverbank Computing.
The game's internal engine is apparently called Ring0 or "R0". 
==Data Files (KAR) ==
The main data files are .KAR files. The game has a total of 41 KAR files.
KAR files are built on an IFF/RIFF format, with inconsistent endianness.
===KAR Chunks:===
The function at 004ee380 in BarbieFashion.exe seems to select how different chunks are loaded. From that function we can extract all (?) chunk types, other than meta chunks
Name	Class 	Purpose
CAT 	Meta 	Starts the file
RIFF	Meta 	
RsCk	Meta 	
DtFm	 	
FtFm	 	
IfFm	 	
InFm	 	
LvFm	 	
MtFm	Textures 	
ObFm	 	
PhFm	 	
PtFm	 	
ScFm	Scripting	Modified .pyc bytecode
SnFm	Sounds 	Sound effects
SsFm	 	
StFm	 	
TbFm	 	
TrFm	Textures 	
TxFm	Textures 	
== Python ==
Python bytecode in the form of modified .pyc files exists in two forms:
* The sipEngine.bc file which is loaded at game start
* ScFm chunks. These are saved in the files GlobalSc.kar ModelMatcherSc.kar PortfolioSc.kar SigninSc.kar Stage5Sc.kar TravelSc.kar
In both cases, they are missing their header. Add the bytes "2D ED 0D 0A 00 00 00 00" to the beginning of the file, and they can be successfully decompiled by Easy Python Decompiler.
For the kar files, as they are the only chunk in the file, you can convert them to stand-alone .BC files by removing the first 44 bytes. Then add the above bytes and rename to .pyc to disassemble. 
The game registers two modules with the python interpreter: 
* libsip (used to let python code extend C++ classes)
* libEnginec (game engine functionality)
== KAS files ==
KAS files are used for music. The two KAS files are CreditsStream1.KAS and globalStream1.KAS.
Both are Ogg Vorbis soundfiles with a 4-byte header added. In both cases the header is 31 CC CC CC, and when removed, they can be opened by any .ogg program. 
GlobalStream1.KAS is 38 minutes, 43 seconds
CreditsStream1.KAS is 3 minutes, 53 seconds. 
==See also==
*Mastodon thread for researching the game
Br matrix34

Length: 48 bytes
12 (3*4) br_scalars listing the left 3x4 matrix of a 4x4 matrix. 
S01	S02	S03	0 (implied)
S04	S05	S06	0 (implied)
S07	S08	S09	0 (implied)
S10	S11	S12	1 (implied)
CAM

A CAM chunk represents a single camera angle for a frame. It's associated with a Mbmp Chunk and a Zbmp Chunk, representing the background image and depth buffer of that camera angle, respectively.
Chunk Type:
Byte 	3 	2 	1 	0
ASCII 	C 	A 	M 	(sp)
Hex 	43 	41 	4D 	20
Meaning	CAMera	CAMera	CAMera	CAMera
Length: 100 bytes
00: Chunk Signature (4 bytes)
12: FOV (br_angle, 2 bytes)
28: Camera Transform (br_matrix34, 48 bytes)
Death Generator

The Death Generator (formerly known as the Sierra Death Generator) is my project for generating fake video game screenshots.
=== Design ===
The basic design of the death generator is that the central code (in the terribly named scripts.js) loads 3 or 4 files from games/GENERATOR_NAME/:
# a JSON file describing the layout of the font, plus special options
# a blank image which'll be used as the background
# a font image which contains both the characters for the font and any overlays or special effects needed
# (optionally) a .js file. Currently this is only used to provide GIF support for some generators.
The JSON file has (sadly) no documentation as to what it supports, but you can see the most basic structure by looking at a simple generator's JSON file, such as the Police Quest 2 generator.
There's also one central file which tells the main script which generators exist, plus some metadata about them: generators.js. Although for testing reasons if you manually compose a url to a generator that exists but isn't in generators.js, the scripts will load it but supply dummy values for the metadata. This is very handy for local testing, so you can start building the generator before filling out the metadata. 
=== API/Automation ===
Two commonly asked questions are "Does the death generator have an API?" and "Can I easily run it from the command line?" and the answer to both questions is no. Both are on the to-do list but can't really be done with the current design.
The main obstacle is that it's HTML canvas based and explicitly tied to the HTML page it works with. At some point I'll split it out and use some kind of canvas wrapper to let you run it from the command line as a node.js app, but not that hasn't been done yet.
If you really really need to generate from the command line, you can. Not easily or quickly, but you can with a bit of work: Look into evaluate_test_cases.js. This is a node.js script that takes in a JSON file and then runs some headless Chromium instances against it, returning the output images (at 1:1 scaling instead of the default 2:1, you may want to disable this depending on your needs) encoded into JSON. test.py contains some example code for extracting the images from the response JSON.
=== Game Status ===
I've historically maintained lists in several places: my email inbox, my todo manager, a text file in the repo, issues on the repo, so why not add one more? Here's a list of requested games I haven't had a chance to get to yet.
Also there's a bunch of generators where I've started and not yet finished, for one reason or another. I'm trying to keep a list of those here, primarily to remind myself to FINISH THEM. 
=== Links ===
* Death Generator site
* Death Generator Source