The modern day esolangs are, it seems, motivated by one of three things:
* "How different can we make this from a conventional programming language and have it still be Turing complete?"
* "Wouldn't it be annoying if [thing that conventional programming languages never do]?"
* "Let's optimize for terseness at the expense of readability" (aka "golfing" languages).
INTERCAL *has* bizarre, annoying, and/or terse features but it's not *motivated* by any of them. INTERCAL's motivation is *satire.*
Followup: The most annoying things about current generation programming languages are IMO *not* about the syntax. Sure, it still grinds my gears every time I can't have a multi-line anonymous function in Python, but in the *grand* scheme of things, the stuff worth satirizing about today's languages is like
* dependency hell
* API tarpits (everything is possible nothing is easy)
* nobody knows how to write docs
* forgetting the lessons of the 1990s is the new forgetting the lessons of the 1960s
@zwol adding in some stuff about the rust borrow checker could be an interesting modern update. Not only can it be difficult to satisfy the conditions of the borrow checker, you could also bring back intercal's politeness requirements - you can only have a borrow if you're sufficiently nice about it.
You can steal references, but if you do it too much you'll get caught by the reference cops.
@pancomputans @kepstin i was just telling someone else the other day that the difference between a program that works for its author and a program that works for lots of people is mostly about error handling...
what you just said is the pithiest explanation of _why_ that's so that i've ever seen!
RE: https://infosec.exchange/@atax1a/112124923616439836
@zwol it was in earnest, otherwise we would nominate Vim Guy Bram Moolenar's hobby language Zimbu
https://web.archive.org/web/20160310084006/http://www.zimbu.org/design/goals
if" sure is a thing you can think@atax1a Back in the day on rec.arts.sf.written they used to talk about the Brain Eater, an imaginary monster that would visit SF authors towards the ends of their careers and eat the part of their brains that could tell when a story they'd written was any good. It was invoked to explain e.g. why Heinlein's "Stranger in a Strange Land" is so much better than "Time Enough for Love".
Perhaps a similar monster is in play here.