I started out very sceptical. When Claude Code landed, I got completely seduced — borderline addicted, slot machine-style — by what initially felt like a superpower. Then I actually read the code. It was shockingly bad. I swung back hard to my earlier scepticism, probably even more entrenched than before.
Then something shifted. I started experimenting. I stopped giving it orders and began using it more like a virtual rubber duck. That made a huge difference.
It’s still absolute rubbish if you just let it run wild, which is why I think “vibe coding” is basically just “vibe debt” — because it just doesn’t do what most (possibly uninformed) people think it does.
But if you treat it as a collaborator — more like an idiot savant with a massive brain but no instinct or nous — or better yet, as a mech suit [0] that needs firm control — then something interesting happens.
I’m now at a point where working with Claude Code is not just productive, it actually produces pretty good code, with the right guidance. I’ve got tests, lots of them. I’ve also developed a way of getting Claude to document intent as we go, which helps me, any future human reader, and, crucially, the model itself when revisiting old code.
What fascinates me is how negative these comments are — how many people seem closed off to the possibility that this could be a net positive for software engineers rather than some kind of doomsday.
Did Photoshop kill graphic artists? Did film kill theatre? Not really. Things changed, sure. Was it “better”? There’s no counterfactual, so who knows? But change was inevitable.
What’s clear is this tech is here now, and complaining about it feels a bit like mourning the loss of punch cards when terminals showed up.
[0]: https://matthewsinclair.com/blog/0178-why-llm-powered-progra...
To a first approximation, the answer to both of these is "yes".
There is still a lot of graphic design work out there (though generative AI will be sucking the marrow out of it soon), but far less than there used to be before the desktop publishing revolution. And the kind of work changed. If "graphic design" to you meant sitting at a drafting table with pencil and paper, those jobs largely evaporated. If that was a kind of work that was rewarding and meaningful to you, that option was removed for you.
Theatre even more so. Yes, there are still some theatres. But the number of people who get to work in theatrical acting, set design, costuming, etc. is a tiny tiny fraction of what it used to be. And those people are barely scraping together a living, and usually working side jobs just to pay their bills.
> it feels a bit like mourning the loss of punch cards when terminals showed up.
I think people deserve the right to mourn the loss of experiences that are meaningful and enjoyable to them, even if those experiences turn out to no longer be maximally economically efficient according to the Great Capitalistic Moral Code.
Does it mean that we should preserve antiquated jobs and suffer the societal effects of inefficiency without bound? Probably not.
But we should remember that the ultimate goal of the economic system is to enable people to live with meaning and dignity. Efficiency is a means to that end.
I think this ends up being recency bias and terminology hairsplitting, in the end. The number of people working in theatre mask design went to nearly zero quite a while back but we still call the stuff in the centuries after that 'theatre' and 'acting'.
I think "theatre" is a fairly well-defined term to refer to live performances of works that are not strictly musical. Gather up all of the professions necessary to put those productions on together.
The number of opportunities for those professions today is much smaller than it was a hundred years ago before film ate the world.
There are only so many audience members and a night they spend watching a film or watching TV or playing videogames is a night they don't spend going to a play. The result is much smaller audiences. And with fewer audiences, there are fewer plays.
Maybe I should have been clearer that I'm not including film and video production here. Yes, there are definitely opportunities there, though acting for a camera is not at all the same experience as acting for a live audience.