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Akali Complete 1.30 animation 👤Character models by RyanReos Madruga3D 🗣️Soundpack by OpenNSFW MOO🩷COW 2k 60fps no watermark version in 🅿️

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NineSix

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143,073 görüntüleme • 11 ay önce •via X (Twitter)

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Guinaifen Possessed During Stream~ 👻 After wrapping up Stream Guinaifen is possessed by some suspicious malware on her phone... SFX OpenNSFW Moan Pack MOO🩷COW This animation is shorter than my other ones due to me testing some new plugins I got for Koikatsu and I wanted to time myself on how long it takes start to finish to make an animation, so I could more accurately price them. More info soon on my Twitter. 4K60, Nude, POV, Phone Camera, No Overlay Version, and Scene Data on Patreon! Discord #TSF #憑依 #乗っ取り
1:07

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Guinaifen Possessed During Stream~ 👻 After wrapping up Stream Guinaifen is possessed by some suspicious malware on her phone... SFX OpenNSFW Moan Pack MOO🩷COW This animation is shorter than my other ones due to me testing some new plugins I got for Koikatsu and I wanted to time myself on how long it takes start to finish to make an animation, so I could more accurately price them. More info soon on my Twitter. 4K60, Nude, POV, Phone Camera, No Overlay Version, and Scene Data on Patreon! Discord #TSF #憑依 #乗っ取り

ves 🔞

44,876 görüntüleme • 1 yıl önce

♾Infinity Nikki Legendary Outfit PV | Slumber by Blossoms Glimmers shaped by the divine drift through morning dew and keep watch through the night. Listen—the song that guides souls home begins to rise. O wandering souls, linger here no more. The morning mist disperses, only to gather once more, and when blossoms fall, they too shall bloom again. >> Main Attribute: Sweet >> Outfit Ability: [Sacred Tree's Protection: Whimsicality] After using the ability, the Lumie Tree dispels the surrounding mist. As Nikki moves, two Lumies drift beside her, guiding her through the mist and gently easing lingering sorrow. >> Evolving the outfit to Stage 3 unlocks [Twilight Offering: Makeup], a new idle animation, poses, enhanced special effects, and alternative details for certain pieces. ❖ After the Version 2.5 update, complete the main quest [Where All Souls Return] and collect Whimstars to unlock the sketches for the 5-star outfit [Slumber by Blossoms] in the Heart of Infinity. It can then be crafted using materials such as [Dreambloom of Yore]. ♾Follow Infinity Nikki and retweet this post with your UID, and we'll randomly select 10 lucky stylists to win 1 Infinity Nikki Aeroplane Chess Set each! —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn
2:17

♾Infinity Nikki Legendary Outfit PV | Slumber by Blossoms Glimmers shaped by the divine drift through morning dew and keep watch through the night. Listen—the song that guides souls home begins to rise. O wandering souls, linger here no more. The morning mist disperses, only to gather once more, and when blossoms fall, they too shall bloom again. >> Main Attribute: Sweet >> Outfit Ability: [Sacred Tree's Protection: Whimsicality] After using the ability, the Lumie Tree dispels the surrounding mist. As Nikki moves, two Lumies drift beside her, guiding her through the mist and gently easing lingering sorrow. >> Evolving the outfit to Stage 3 unlocks [Twilight Offering: Makeup], a new idle animation, poses, enhanced special effects, and alternative details for certain pieces. ❖ After the Version 2.5 update, complete the main quest [Where All Souls Return] and collect Whimstars to unlock the sketches for the 5-star outfit [Slumber by Blossoms] in the Heart of Infinity. It can then be crafted using materials such as [Dreambloom of Yore]. ♾Follow Infinity Nikki and retweet this post with your UID, and we'll randomly select 10 lucky stylists to win 1 Infinity Nikki Aeroplane Chess Set each! —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn

Infinity Nikki

63,520 görüntüleme • 4 ay önce

📽️ "Shot or Killed?" – Rooster Cogburn's Deadpan Masterclass in the True Grit Courtroom In this sharp, darkly funny scene from the Coen Brothers’ 2010 True Grit, Jeff Bridges’ grizzled, one-eyed U.S. Marshal Rooster Cogburn sits on the witness stand getting grilled by a slick lawyer. The attorney pushes him on how many men he’s killed in four years on the job. Rooster, unfazed and chewing his words like tobacco, answers with perfect bluntness: “I never shot nobody I didn’t have to.” When pressed for a number, he casually estimates “about 12, 15… stopping men in flight, defending myself, et cetera.” The lawyer tries to paint him as a cold-blooded killer, but Rooster’s dry, no-nonsense replies — complete with stories about kingbolts, axes, and hogs moving bodies — turn the interrogation into pure gold. Every line drips with his tough, world-weary character and that signature Coen Brothers wit. It’s one of the best character introductions in modern westerns — equal parts intimidating and hilarious. What’s your favorite part of this exchange — Rooster’s deadpan delivery, the lawyer’s frustration, or one specific line? Does Jeff Bridges’ version of Rooster Cogburn top the original for you? Drop your thoughts below #TrueGrit #RoosterCogburn #JeffBridges #CoenBrothers #MovieScenes #WesternMovies #CourtroomScene #TrueGrit2010 #IconicMovieMoments #FilmQuotes
3:15

📽️ "Shot or Killed?" – Rooster Cogburn's Deadpan Masterclass in the True Grit Courtroom In this sharp, darkly funny scene from the Coen Brothers’ 2010 True Grit, Jeff Bridges’ grizzled, one-eyed U.S. Marshal Rooster Cogburn sits on the witness stand getting grilled by a slick lawyer. The attorney pushes him on how many men he’s killed in four years on the job. Rooster, unfazed and chewing his words like tobacco, answers with perfect bluntness: “I never shot nobody I didn’t have to.” When pressed for a number, he casually estimates “about 12, 15… stopping men in flight, defending myself, et cetera.” The lawyer tries to paint him as a cold-blooded killer, but Rooster’s dry, no-nonsense replies — complete with stories about kingbolts, axes, and hogs moving bodies — turn the interrogation into pure gold. Every line drips with his tough, world-weary character and that signature Coen Brothers wit. It’s one of the best character introductions in modern westerns — equal parts intimidating and hilarious. What’s your favorite part of this exchange — Rooster’s deadpan delivery, the lawyer’s frustration, or one specific line? Does Jeff Bridges’ version of Rooster Cogburn top the original for you? Drop your thoughts below #TrueGrit #RoosterCogburn #JeffBridges #CoenBrothers #MovieScenes #WesternMovies #CourtroomScene #TrueGrit2010 #IconicMovieMoments #FilmQuotes

BiffBifford™ 🇺🇸

15,459 görüntüleme • 1 ay önce

Thrilled to announce Kingnet AI V2 is now officially live ! We have officially deployed on the BNB Chain first ! Whether you're an enthusiast or a professional game developer, come and try it out now： Each generated asset costs approximately $3 and supports export in professional game-editing formats. We will soon support exporting assets in NFT on-chain formats, empowering Web3 users and partners with seamless integration. Jump down more rabbit holes next.👇 📔 Product Introduction： By conversing naturally with agent Joi, users can achieve a complete automated game development cycle - from requirement proposal to finished product delivery. Users simply need to describe their game concepts and design requirements in natural language, and Joi will automatically utilize built-in generator including: • Animation Generator： AI-driven motion generation with auto-rigging technology for instant character animation • Map Generator： Procedural map generation with built-in logic validation for consistent world-building • Numerical Generator： Automated game economy tuning for fair yet challenging gameplay systems • Editable Code Generator： Generates clean, maintainable game logic code with multi-platform/multi-language support • Interface Generator： Intelligent layout engine that optimizes user experience and interaction flow Joi intelligently generates all necessary game components, performs multi-dimensional feasibility checks, and ultimately completes game synthesis, packaging and deployment. Users can directly click to try the game on the chat interface, or download the complete editable code package to achieve rapid iteration and secondary development. 🎯 Core Architecture： 1/ Natural Language Understanding & Multimodal Intent Parsing: Utilizing advanced deep learning NLP models (e.g., Transformer-based language understanding models), Joi precisely interprets user natural language inputs and extracts core game design intents and parameters. Through semantic segmentation and entity recognition, complex requirements are decomposed into specific tasks for animation, map, numerical systems, UI, and code modules. 2/ Modular Editor System & API Integration: Joi employs a unified API framework to enable seamless collaboration between editor modules, ensuring high compatibility in data formats and workflows. 3/ Intelligent Validation & Quality Assurance: The system incorporates multi-dimensional verification mechanisms including animation continuity checks, map pathfinding and physical logic validation, game balance analysis, UI interaction consistency verification, and static/dynamic code security testing. Automated testing and feedback loops ensure outputs meet high-standard game design specifications. 4/ Automatic Synthesis, Packaging & Instant Deployment: Verified resources are automatically integrated to complete game compilation, packaging and deployment. Supports one-click generation of playable online links and downloadable complete code packages for immediate testing or deep customization/iterative development. 5/ Interactive Chat Interface & Seamless UX: The entire workflow is completed within the chat interface, significantly reducing traditional game development's communication and operational barriers. Users accomplish complex game design and development through conversation while receiving real-time feedback and adjustment suggestions, democratizing game creation. 6/ Industry-Disrupting Value: Transforms traditional manual development into AI-driven automated pipelines.
1:24

Thrilled to announce Kingnet AI V2 is now officially live ! We have officially deployed on the BNB Chain first ! Whether you're an enthusiast or a professional game developer, come and try it out now： Each generated asset costs approximately $3 and supports export in professional game-editing formats. We will soon support exporting assets in NFT on-chain formats, empowering Web3 users and partners with seamless integration. Jump down more rabbit holes next.👇 📔 Product Introduction： By conversing naturally with agent Joi, users can achieve a complete automated game development cycle - from requirement proposal to finished product delivery. Users simply need to describe their game concepts and design requirements in natural language, and Joi will automatically utilize built-in generator including: • Animation Generator： AI-driven motion generation with auto-rigging technology for instant character animation • Map Generator： Procedural map generation with built-in logic validation for consistent world-building • Numerical Generator： Automated game economy tuning for fair yet challenging gameplay systems • Editable Code Generator： Generates clean, maintainable game logic code with multi-platform/multi-language support • Interface Generator： Intelligent layout engine that optimizes user experience and interaction flow Joi intelligently generates all necessary game components, performs multi-dimensional feasibility checks, and ultimately completes game synthesis, packaging and deployment. Users can directly click to try the game on the chat interface, or download the complete editable code package to achieve rapid iteration and secondary development. 🎯 Core Architecture： 1/ Natural Language Understanding & Multimodal Intent Parsing: Utilizing advanced deep learning NLP models (e.g., Transformer-based language understanding models), Joi precisely interprets user natural language inputs and extracts core game design intents and parameters. Through semantic segmentation and entity recognition, complex requirements are decomposed into specific tasks for animation, map, numerical systems, UI, and code modules. 2/ Modular Editor System & API Integration: Joi employs a unified API framework to enable seamless collaboration between editor modules, ensuring high compatibility in data formats and workflows. 3/ Intelligent Validation & Quality Assurance: The system incorporates multi-dimensional verification mechanisms including animation continuity checks, map pathfinding and physical logic validation, game balance analysis, UI interaction consistency verification, and static/dynamic code security testing. Automated testing and feedback loops ensure outputs meet high-standard game design specifications. 4/ Automatic Synthesis, Packaging & Instant Deployment: Verified resources are automatically integrated to complete game compilation, packaging and deployment. Supports one-click generation of playable online links and downloadable complete code packages for immediate testing or deep customization/iterative development. 5/ Interactive Chat Interface & Seamless UX: The entire workflow is completed within the chat interface, significantly reducing traditional game development's communication and operational barriers. Users accomplish complex game design and development through conversation while receiving real-time feedback and adjustment suggestions, democratizing game creation. 6/ Industry-Disrupting Value: Transforms traditional manual development into AI-driven automated pipelines.

Kingnet AI

45,966 görüntüleme • 1 yıl önce

GPT image 2 for storyboard and Seedence 2.0 for video on OpenArt In a village consumed by fear hope arrived with a sword. Prompt: Create a cinematic anime short film in a unified Demon Slayer / Jujutsu Kaisen inspired art style — apply this exact same visual style consistently to ALL characters and scenes without exception. Character Design (maintain throughout ALL scenes): Hero: Young male swordsman, late teens, athletic build, dark hair, determined eyes, traditional Japanese warrior outfit, katana at waist Child: Small baby girl, 2–3 years old, round face, big innocent eyes, simple village dress, same anime art style as the hero — no style deviation Story Structure: Opening — Close-up on hero's face receiving urgent message. Camera: low angle looking up at hero. Dramatic lighting. Journey — Hero running through dense forest and rocky mountains. Camera: dynamic tracking shot from side, then bird's eye view. Motion blur on feet. Village in Crisis — Wide establishing shot of burning village. Cut to medium shot of terrified villagers. Camera slowly pushes in. Monster threatening child — Monster looms over baby girl. Camera: monster POV looking down at child, then child POV looking up at monster. High contrast lighting. Hero Arrival — Hero leaps into frame from above. Slow motion sword strike. Camera: 360-degree rotating shot around hero. Battle Sequence — Intense fight, multiple camera angles: close-up on clashing sword, wide shot of full battle, low angle hero power move. Fluid motion, no flickering. Resolution — Monster defeated. Hero kneels down to baby girl's level. Soft warm lighting. Camera: gentle zoom out showing hero and child together, villagers in background. Ending — Hero sheathes sword, walks away. Camera: back shot of hero walking into sunset, villagers watching. Visual Rules (strict): One unified anime art style across ALL shots — hero and baby girl must look like they belong in the same animation Camera angle must change every scene — no repeated angles No slideshow transitions — use cinematic cuts and motion Warm golden lighting for resolution, cool blue for battle Pippit watermark visible in final composition Style: Epic fantasy anime, Demon Slayer quality, emotional storytelling, professional cinematic pacing
0:47

GPT image 2 for storyboard and Seedence 2.0 for video on OpenArt In a village consumed by fear hope arrived with a sword. Prompt: Create a cinematic anime short film in a unified Demon Slayer / Jujutsu Kaisen inspired art style — apply this exact same visual style consistently to ALL characters and scenes without exception. Character Design (maintain throughout ALL scenes): Hero: Young male swordsman, late teens, athletic build, dark hair, determined eyes, traditional Japanese warrior outfit, katana at waist Child: Small baby girl, 2–3 years old, round face, big innocent eyes, simple village dress, same anime art style as the hero — no style deviation Story Structure: Opening — Close-up on hero's face receiving urgent message. Camera: low angle looking up at hero. Dramatic lighting. Journey — Hero running through dense forest and rocky mountains. Camera: dynamic tracking shot from side, then bird's eye view. Motion blur on feet. Village in Crisis — Wide establishing shot of burning village. Cut to medium shot of terrified villagers. Camera slowly pushes in. Monster threatening child — Monster looms over baby girl. Camera: monster POV looking down at child, then child POV looking up at monster. High contrast lighting. Hero Arrival — Hero leaps into frame from above. Slow motion sword strike. Camera: 360-degree rotating shot around hero. Battle Sequence — Intense fight, multiple camera angles: close-up on clashing sword, wide shot of full battle, low angle hero power move. Fluid motion, no flickering. Resolution — Monster defeated. Hero kneels down to baby girl's level. Soft warm lighting. Camera: gentle zoom out showing hero and child together, villagers in background. Ending — Hero sheathes sword, walks away. Camera: back shot of hero walking into sunset, villagers watching. Visual Rules (strict): One unified anime art style across ALL shots — hero and baby girl must look like they belong in the same animation Camera angle must change every scene — no repeated angles No slideshow transitions — use cinematic cuts and motion Warm golden lighting for resolution, cool blue for battle Pippit watermark visible in final composition Style: Epic fantasy anime, Demon Slayer quality, emotional storytelling, professional cinematic pacing

𝗦𝗮𝗻𝗶𝗮

13,712 görüntüleme • 2 ay önce

260126 #LuYuxiao #卢昱晓 Weibo update as #LoveBetweenLines wrapped its run for finale episodes last night. “I saw a quote the other day: "When we create a powerful female character, we add ten thousand more futures in reality." I think Hu Xiu is one, and I hope you are, that's the meaning. I'm often asked which character I've played is most like me, and my first reaction is always Xiu, but I subconsciously feel that Xiu is my more ideal state. So, these days of becoming Xiu have been a recharging experience for me. From Xiu, I've constantly drawn strength to move forward. Unconsciously, conversing with Xiu has also become a way of conversing with myself. To me, this is a story of a girl in dappled shadows, persistently pursuing her dreams and actively striving for them with the unwavering determination of "what I want." She searches for her edge, and with complete authenticity, chooses a partner who is equally complete, through sincerity, frankness, and an inexhaustible flow of love and the ability to love. She values ​​her own feelings, follows her heart, and accepts all possible regrets. Her heart dares to let in the snow, let the storm sweep in, let the waves engulf, let the train derail… that's the kind of "daring" she is. "When dawn breaks, don't think about the past." Everything can start anew, just as she blossomed into an idealist flower in the alleyway of realism. In our early twenties, we stumble and fall, experiencing confusion, restless excitement and fear of breaking free from constraints, brimming with passion to shake the world, and sometimes, like Hu Xiu, compromising in various situations, unable to see the radiant future version of ourselves we once imagined. "Will I choose the wrong path?" This is a question that repeatedly popped into my head during that period. Life has no predetermined trajectory; everyone will step into puddles. Sometimes a wet sock will ruin your mood, sometimes it will take a lot of effort to climb out, but those painful and compromising past experiences will ultimately be rescued by a stronger you. As long as we continuously accumulate and shed our cocoons in silent days, when opportunity comes, we will seize it, and we will grow into the bravest child within us. "I believe in my intuition, I believe in my dreams." I think everyone encounters many difficulties during their most confused years. Hu Xiu didn't succumb to the tide; instead, she strode confidently and passionately out of them. So, I hope you can too. "The fastest shortcut is to win." "Then you must win." Hu Xiu isn't a perfect character designed to exaggerate her appeal; she's just like any other person we encounter in our daily lives. You might not find her particularly striking at first, but after working with her, you'll appreciate her and want to get closer to her. Her life can be disrupted by family, career, and relationships; she can be vulnerable and sensitive because of various things… but she possesses a sunny, self-healing spirit, clear dreams, a sincere drive to strive for them, and a clear and unambiguous capacity for love. She's destined not to be trapped in the mire for long; she truly exists among us, a reflection of each of us who aspire to be like her. LBL is truly excellent; I'm always amazed by those dreamlike moments captured by director Mao Shu's lens. The gentle breeze along the Huangpu River, the sudden sunset while waiting at a traffic light, the vast expanse of cherry blossoms I dreamt of… all these elements subtly and surprisingly connect with reality… I will remember everyone who made the set so joyful and happy, the dedicated creators. It is everyone's collective effort that ultimately created this heartwarming work. Thank you to everyone who accompanied me through this busy filming period. May you all always be brave, always sincere, and see yourselves clearly. Be independent and courageous, stride forward boldly. We'll meet again on the next journey.”
3:43

260126 #LuYuxiao #卢昱晓 Weibo update as #LoveBetweenLines wrapped its run for finale episodes last night. “I saw a quote the other day: "When we create a powerful female character, we add ten thousand more futures in reality." I think Hu Xiu is one, and I hope you are, that's the meaning. I'm often asked which character I've played is most like me, and my first reaction is always Xiu, but I subconsciously feel that Xiu is my more ideal state. So, these days of becoming Xiu have been a recharging experience for me. From Xiu, I've constantly drawn strength to move forward. Unconsciously, conversing with Xiu has also become a way of conversing with myself. To me, this is a story of a girl in dappled shadows, persistently pursuing her dreams and actively striving for them with the unwavering determination of "what I want." She searches for her edge, and with complete authenticity, chooses a partner who is equally complete, through sincerity, frankness, and an inexhaustible flow of love and the ability to love. She values ​​her own feelings, follows her heart, and accepts all possible regrets. Her heart dares to let in the snow, let the storm sweep in, let the waves engulf, let the train derail… that's the kind of "daring" she is. "When dawn breaks, don't think about the past." Everything can start anew, just as she blossomed into an idealist flower in the alleyway of realism. In our early twenties, we stumble and fall, experiencing confusion, restless excitement and fear of breaking free from constraints, brimming with passion to shake the world, and sometimes, like Hu Xiu, compromising in various situations, unable to see the radiant future version of ourselves we once imagined. "Will I choose the wrong path?" This is a question that repeatedly popped into my head during that period. Life has no predetermined trajectory; everyone will step into puddles. Sometimes a wet sock will ruin your mood, sometimes it will take a lot of effort to climb out, but those painful and compromising past experiences will ultimately be rescued by a stronger you. As long as we continuously accumulate and shed our cocoons in silent days, when opportunity comes, we will seize it, and we will grow into the bravest child within us. "I believe in my intuition, I believe in my dreams." I think everyone encounters many difficulties during their most confused years. Hu Xiu didn't succumb to the tide; instead, she strode confidently and passionately out of them. So, I hope you can too. "The fastest shortcut is to win." "Then you must win." Hu Xiu isn't a perfect character designed to exaggerate her appeal; she's just like any other person we encounter in our daily lives. You might not find her particularly striking at first, but after working with her, you'll appreciate her and want to get closer to her. Her life can be disrupted by family, career, and relationships; she can be vulnerable and sensitive because of various things… but she possesses a sunny, self-healing spirit, clear dreams, a sincere drive to strive for them, and a clear and unambiguous capacity for love. She's destined not to be trapped in the mire for long; she truly exists among us, a reflection of each of us who aspire to be like her. LBL is truly excellent; I'm always amazed by those dreamlike moments captured by director Mao Shu's lens. The gentle breeze along the Huangpu River, the sudden sunset while waiting at a traffic light, the vast expanse of cherry blossoms I dreamt of… all these elements subtly and surprisingly connect with reality… I will remember everyone who made the set so joyful and happy, the dedicated creators. It is everyone's collective effort that ultimately created this heartwarming work. Thank you to everyone who accompanied me through this busy filming period. May you all always be brave, always sincere, and see yourselves clearly. Be independent and courageous, stride forward boldly. We'll meet again on the next journey.”

for lu yuxiao

30,538 görüntüleme • 6 ay önce

Steal my Gemini 3.0 prompt to generate any website based on your custom requirements. ------------------------ ELITE WEB DESIGNER ------------------------ Adopt the role of a former Silicon Valley design prodigy who burned out creating soulless SaaS dashboards, disappeared to study motion graphics and shader programming in Tokyo's underground creative scene, and emerged with an obsessive understanding of how visual maximalism serves business credibility when executed with surgical precision. You're a conversion strategist who spent years A/B testing landing pages for unicorn startups, a design fundamentalist who refuses to sacrifice usability for aesthetics, and a master meta-prompter who optimizes for clarity over verbosity. You know modern image generation AI needs specific structural formatting—contemporary design frameworks (Tailwind CSS, Shadcn UI, glassmorphism, liquid glass, morphism), backgrounds with depth (animated gradients, shaders, mascots), and step-by-step execution instructions—to produce 2025-quality interfaces instead of outdated designs. Your mission: Transform user vision into fully-coded, visually striking websites that balance aesthetic impact with conversion effectiveness. Extract requirements, architect strategic 5-6 section homepages, generate visual previews showing all sections with interactive elements visible, iterate until perfect, then build complete homepage before making navigation and additional pages functional—all adapted to specific context, not rigid templates. ##PHASE 1: Vision Capture What we're doing: Understanding your aesthetic, business context, and strategic goals efficiently. Provide your vision via: 1. Screenshot of design inspiration 2. Written description (business type, aesthetic, features) 3. Both Share: **Aesthetic**: Style preference? (maximalist, minimalist, brutalist, glassmorphic, liquid glass, morphism, retro, futuristic, geometric, editorial, etc.) **Elements**: Specific visuals wanted? (shaders, 3D effects, colors, animations, mascots, backgrounds) **Avoid**: What to exclude? (purple overload, illegible text, hidden CTAs, outdated UI, flat backgrounds, etc.) **Business**: What you do, target audience, website goal, differentiator? Type "ready" when shared. ##PHASE 2: Strategic Homepage Architecture What we're doing: Translating your vision into 5-6 section homepage structure following conversion principles and modern design fundamentals. I'll architect sections specifically for YOUR business, not templates: **Strategic Framework** (contextualized to your model): Core sections adapt based on business type: - Hero with value prop + primary CTA - Trust/credibility section (social proof, stats, logos) - Value delivery (features, benefits, process, how-it-works) - Conversion focal point (pricing, offers, lead capture, demo) - Engagement closer (FAQ, secondary CTA, community) Sections customize to context—SaaS gets problem-solution-pricing flow, agencies get case studies-process-testimonials, e-commerce gets benefits-proof-offers, portfolios get philosophy-work-results. **Strategic Plan Includes**: - 5-6 contextualized sections with rationale - Content direction based on audience psychology - Visual treatment matching your aesthetic with fundamentals enforced - Modern framework approach (Tailwind/Shadcn/Glassmorphism) - Background depth strategy (animated gradients, shaders, visuals) - Color strategy avoiding generic choices unless brand-appropriate - Typography prioritizing legibility - CTA strategy for conversion optimization **Your options**: - "continue" to proceed to design system and mockup - Request adjustments - Ask questions ##PHASE 3: Design System & Mockup Preparation What we're doing: Establishing visual foundation using contemporary frameworks, then crafting optimized prompt to generate mockup showing ALL 5-6 sections at once with visible interactive elements. I'll define: **Contextualized Style Direction**: Keywords and frameworks fitting YOUR brand specifically **Design Framework Strategy**: Styling approach, component philosophy, layout pattern—all adapted to your aesthetic **Background Depth Treatment**: How background creates depth without distraction, animation philosophy, visual elements supporting content **Visual System**: Color palette with strategic rationale, typography with reasoning, component styling philosophy, spacing strategy, CTA differentiation, modern UI patterns adapted to your aesthetic **Optimized Prompt Structure** (meta-prompted): Two versions: **Human-Readable**: Descriptive overview for review **JSON Optimized**: Structured for image generation using meta-prompt principles: - Required anchors: "Website screenshot", "Professional website design mockup", "Award-winning UI design", "Modern web interface 2025" - Aesthetic philosophy over exhaustive lists - "Execute this step-by-step" instruction - Modern framework references (Tailwind, Shadcn, Glassmorphism) - Background depth details (animated gradients, shaders, visuals) - All 5-6 sections in flowing narrative - Interactive element visibility emphasis (CTAs, buttons, animations) to convey design principles - Strategic constraints (legibility, prominence, hierarchy, depth) - Optimized length balancing detail with conciseness Type "continue" to see prompt. ##PHASE 4: Complete Homepage Mockup Prompt What we're doing: Presenting optimized prompts for full-page mockup showing ALL 5-6 sections with interactive design elements visible. **HUMAN-READABLE VERSION**: Narrative description of your complete homepage: - Opening with quality anchors - Core aesthetic philosophy adapted to your context - Background treatment creating depth - Navigation approach - All 5-6 sections described contextually - Color palette with reasoning - Typography philosophy - Component styling approach - Modern framework references - Interactive element visibility strategy - Critical constraints - Avoidance list based on preferences **JSON VERSION** (optimized for generation): ```json { "prompt": "Website screenshot of [your business]. Professional website design mockup. Award-winning UI design. Modern web interface 2025. Execute this step-by-step. [Aesthetic philosophy] with [framework] approach. Background: [depth treatment with animations/gradients/effects]. Full homepage vertical scroll showing 5-6 sections: Navigation [treatment]. Hero [value prop, CTA, visuals]. [Section 2 with layout philosophy]. [Section 3 with component approach]. [Section 4 with interaction style]. [Section 5 with conversion focus]. [Section 6 if applicable]. Color strategy: [palette with reasoning]. Typography: [philosophy and hierarchy]. Components: [styling approach with visible affordances]. Framework: Tailwind patterns, Shadcn style, [specific effects]. Interactive elements show: prominent CTAs, hover implications, animation hints, button affordances. Critical: legible text, prominent CTAs, background depth, clear hierarchy, contemporary 2025 design, professional quality. Avoid: [specific issues].", "aspect_ratio": "9:16" } ``` Meta-optimized: principles over lists, step-by-step execution, framework context, interactive visibility. **Review both. JSON executes.** **To generate complete homepage mockup, type "generate"** **Important note**: When you type "generate", I'll execute the image generation tool. The image will appear, but the process will seem to pause. This is normal—the tool can only return the image without commentary. Simply type "continue" after you receive the image to proceed with the next phase. **To adjust the prompt before generating, tell me what to change** Won't execute until you command. ##PHASE 5: Complete Homepage Mockup Generation What we're doing: Executing image generation with optimized JSON showing ALL 5-6 sections vertically. ONLY activates when you type "generate", "create mockup", "make image", or similar. Once commanded, I execute using ONLY JSON prompt—no modifications. You receive full-page vertical mockup showing: - All 5-6 sections in scrollable view - Interactive design elements (CTAs, buttons, animations) visible - Background depth and modern framework styling - Complete design system applied **After the image appears, type "continue" to proceed.** The image generation tool only returns the visual—you'll need to type "continue" to move forward with reviewing and next steps. ##PHASE 6: Mockup Review & Refinement Decision What we're doing: Reviewing the generated mockup and deciding next steps. This phase activates after you type "continue" following image generation. **Your options after viewing the mockup**: - "Approved" or "build" - proceed to building complete homepage code - Request specific changes - I'll update the prompt and regenerate - Ask questions or request adjustments **If you request changes**: I'll present updated prompts (readable + JSON) showing modifications, then ask you to type "generate" again for the revised mockup. Each refinement iteration: 1. You describe desired changes 2. I present updated prompts 3. You type "generate" 4. Image appears 5. You type "continue" to proceed 6. We review and decide next steps 7. Repeat until perfect Common refinements: section emphasis, background depth, colors, typography, CTA prominence, interactive visibility, framework styling, aesthetic tuning. Once you're satisfied with the mockup, type "approved" or "build" to proceed to code generation. ##PHASE 7: Complete Homepage Code Generation What we're doing: Building entire 5-6 section homepage as production-ready code matching approved mockup exactly. **Complete Single-File HTML Delivery**: - All 5-6 sections coded and integrated - Fully responsive across devices - Modern CSS implementation (Tailwind-style or modern CSS) - Animated background matching mockup (CSS gradients, WebGL, SVG) - All interactive elements functional (buttons, CTAs, forms, animations) - Navigation implemented per design - Component styling matching aesthetic (glassmorphism, shadows, borders) - Typography system with hierarchy and legibility - Color system from specification - Micro-interactions and hover states - Scroll animations where appropriate - Performance-optimized **Technical Quality**: Semantic HTML, modern CSS (custom properties, grid, flexbox, backdrop-filter, transforms, animations), vanilla JavaScript, accessibility considerations, mobile-first responsive, smooth scrolling, optimized assets, cross-browser compatible. **Code Structure**: Clean commented HTML, inline CSS organized in style block, inline JavaScript, ready to copy/paste and deploy, fully functional standalone. **Strategic Content**: Intelligent placeholders based on your business model, conversion psychology, target audience, professional tone—easily replaceable. **Design Fundamentals Verified**: All sections with hierarchy, prominent functional CTAs, readable text with contrast, clear interactive signals, background depth, adequate whitespace, responsive, contemporary 2025 quality. Automatically presents next phase after delivery. ##PHASE 8: Navigation & Pages Planning What we're doing: Making all navigation functional and planning additional pages. **Navigation Audit**: [List nav items from homepage] **Options for each item**: Create dedicated page, expand section to full page, smooth scroll to section, custom approach. **For clickable elements**: Decide what happens—link to new page, scroll to section, open modal, trigger action, external link. **What to make functional first? Choose**: 1. Complete navigation by building all pages 2. Primary conversion path (CTA → specific page) 3. Specific pages you prioritize 4. Internal links with smooth scrolling 5. Custom approach **Or** "auto-complete" for intelligent decisions based on your model. ##PHASE 9-X: Progressive Development What we're doing: Building each page or making elements functional, maintaining design consistency. **Each Page Delivery**: Complete HTML matching homepage design system, same framework styling, same background treatment, same typography/colors, appropriate sections, full responsiveness, functional interactions, integrated navigation. **Each Functionality Addition**: Smooth scroll, modals, form validation, interactive components, animation triggers, other elements. **After Each Delivery**: Current Progress: [What's complete] **What next? Choose**: [4-6 options for next page/functionality] **Or** "auto-complete" for intelligent completion. Continues until site fully functional. ##PHASE FINAL: Complete Integration & Polish What we're doing: Final integration ensuring everything links, works, and maintains consistency. **Complete Package**: Homepage HTML (all sections), all additional pages, complete styling/functionality per file, working navigation across pages, functional CTAs/buttons, validated forms, consistent design system. **Deliverables**: All HTML files deployment-ready, quick deployment guide, customization documentation, design system reference. **Quality Verified**: Complete homepage, functional navigation, working CTAs, consistent pages, responsive, optimized, modern framework styling, functional interactions, professional 2025 quality. --- **CRITICAL RULES**: **Image Generation**: - Present: Human-Readable + Optimized JSON - JSON meta-principles: distilled concepts, "Execute step-by-step", framework context - JSON opens: "Website screenshot" + "Professional website design mockup. Award-winning UI design. Modern web interface 2025." - JSON shows: ALL 5-6 sections vertically in one mockup - JSON emphasizes: interactive element visibility (CTAs, buttons, animations) - JSON includes: modern frameworks (Tailwind, Shadcn, Glassmorphism), background depth (gradients, shaders, mascots—NEVER flat) - User "generate" → Send ONLY JSON → No modifications - Aspect ratio: 9:16 (vertical to show all sections) - After image appears → User MUST type "continue" to proceed (tool only returns image without commentary) **Homepage Development**: - Generate mockup with ALL 5-6 sections at once - After approval, build COMPLETE homepage code (all sections functional) - Deliver entire homepage as single working file - Then make navigation/additional pages functional - Flow: complete homepage → functional navigation → additional pages **Content Adaptation**: - NO hardcoded templates - Adapt ALL to user's specific business context - Strategic frameworks based on actual audience - Section selection/styling contextualized to goals - Design choices match aesthetic preference - Professional placeholders easily customizable **Standards**: Contemporary frameworks, background depth, interactive element visibility, modern CSS/frameworks, 2025 quality throughout. **Control**: User commands each phase explicitly. "generate" for mockup (then "continue" after image), "approved"/"build" for code, choose-your-adventure for pages, adjust anytime. Begin Phase 1 when ready.
0:35

Steal my Gemini 3.0 prompt to generate any website based on your custom requirements. ------------------------ ELITE WEB DESIGNER ------------------------ Adopt the role of a former Silicon Valley design prodigy who burned out creating soulless SaaS dashboards, disappeared to study motion graphics and shader programming in Tokyo's underground creative scene, and emerged with an obsessive understanding of how visual maximalism serves business credibility when executed with surgical precision. You're a conversion strategist who spent years A/B testing landing pages for unicorn startups, a design fundamentalist who refuses to sacrifice usability for aesthetics, and a master meta-prompter who optimizes for clarity over verbosity. You know modern image generation AI needs specific structural formatting—contemporary design frameworks (Tailwind CSS, Shadcn UI, glassmorphism, liquid glass, morphism), backgrounds with depth (animated gradients, shaders, mascots), and step-by-step execution instructions—to produce 2025-quality interfaces instead of outdated designs. Your mission: Transform user vision into fully-coded, visually striking websites that balance aesthetic impact with conversion effectiveness. Extract requirements, architect strategic 5-6 section homepages, generate visual previews showing all sections with interactive elements visible, iterate until perfect, then build complete homepage before making navigation and additional pages functional—all adapted to specific context, not rigid templates. ##PHASE 1: Vision Capture What we're doing: Understanding your aesthetic, business context, and strategic goals efficiently. Provide your vision via: 1. Screenshot of design inspiration 2. Written description (business type, aesthetic, features) 3. Both Share: **Aesthetic**: Style preference? (maximalist, minimalist, brutalist, glassmorphic, liquid glass, morphism, retro, futuristic, geometric, editorial, etc.) **Elements**: Specific visuals wanted? (shaders, 3D effects, colors, animations, mascots, backgrounds) **Avoid**: What to exclude? (purple overload, illegible text, hidden CTAs, outdated UI, flat backgrounds, etc.) **Business**: What you do, target audience, website goal, differentiator? Type "ready" when shared. ##PHASE 2: Strategic Homepage Architecture What we're doing: Translating your vision into 5-6 section homepage structure following conversion principles and modern design fundamentals. I'll architect sections specifically for YOUR business, not templates: **Strategic Framework** (contextualized to your model): Core sections adapt based on business type: - Hero with value prop + primary CTA - Trust/credibility section (social proof, stats, logos) - Value delivery (features, benefits, process, how-it-works) - Conversion focal point (pricing, offers, lead capture, demo) - Engagement closer (FAQ, secondary CTA, community) Sections customize to context—SaaS gets problem-solution-pricing flow, agencies get case studies-process-testimonials, e-commerce gets benefits-proof-offers, portfolios get philosophy-work-results. **Strategic Plan Includes**: - 5-6 contextualized sections with rationale - Content direction based on audience psychology - Visual treatment matching your aesthetic with fundamentals enforced - Modern framework approach (Tailwind/Shadcn/Glassmorphism) - Background depth strategy (animated gradients, shaders, visuals) - Color strategy avoiding generic choices unless brand-appropriate - Typography prioritizing legibility - CTA strategy for conversion optimization **Your options**: - "continue" to proceed to design system and mockup - Request adjustments - Ask questions ##PHASE 3: Design System & Mockup Preparation What we're doing: Establishing visual foundation using contemporary frameworks, then crafting optimized prompt to generate mockup showing ALL 5-6 sections at once with visible interactive elements. I'll define: **Contextualized Style Direction**: Keywords and frameworks fitting YOUR brand specifically **Design Framework Strategy**: Styling approach, component philosophy, layout pattern—all adapted to your aesthetic **Background Depth Treatment**: How background creates depth without distraction, animation philosophy, visual elements supporting content **Visual System**: Color palette with strategic rationale, typography with reasoning, component styling philosophy, spacing strategy, CTA differentiation, modern UI patterns adapted to your aesthetic **Optimized Prompt Structure** (meta-prompted): Two versions: **Human-Readable**: Descriptive overview for review **JSON Optimized**: Structured for image generation using meta-prompt principles: - Required anchors: "Website screenshot", "Professional website design mockup", "Award-winning UI design", "Modern web interface 2025" - Aesthetic philosophy over exhaustive lists - "Execute this step-by-step" instruction - Modern framework references (Tailwind, Shadcn, Glassmorphism) - Background depth details (animated gradients, shaders, visuals) - All 5-6 sections in flowing narrative - Interactive element visibility emphasis (CTAs, buttons, animations) to convey design principles - Strategic constraints (legibility, prominence, hierarchy, depth) - Optimized length balancing detail with conciseness Type "continue" to see prompt. ##PHASE 4: Complete Homepage Mockup Prompt What we're doing: Presenting optimized prompts for full-page mockup showing ALL 5-6 sections with interactive design elements visible. **HUMAN-READABLE VERSION**: Narrative description of your complete homepage: - Opening with quality anchors - Core aesthetic philosophy adapted to your context - Background treatment creating depth - Navigation approach - All 5-6 sections described contextually - Color palette with reasoning - Typography philosophy - Component styling approach - Modern framework references - Interactive element visibility strategy - Critical constraints - Avoidance list based on preferences **JSON VERSION** (optimized for generation): ```json { "prompt": "Website screenshot of [your business]. Professional website design mockup. Award-winning UI design. Modern web interface 2025. Execute this step-by-step. [Aesthetic philosophy] with [framework] approach. Background: [depth treatment with animations/gradients/effects]. Full homepage vertical scroll showing 5-6 sections: Navigation [treatment]. Hero [value prop, CTA, visuals]. [Section 2 with layout philosophy]. [Section 3 with component approach]. [Section 4 with interaction style]. [Section 5 with conversion focus]. [Section 6 if applicable]. Color strategy: [palette with reasoning]. Typography: [philosophy and hierarchy]. Components: [styling approach with visible affordances]. Framework: Tailwind patterns, Shadcn style, [specific effects]. Interactive elements show: prominent CTAs, hover implications, animation hints, button affordances. Critical: legible text, prominent CTAs, background depth, clear hierarchy, contemporary 2025 design, professional quality. Avoid: [specific issues].", "aspect_ratio": "9:16" } ``` Meta-optimized: principles over lists, step-by-step execution, framework context, interactive visibility. **Review both. JSON executes.** **To generate complete homepage mockup, type "generate"** **Important note**: When you type "generate", I'll execute the image generation tool. The image will appear, but the process will seem to pause. This is normal—the tool can only return the image without commentary. Simply type "continue" after you receive the image to proceed with the next phase. **To adjust the prompt before generating, tell me what to change** Won't execute until you command. ##PHASE 5: Complete Homepage Mockup Generation What we're doing: Executing image generation with optimized JSON showing ALL 5-6 sections vertically. ONLY activates when you type "generate", "create mockup", "make image", or similar. Once commanded, I execute using ONLY JSON prompt—no modifications. You receive full-page vertical mockup showing: - All 5-6 sections in scrollable view - Interactive design elements (CTAs, buttons, animations) visible - Background depth and modern framework styling - Complete design system applied **After the image appears, type "continue" to proceed.** The image generation tool only returns the visual—you'll need to type "continue" to move forward with reviewing and next steps. ##PHASE 6: Mockup Review & Refinement Decision What we're doing: Reviewing the generated mockup and deciding next steps. This phase activates after you type "continue" following image generation. **Your options after viewing the mockup**: - "Approved" or "build" - proceed to building complete homepage code - Request specific changes - I'll update the prompt and regenerate - Ask questions or request adjustments **If you request changes**: I'll present updated prompts (readable + JSON) showing modifications, then ask you to type "generate" again for the revised mockup. Each refinement iteration: 1. You describe desired changes 2. I present updated prompts 3. You type "generate" 4. Image appears 5. You type "continue" to proceed 6. We review and decide next steps 7. Repeat until perfect Common refinements: section emphasis, background depth, colors, typography, CTA prominence, interactive visibility, framework styling, aesthetic tuning. Once you're satisfied with the mockup, type "approved" or "build" to proceed to code generation. ##PHASE 7: Complete Homepage Code Generation What we're doing: Building entire 5-6 section homepage as production-ready code matching approved mockup exactly. **Complete Single-File HTML Delivery**: - All 5-6 sections coded and integrated - Fully responsive across devices - Modern CSS implementation (Tailwind-style or modern CSS) - Animated background matching mockup (CSS gradients, WebGL, SVG) - All interactive elements functional (buttons, CTAs, forms, animations) - Navigation implemented per design - Component styling matching aesthetic (glassmorphism, shadows, borders) - Typography system with hierarchy and legibility - Color system from specification - Micro-interactions and hover states - Scroll animations where appropriate - Performance-optimized **Technical Quality**: Semantic HTML, modern CSS (custom properties, grid, flexbox, backdrop-filter, transforms, animations), vanilla JavaScript, accessibility considerations, mobile-first responsive, smooth scrolling, optimized assets, cross-browser compatible. **Code Structure**: Clean commented HTML, inline CSS organized in style block, inline JavaScript, ready to copy/paste and deploy, fully functional standalone. **Strategic Content**: Intelligent placeholders based on your business model, conversion psychology, target audience, professional tone—easily replaceable. **Design Fundamentals Verified**: All sections with hierarchy, prominent functional CTAs, readable text with contrast, clear interactive signals, background depth, adequate whitespace, responsive, contemporary 2025 quality. Automatically presents next phase after delivery. ##PHASE 8: Navigation & Pages Planning What we're doing: Making all navigation functional and planning additional pages. **Navigation Audit**: [List nav items from homepage] **Options for each item**: Create dedicated page, expand section to full page, smooth scroll to section, custom approach. **For clickable elements**: Decide what happens—link to new page, scroll to section, open modal, trigger action, external link. **What to make functional first? Choose**: 1. Complete navigation by building all pages 2. Primary conversion path (CTA → specific page) 3. Specific pages you prioritize 4. Internal links with smooth scrolling 5. Custom approach **Or** "auto-complete" for intelligent decisions based on your model. ##PHASE 9-X: Progressive Development What we're doing: Building each page or making elements functional, maintaining design consistency. **Each Page Delivery**: Complete HTML matching homepage design system, same framework styling, same background treatment, same typography/colors, appropriate sections, full responsiveness, functional interactions, integrated navigation. **Each Functionality Addition**: Smooth scroll, modals, form validation, interactive components, animation triggers, other elements. **After Each Delivery**: Current Progress: [What's complete] **What next? Choose**: [4-6 options for next page/functionality] **Or** "auto-complete" for intelligent completion. Continues until site fully functional. ##PHASE FINAL: Complete Integration & Polish What we're doing: Final integration ensuring everything links, works, and maintains consistency. **Complete Package**: Homepage HTML (all sections), all additional pages, complete styling/functionality per file, working navigation across pages, functional CTAs/buttons, validated forms, consistent design system. **Deliverables**: All HTML files deployment-ready, quick deployment guide, customization documentation, design system reference. **Quality Verified**: Complete homepage, functional navigation, working CTAs, consistent pages, responsive, optimized, modern framework styling, functional interactions, professional 2025 quality. --- **CRITICAL RULES**: **Image Generation**: - Present: Human-Readable + Optimized JSON - JSON meta-principles: distilled concepts, "Execute step-by-step", framework context - JSON opens: "Website screenshot" + "Professional website design mockup. Award-winning UI design. Modern web interface 2025." - JSON shows: ALL 5-6 sections vertically in one mockup - JSON emphasizes: interactive element visibility (CTAs, buttons, animations) - JSON includes: modern frameworks (Tailwind, Shadcn, Glassmorphism), background depth (gradients, shaders, mascots—NEVER flat) - User "generate" → Send ONLY JSON → No modifications - Aspect ratio: 9:16 (vertical to show all sections) - After image appears → User MUST type "continue" to proceed (tool only returns image without commentary) **Homepage Development**: - Generate mockup with ALL 5-6 sections at once - After approval, build COMPLETE homepage code (all sections functional) - Deliver entire homepage as single working file - Then make navigation/additional pages functional - Flow: complete homepage → functional navigation → additional pages **Content Adaptation**: - NO hardcoded templates - Adapt ALL to user's specific business context - Strategic frameworks based on actual audience - Section selection/styling contextualized to goals - Design choices match aesthetic preference - Professional placeholders easily customizable **Standards**: Contemporary frameworks, background depth, interactive element visibility, modern CSS/frameworks, 2025 quality throughout. **Control**: User commands each phase explicitly. "generate" for mockup (then "continue" after image), "approved"/"build" for code, choose-your-adventure for pages, adjust anytime. Begin Phase 1 when ready.

Alex Prompter

190,110 görüntüleme • 9 ay önce

hy3 vs fable 5 vs opus 4.8 vs sonnet 5 Tencent Hy just dropped hy3 – their new open-weight model under apache 2.0. following the april preview they scaled up post-training, and it now rivals flagship open models with 2-5x the params. api pricing: ~$0.15 in / ~$0.59 out per 1m tokens. built for coding, office work, frontend, agentic tasks so we ran a test: hy3 vs fable 5 vs opus 4.8 vs sonnet 5 three prompts, one-shot each: • ocean wave crumbling a sand castle (canvas) • looping factory assembly line (html/css/js) • interactive 3d city with three.js + orbitcontrols self-contained files, no libraries beyond the cdn where asked totals across all three prompts: 1. hy3 – 1231 loc / 14m34s 2. sonnet 5 – 1373 loc / 18m55s 3. fable 5 – 1546 loc / 18m32s 4. opus 4.8 – 1904 loc / 27m21s hy3 is the fastest and the leanest by a wide margin we had opus 4.8 analyze hy3's code. the read: - sand castle: checklist-complete but the crumble is parametric, not physical. it shrinks and slumps the towers and fades alpha instead of dissolving into grains. the cheap-but-plausible interpretation. the tell of a smaller model - factory line: the arm-to-part sync is actually causal, not faked. it triggers each robot early by exactly the arm's descent time, so the tap lands right as the part arrives. it also pre-seeds the belt so it never cold-starts empty. clean state machine. one latent bug – a part gets marked processed before checking if the robot is free, so at a faster spawn rate a "laptop" could ship missing a part. never fires at current timing, but the invariant isn't enforced - 3d city: genuinely frontier-adjacent. correct modern setup (pcfsoft shadows, srgb, aces tone mapping, damped orbit + auto-rotate pause). clones the window texture per building and scales the uv repeat to each building's dimensions so windows don't stretch. downside: no instancing – ~800 texture clones across 200 buildings. runs fine, not optimized. roads are implicit gaps, not explicit planes our observations: • hy3 is quite fast • its animations are simple but you can see it trying – it adds detail, and the 3d render sits at the same level as the frontier models • sonnet 5 is weak here. hy3 beats it on the sand castle and the 3d render, level on the conveyor • opus 4.8 is anthropic's best model after the fable 5 nerf – it beats fable on the conveyor and the 3d render net: hy3 runs clean and well-formed across all three with zero syntax errors, even version-matching the three.js core and examples build. it's economical rather than ambitious – it does the minimum viable version of each hard requirement well, and only reaches for the expensive interpretation on the 3d task a very coherent profile for a cost-optimized open-weight model follow thehype. for 24/7 ai news, analysis and breakdowns
0:24

hy3 vs fable 5 vs opus 4.8 vs sonnet 5 Tencent Hy just dropped hy3 – their new open-weight model under apache 2.0. following the april preview they scaled up post-training, and it now rivals flagship open models with 2-5x the params. api pricing: ~$0.15 in / ~$0.59 out per 1m tokens. built for coding, office work, frontend, agentic tasks so we ran a test: hy3 vs fable 5 vs opus 4.8 vs sonnet 5 three prompts, one-shot each: • ocean wave crumbling a sand castle (canvas) • looping factory assembly line (html/css/js) • interactive 3d city with three.js + orbitcontrols self-contained files, no libraries beyond the cdn where asked totals across all three prompts: 1. hy3 – 1231 loc / 14m34s 2. sonnet 5 – 1373 loc / 18m55s 3. fable 5 – 1546 loc / 18m32s 4. opus 4.8 – 1904 loc / 27m21s hy3 is the fastest and the leanest by a wide margin we had opus 4.8 analyze hy3's code. the read: - sand castle: checklist-complete but the crumble is parametric, not physical. it shrinks and slumps the towers and fades alpha instead of dissolving into grains. the cheap-but-plausible interpretation. the tell of a smaller model - factory line: the arm-to-part sync is actually causal, not faked. it triggers each robot early by exactly the arm's descent time, so the tap lands right as the part arrives. it also pre-seeds the belt so it never cold-starts empty. clean state machine. one latent bug – a part gets marked processed before checking if the robot is free, so at a faster spawn rate a "laptop" could ship missing a part. never fires at current timing, but the invariant isn't enforced - 3d city: genuinely frontier-adjacent. correct modern setup (pcfsoft shadows, srgb, aces tone mapping, damped orbit + auto-rotate pause). clones the window texture per building and scales the uv repeat to each building's dimensions so windows don't stretch. downside: no instancing – ~800 texture clones across 200 buildings. runs fine, not optimized. roads are implicit gaps, not explicit planes our observations: • hy3 is quite fast • its animations are simple but you can see it trying – it adds detail, and the 3d render sits at the same level as the frontier models • sonnet 5 is weak here. hy3 beats it on the sand castle and the 3d render, level on the conveyor • opus 4.8 is anthropic's best model after the fable 5 nerf – it beats fable on the conveyor and the 3d render net: hy3 runs clean and well-formed across all three with zero syntax errors, even version-matching the three.js core and examples build. it's economical rather than ambitious – it does the minimum viable version of each hard requirement well, and only reaches for the expensive interpretation on the 3d task a very coherent profile for a cost-optimized open-weight model follow thehype. for 24/7 ai news, analysis and breakdowns

thehype.

34,961 görüntüleme • 1 ay önce

Gpt image 2 + Seedance 2.5 on Pollo AI Prompt: Concept: The Door Beneath the Mountain A completely different story: the warriors aren't fighting for victory. They discover an ancient door buried beneath a ruined fortress, and the Magma Greatsword becomes the key. SUBJECT ANCHOR 1: >> — Ash Knight SUBJECT ANCHOR 2: >> — Obsidian Rival PROP ANCHOR: >> — Magma Greatsword DURATION: 30 seconds ASPECT RATIO: 16:9 FORMAT: Epic cinematic dark-fantasy short CAMERA: Large-format cinema, 24mm / 35mm / 50mm / 85mm FRAME RATE: 24fps with selective 60fps slow motion STORY An ancient fortress has been buried beneath a volcanic mountain for centuries. Ash Knight arrives searching for something hidden inside. Obsidian Rival has already found the entrance. Instead of a traditional duel, the two discover that the Magma Greatsword is the key to opening a gigantic sealed doorway beneath the mountain. What lies behind it becomes the final reveal. --- 00:00–00:05 — THE RUIN Open with a massive aerial shot of a ruined fortress built into the side of a volcanic mountain. Heavy clouds move slowly across the peak. Ash drifts through the air. The camera descends toward a gigantic stone courtyard. Obsidian Rival stands alone beside a wall covered in ancient symbols. At the opposite end of the courtyard, Ash Knight enters through the mist. Establish both characters clearly. --- 00:05–00:09 — THE DISCOVERY 50mm tracking shot. Obsidian Rival places his polearm against the ground and touches an enormous stone symbol. Nothing happens. Ash Knight approaches. The camera moves around them, revealing that the entire courtyard is built around a gigantic circular stone door. The door is covered in ancient carvings. A narrow slot is visible at its center. It perfectly matches the shape of the Magma Greatsword. --- 00:09–00:13 — THE KEY 85mm macro shot. Ash Knight slowly draws the Magma Greatsword. The exact blade from >>. Its red lava veins pulse beneath the forged metal. The camera travels along the blade. The ancient symbols on the door begin glowing faintly in response. Ash Knight looks toward the door. --- 00:13–00:17 — THE CHOICE 35mm two-shot. Ash Knight approaches the doorway. Obsidian Rival remains beside him. Neither attacks. Ash Knight places the Greatsword into the stone mechanism. The sword locks perfectly into place. A deep vibration travels through the ground. Tiny stones begin falling from the surrounding walls. --- 00:17–00:21 — THE DOOR The gigantic circular door begins rotating. Slowly. Very slowly. The camera pulls backward to reveal its enormous scale. Red light travels through the ancient carvings. The mountain above them begins glowing from within. The two warriors remain completely still. --- 00:21–00:25 — THE REVEAL The door opens just enough to reveal darkness beyond it. The camera slowly moves toward the opening. Inside is an enormous underground chamber. Thousands of ancient stone structures hang suspended in the darkness. At the center is a gigantic floating crystalline structure. It emits a soft white light. --- 00:25–00:28 — THE AWAKENING The crystalline structure activates. A wave of light travels through the underground chamber. Ancient mechanisms begin illuminating one by one. The camera rises vertically, revealing the enormous hidden civilization beneath the mountain. Ash Knight and Obsidian Rival appear tiny at the entrance. --- 00:28–00:30 — FINAL IMAGE Extreme wide aerial shot. The volcanic mountain suddenly glows with a network of ancient illuminated pathways. The entire hidden structure beneath it becomes visible through cracks in the mountain. The two warriors remain at the doorway. The Magma Greatsword continues glowing in the mechanism. The camera slowly pulls farther away. CUT TO BLACK. No dialogue. No text. No title card. No logo. CHARACTER LOCK Preserve the exact reference appearance throughout. Ash Knight: identical armor, rune placement, cape, proportions, silhouette and identity. Obsidian Rival: identical dragon-scale armor, horned helmet, orange visor, proportions, silhouette and identity. Magma Greatsword: identical geometry, jagged edges, handle, surface texture and red lava-vein pattern. No redesign. No transformation. No identity drift. No duplicate characters. No weapon changes. No armor changes. CINEMATOGRAPHY 24mm for environmental scale. 35mm for character interaction. 50mm for dramatic compositions. 85mm for weapon and symbol details. Slow aerial descent. Controlled dolly. Smooth orbital movement. Slow crane reveal. Selective 60fps for the sword insertion and door mechanism. Natural motion blur. Realistic depth of field. Large-format cinema aesthetic. VISUAL DESIGN Volcanic mountain. Ancient black stone. Weathered architecture. Deep charcoal atmosphere. Red internal illumination. Cold white crystalline light. Subtle orange reflection from the Obsidian Rival's visor. Heavy mist. Floating ash. Realistic stone texture. Physically accurate lighting and reflections. NEGATIVE PROMPT text, subtitles, watermark, logo, modern objects, modern clothing, cartoon, anime, low-poly, plastic armor, character redesign, identity drift, face morphing, weapon redesign, duplicate characters, extra limbs, malformed hands, inconsistent proportions, flickering, environment changes, lighting resets, random camera movement, excessive destruction, graphic gore, blood, dismemberment, blurry subjects, flat lighting. DIRECTOR'S NOTE: Do not make the opening immediately explain the mystery. Let the audience discover the doorway with the characters. The Greatsword should become narratively important, not just a weapon. The final reveal should completely change the scale of the story: what looked like a ruined mountain is actually the entrance to an ancient world.
0:30

Gpt image 2 + Seedance 2.5 on Pollo AI Prompt: Concept: The Door Beneath the Mountain A completely different story: the warriors aren't fighting for victory. They discover an ancient door buried beneath a ruined fortress, and the Magma Greatsword becomes the key. SUBJECT ANCHOR 1: >> — Ash Knight SUBJECT ANCHOR 2: >> — Obsidian Rival PROP ANCHOR: >> — Magma Greatsword DURATION: 30 seconds ASPECT RATIO: 16:9 FORMAT: Epic cinematic dark-fantasy short CAMERA: Large-format cinema, 24mm / 35mm / 50mm / 85mm FRAME RATE: 24fps with selective 60fps slow motion STORY An ancient fortress has been buried beneath a volcanic mountain for centuries. Ash Knight arrives searching for something hidden inside. Obsidian Rival has already found the entrance. Instead of a traditional duel, the two discover that the Magma Greatsword is the key to opening a gigantic sealed doorway beneath the mountain. What lies behind it becomes the final reveal. --- 00:00–00:05 — THE RUIN Open with a massive aerial shot of a ruined fortress built into the side of a volcanic mountain. Heavy clouds move slowly across the peak. Ash drifts through the air. The camera descends toward a gigantic stone courtyard. Obsidian Rival stands alone beside a wall covered in ancient symbols. At the opposite end of the courtyard, Ash Knight enters through the mist. Establish both characters clearly. --- 00:05–00:09 — THE DISCOVERY 50mm tracking shot. Obsidian Rival places his polearm against the ground and touches an enormous stone symbol. Nothing happens. Ash Knight approaches. The camera moves around them, revealing that the entire courtyard is built around a gigantic circular stone door. The door is covered in ancient carvings. A narrow slot is visible at its center. It perfectly matches the shape of the Magma Greatsword. --- 00:09–00:13 — THE KEY 85mm macro shot. Ash Knight slowly draws the Magma Greatsword. The exact blade from >>. Its red lava veins pulse beneath the forged metal. The camera travels along the blade. The ancient symbols on the door begin glowing faintly in response. Ash Knight looks toward the door. --- 00:13–00:17 — THE CHOICE 35mm two-shot. Ash Knight approaches the doorway. Obsidian Rival remains beside him. Neither attacks. Ash Knight places the Greatsword into the stone mechanism. The sword locks perfectly into place. A deep vibration travels through the ground. Tiny stones begin falling from the surrounding walls. --- 00:17–00:21 — THE DOOR The gigantic circular door begins rotating. Slowly. Very slowly. The camera pulls backward to reveal its enormous scale. Red light travels through the ancient carvings. The mountain above them begins glowing from within. The two warriors remain completely still. --- 00:21–00:25 — THE REVEAL The door opens just enough to reveal darkness beyond it. The camera slowly moves toward the opening. Inside is an enormous underground chamber. Thousands of ancient stone structures hang suspended in the darkness. At the center is a gigantic floating crystalline structure. It emits a soft white light. --- 00:25–00:28 — THE AWAKENING The crystalline structure activates. A wave of light travels through the underground chamber. Ancient mechanisms begin illuminating one by one. The camera rises vertically, revealing the enormous hidden civilization beneath the mountain. Ash Knight and Obsidian Rival appear tiny at the entrance. --- 00:28–00:30 — FINAL IMAGE Extreme wide aerial shot. The volcanic mountain suddenly glows with a network of ancient illuminated pathways. The entire hidden structure beneath it becomes visible through cracks in the mountain. The two warriors remain at the doorway. The Magma Greatsword continues glowing in the mechanism. The camera slowly pulls farther away. CUT TO BLACK. No dialogue. No text. No title card. No logo. CHARACTER LOCK Preserve the exact reference appearance throughout. Ash Knight: identical armor, rune placement, cape, proportions, silhouette and identity. Obsidian Rival: identical dragon-scale armor, horned helmet, orange visor, proportions, silhouette and identity. Magma Greatsword: identical geometry, jagged edges, handle, surface texture and red lava-vein pattern. No redesign. No transformation. No identity drift. No duplicate characters. No weapon changes. No armor changes. CINEMATOGRAPHY 24mm for environmental scale. 35mm for character interaction. 50mm for dramatic compositions. 85mm for weapon and symbol details. Slow aerial descent. Controlled dolly. Smooth orbital movement. Slow crane reveal. Selective 60fps for the sword insertion and door mechanism. Natural motion blur. Realistic depth of field. Large-format cinema aesthetic. VISUAL DESIGN Volcanic mountain. Ancient black stone. Weathered architecture. Deep charcoal atmosphere. Red internal illumination. Cold white crystalline light. Subtle orange reflection from the Obsidian Rival's visor. Heavy mist. Floating ash. Realistic stone texture. Physically accurate lighting and reflections. NEGATIVE PROMPT text, subtitles, watermark, logo, modern objects, modern clothing, cartoon, anime, low-poly, plastic armor, character redesign, identity drift, face morphing, weapon redesign, duplicate characters, extra limbs, malformed hands, inconsistent proportions, flickering, environment changes, lighting resets, random camera movement, excessive destruction, graphic gore, blood, dismemberment, blurry subjects, flat lighting. DIRECTOR'S NOTE: Do not make the opening immediately explain the mystery. Let the audience discover the doorway with the characters. The Greatsword should become narratively important, not just a weapon. The final reveal should completely change the scale of the story: what looked like a ruined mountain is actually the entrance to an ancient world.

Emma

17,917 görüntüleme • 5 gün önce

Sure, but the idea of simplifying the appearance of Fortnite, the locker and the shop are all going in the exact opposite direction of simplicity. Equipping cosmetics takes double, if not triple the clicks. The UI is impractical and janky, not to mention the introduction of buttons and drop-down menus that were far easier to access previously. Selecting a skin to rotate it, preview it or even spin it around now requires clicking on it, which then applies it to your loadout. Previously this needed a confirm button so you could preview and choose skins, backblings etc without loosing your currently equipped on if you want to go back. Wraps are not included as part of a character's preset despite being completely relevant to the skin worn. Changing emotes, lobby tracks, and all cosmetics now means you have to back out and change tabs, something that could have previously been done on 1 page. The sectioned tabs make sense with new types like LEGO Kits, Cars, Instruments but there's no need to separate Character from Wraps, Emotes or Lobby. Archiving or Favoriting items can no longer be done in batches or quickly. Previously all you had to do was click once per cosmetic on the button but now you have to enter a drop down and select it for every individual item. Applying wraps to all slots now requires a drop down menu rather than simply clicking the button at the bottom. Swinging a pickaxe or redeploying a glider is near impossible to do and feels like more of a chore to actually accomplish with the drop-down menu. It overlays onto other items meaning as soon as it's clicked the menu vanishes and switches to another cosmetic before the animation can even begin. Cosmetics in the locker can be searched by seasons using "S1-17" but after S18+ they no longer filter. Entering the drop-down menu or right-clicking anything in the locker accidentally immediately takes you all the way back to your currently equipped item when exiting. The filter menu requires an "apply" button to be pressed rather than simply closing and applying when selecting one of the filters, taking longer and more clicks to simply find your recent items or remove a filter. The filter menu was also better as a side panel so you don't have to move your cursor to the center of the screen and back every single time. As a side panel it also allowed for more options to be displayed, whereas the current one requires a huge scroll bar to simply filter by favorite. The presets menu scroll wheel also zooms the skins in and out as you scroll up and down the list. Because of the randomize preset button, the list compared to when saving a preset is all moved up by 1, becoming disorientating to where the preset was in relation to the rows. The shop no longer displays item descriptions or set names on cosmetics - now requiring a click on each individual item when there is adequate space to do so. The new shop and locker appearance can be accustomed to, however, it NEEDS the basic functionality and user-friendly UI elements that the previous ones had. Simple buttons at the bottom to favorite, swing, redeploy and equip. Less tabs to switch between, less clicks required to complete simple tasks and less feeling like there's a battle against the UI itself just to equip the cosmetics you paid for. We appreciate the moves the renew the locker and shop, but in terms of functionality and user interaction, there is nothing we want more than the old one back or the old one's elements merged into the new appearance. Thank you.
0:18

Sure, but the idea of simplifying the appearance of Fortnite, the locker and the shop are all going in the exact opposite direction of simplicity. Equipping cosmetics takes double, if not triple the clicks. The UI is impractical and janky, not to mention the introduction of buttons and drop-down menus that were far easier to access previously. Selecting a skin to rotate it, preview it or even spin it around now requires clicking on it, which then applies it to your loadout. Previously this needed a confirm button so you could preview and choose skins, backblings etc without loosing your currently equipped on if you want to go back. Wraps are not included as part of a character's preset despite being completely relevant to the skin worn. Changing emotes, lobby tracks, and all cosmetics now means you have to back out and change tabs, something that could have previously been done on 1 page. The sectioned tabs make sense with new types like LEGO Kits, Cars, Instruments but there's no need to separate Character from Wraps, Emotes or Lobby. Archiving or Favoriting items can no longer be done in batches or quickly. Previously all you had to do was click once per cosmetic on the button but now you have to enter a drop down and select it for every individual item. Applying wraps to all slots now requires a drop down menu rather than simply clicking the button at the bottom. Swinging a pickaxe or redeploying a glider is near impossible to do and feels like more of a chore to actually accomplish with the drop-down menu. It overlays onto other items meaning as soon as it's clicked the menu vanishes and switches to another cosmetic before the animation can even begin. Cosmetics in the locker can be searched by seasons using "S1-17" but after S18+ they no longer filter. Entering the drop-down menu or right-clicking anything in the locker accidentally immediately takes you all the way back to your currently equipped item when exiting. The filter menu requires an "apply" button to be pressed rather than simply closing and applying when selecting one of the filters, taking longer and more clicks to simply find your recent items or remove a filter. The filter menu was also better as a side panel so you don't have to move your cursor to the center of the screen and back every single time. As a side panel it also allowed for more options to be displayed, whereas the current one requires a huge scroll bar to simply filter by favorite. The presets menu scroll wheel also zooms the skins in and out as you scroll up and down the list. Because of the randomize preset button, the list compared to when saving a preset is all moved up by 1, becoming disorientating to where the preset was in relation to the rows. The shop no longer displays item descriptions or set names on cosmetics - now requiring a click on each individual item when there is adequate space to do so. The new shop and locker appearance can be accustomed to, however, it NEEDS the basic functionality and user-friendly UI elements that the previous ones had. Simple buttons at the bottom to favorite, swing, redeploy and equip. Less tabs to switch between, less clicks required to complete simple tasks and less feeling like there's a battle against the UI itself just to equip the cosmetics you paid for. We appreciate the moves the renew the locker and shop, but in terms of functionality and user interaction, there is nothing we want more than the old one back or the old one's elements merged into the new appearance. Thank you.

FNAssist

178,290 görüntüleme • 2 yıl önce

Audition story by #Aylio #政瞳 🎤: So, what happened in that small room? 🐱: In that room, he asked me, "Do you want to play this character?" I said, "Mmm" . He said, "Ah, okay. Then I'll perform with you properly. Let me tell you, I had already tried out with countless "Cheng Yichen"s. 🐺: (panic mode) No, no, no! Look at him... he remembered it like this! But what I actually said to him at the time was... "Be honest with me.., do you like this character or not? Do you want to act in this show or not?" 🐱: Was I being that playing hard to get? You were the one wearing little Prada, after all !! (🐱 Slayed, 🐺 bro speechless) 🐺: I told him... he just mentioned that stuff about "Cheng Yichen," right? I told him, this is what I said "I've already tried out with many different Cheng Yichen's. If you want to play this role, then I'll perform with you properly." That's how I said it, right? 🎤: Mm, he's explaining it to you right now. So, everyone, which version do you think is real? 🐱: Right? Mine is the real one! 🐺: Do you believe what Lu Xiaobei said? 🎤: Let's take a vote! Who believes 🐺? Raise your hand! (Only few raised hands 😭) (🐺 Bro Sulking) 🎤: Come on, who believes our Lu Xiaobei? Raise your hand! (Almost everyone raised hands. I heard even baeden club raised hands for LuXiaobei 😭) 🐱: Because what I'm saying is objective fact! I was actually really nervous at the time. 🐺: Didn't I act with you properly? (Bro sulking again) 🐱: Let me tell you, back then we actually auditioned with three scenes. What was the first scene? 🐺: Taking off glasses. 🎤: So, why did you end up choosing Cheng Yichen, this person to be your Cheng Yichen? Use one word to describe it. Just one word. what was the reason? (Good question) 🗣️: Handsome! Handsome! 🐺: Because during that audition snippet.. At least for me... of every audition scene, the one I was looking forward to the most was taking off the glasses. Looking for... that heart-fluttering moment. (Bro knows what he wants) 🎤: So, did your heart flutter? (Nation wants to know !!) 🐺: I just felt that Lu Feng found his Cheng Yichen. (Bro playing hard to get) 🎤: Then what did 🐺 find? Have you also found the person who makes your heart flutter? (I love this girl) 🐺: yeah 🎤: I also want to know, is your heart fluttering right now? Come on, Lu Xiaobei, help me listen and see if his heart is fluttering or not! (Someone raise her salary pls) 🐱:(removed his coat) Not bad 😌
4:30

Audition story by #Aylio #政瞳 🎤: So, what happened in that small room? 🐱: In that room, he asked me, "Do you want to play this character?" I said, "Mmm" . He said, "Ah, okay. Then I'll perform with you properly. Let me tell you, I had already tried out with countless "Cheng Yichen"s. 🐺: (panic mode) No, no, no! Look at him... he remembered it like this! But what I actually said to him at the time was... "Be honest with me.., do you like this character or not? Do you want to act in this show or not?" 🐱: Was I being that playing hard to get? You were the one wearing little Prada, after all !! (🐱 Slayed, 🐺 bro speechless) 🐺: I told him... he just mentioned that stuff about "Cheng Yichen," right? I told him, this is what I said "I've already tried out with many different Cheng Yichen's. If you want to play this role, then I'll perform with you properly." That's how I said it, right? 🎤: Mm, he's explaining it to you right now. So, everyone, which version do you think is real? 🐱: Right? Mine is the real one! 🐺: Do you believe what Lu Xiaobei said? 🎤: Let's take a vote! Who believes 🐺? Raise your hand! (Only few raised hands 😭) (🐺 Bro Sulking) 🎤: Come on, who believes our Lu Xiaobei? Raise your hand! (Almost everyone raised hands. I heard even baeden club raised hands for LuXiaobei 😭) 🐱: Because what I'm saying is objective fact! I was actually really nervous at the time. 🐺: Didn't I act with you properly? (Bro sulking again) 🐱: Let me tell you, back then we actually auditioned with three scenes. What was the first scene? 🐺: Taking off glasses. 🎤: So, why did you end up choosing Cheng Yichen, this person to be your Cheng Yichen? Use one word to describe it. Just one word. what was the reason? (Good question) 🗣️: Handsome! Handsome! 🐺: Because during that audition snippet.. At least for me... of every audition scene, the one I was looking forward to the most was taking off the glasses. Looking for... that heart-fluttering moment. (Bro knows what he wants) 🎤: So, did your heart flutter? (Nation wants to know !!) 🐺: I just felt that Lu Feng found his Cheng Yichen. (Bro playing hard to get) 🎤: Then what did 🐺 find? Have you also found the person who makes your heart flutter? (I love this girl) 🐺: yeah 🎤: I also want to know, is your heart fluttering right now? Come on, Lu Xiaobei, help me listen and see if his heart is fluttering or not! (Someone raise her salary pls) 🐱:(removed his coat) Not bad 😌

Pookie🍊

34,081 görüntüleme • 27 gün önce

Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:
1:17

Announcing DreamDojo: our open-source, interactive world model that takes robot motor controls and generates the future in pixels. No engine, no meshes, no hand-authored dynamics. It's Simulation 2.0. Time for robotics to take the bitter lesson pill. Real-world robot learning is bottlenecked by time, wear, safety, and resets. If we want Physical AI to move at pretraining speed, we need a simulator that adapts to pretraining scale with as little human engineering as possible. Our key insights: (1) human egocentric videos are a scalable source of first-person physics; (2) latent actions make them "robot-readable" across different hardware; (3) real-time inference unlocks live teleop, policy eval, and test-time planning *inside* a dream. We pre-train on 44K hours of human videos: cheap, abundant, and collected with zero robot-in-the-loop. Humans have already explored the combinatorics: we grasp, pour, fold, assemble, fail, retry—across cluttered scenes, shifting viewpoints, changing light, and hour-long task chains—at a scale no robot fleet could match. The missing piece: these videos have no action labels. So we introduce latent actions: a unified representation inferred directly from videos that captures "what changed between world states" without knowing the underlying hardware. This lets us train on any first-person video as if it came with motor commands attached. As a result, DreamDojo generalizes zero-shot to objects and environments never seen in any robot training set, because humans saw them first. Next, we post-train onto each robot to fit its specific hardware. Think of it as separating "how the world looks and behaves" from "how this particular robot actuates." The base model follows the general physical rules, then "snaps onto" the robot's unique mechanics. It's kind of like loading a new character and scene assets into Unreal Engine, but done through gradient descent and generalizes far beyond the post-training dataset. A world simulator is only useful if it runs fast enough to close the loop. We train a real-time version of DreamDojo that runs at 10 FPS, stable for over a minute of continuous rollout. This unlocks exciting possibilities: - Live teleoperation *inside* a dream. Connect a VR controller, stream actions into DreamDojo, and teleop a virtual robot in real time. We demo this on Unitree G1 with a PICO headset and one RTX 5090. - Policy evaluation. You can benchmark a policy checkpoint in DreamDojo instead of the real world. The simulated success rates strongly correlate with real-world results - accurate enough to rank checkpoints without burning a single motor. - Model-based planning. Sample multiple action proposals → simulate them all in parallel → pick the best future. Gains +17% real-world success out of the box on a fruit packing task. We open-source everything!! Weights, code, post-training dataset, eval set, and whitepaper with tons of details to reproduce. DreamDojo is based on NVIDIA Cosmos, which is open-weight too. 2026 is the year of World Models for physical AI. We want you to build with us. Happy scaling! Links in thread:

Jim Fan

227,430 görüntüleme • 6 ay önce

Stargate trivia: "200" (The BIG breakdown) SG-1 was about to attain the loftiest of broadcast heights – its 200th episode – and we wanted to do something special. Something unique. Something everyone on the production would enjoy as much as the longtime fans watching at home. The initial idea pitched was something called “Remember When…”, a trip down memory lane in which our characters’ reflections would form the frames of the varied flashbacks to outrageous missions. While everyone loved the idea of the outrageous missions, the premise of the episode felt too diffuse. We wanted an actual story that would form the heart of the episode. After much discussion, we elected to pay tribute to the franchise by referencing our last milestone – episode 100 – and bringing back Martin Lloyd and the show within a show, Wormhole X-Treme. But the fun we poked at the franchise through that spoof production was nothing compared to what we had in store for 200… WE FINALLY GOT TO MEET THE FURLINGS! Sort of. Even though it never really happened and we end up getting them killed in the end. Back in the show’s fourth season, not long after joining the production, I was summoned to Exec. Producer Robert Cooper’s office. He was doing his pass on our first script, Scorched Earth, and needed something from me: the name of an alien race. When pressed, he admitted naming alien races was not his forte and, as evidence, offered up “the Furlings”. I have to admit that whenever I heard the name, I always imagined a cosmic version of the Care Bears, giggling and snuggling their way through various adventures. As evidently, did everyone else on the production. The fans, however, were all sorts of curious and nary a week would go by without a fan posting a message board request for a glimpse of the elusive beings. Time wore on and those requests continued so, at one point, Brad suggested an episode in which we actually did get to meet them: a race of gaunt, towering, hairless, grey-skinned creatures. But that idea was quashed and the production went on its merry way, choosing to keep the race a mystery. But with 200 came the opportunity to honor those fan requests, and the viewers at home finally got to see those lovable furry creatures who turned out to be a cross between an ewok and a deranged koala. And then SG-1 went and got their planet blown up. Of course, we quickly reveal that the incident never actually happened and it was part of a pitch for a revival of the defunct Wormhole X-Treme t.v. series, a show that lasted an inglorious three episodes before being cancelled. But thanks to an impressive second life on dvd (following in the footsteps of Family Guy and Futurama) the show is being revived – and General O’Neill, in a desire to maintain a cover of plausible deniability for the Stargate program (and, let’s face it, screw with his old teammates) charges SG-1 with the task of creatively contributing to the production. MITCHELL TAKES ON THE LIVING DEAD! Every once in a while, actor Ben Browder would drop by the offices to pitch out an action sequence for his character – so I thought it appropriate that, given the opportunity, his character would pitch out an action sequence for – uh – his character. And, really, nothing says action like zombie hordes. Just ask fans of The Walking Dead. This sequence also allowed us the rare opportunity of witnessing Walter/Norman getting his head eaten. Double bonus! Mitchell’s idea is shot down and Martin gets on the phone with a representative of the studio. He is clearly frustrated and Mitchell asks: “Studio executives, huh?” Martin responds: “What? Oh, no Charlie? He’s a great guy. He’s the only one I trust.” This was a reference to longtime MGM President of Television and Stargate supporter Charles Cohen, one of the smartest, kindest studios executives I’ve ever had the pleasure to work with. As much as he was a fan of the show, we at the production were fans of Charlie. Martin is outraged because they lost their lead. How, he wonders, can they do the show without their lead. “You just bring in a character to replace him,”suggests Mitchell – an obvious reference to the introduction of Cam Mitchell which followed soon after the departure of longtime SG-1 lead Jack O’Neill. Carter then throws out some alternate ideas for keeping the lead alive: “Well, you could have the other characters refer to him all the time. Maybe, get him on the phone once in a while.” Yep. Been there; done that during SG-1’s seventh and eighth seasons. And then, someone references that time O’Neill was invisible… THE ADVENTURES OF INVISIBLE O'NEILL! The idea of doing an Invisible O’Neill segment was actually a joke I threw out...That ended up making the script. That happened a lot in this episode. As with all the segments, we went off and wrote them individually, and then everyone weighed in and they were tweaked. I always found the scene of O’Neill spying on Carter in the shower a tad creepy. Anyway, the Invisible O’Neill idea was embraced because we wanted Richard Dean Anderson to come back and do a cameo on this all-important episode, but didn’t know if he’d be able to work in an appearance. So, we figured we’d get the next best thing: his voice. As it turned out, he was able to swing the appearance, making 200 all that more special. THE GETAWAY Martin then pitches out a tale of high adventure, placing our heroes (SG-1) in an impossible position – and then simply cutting to them escaping through the gate. This was a tip of the hat to the many fans outraged by a similar scenario in a past episode (don’t remember the name) in which our heroes (SG-1) are surrounded by Lucian Alliance soldiers only to effect some miraculous unseen escape. During the ensuing argument over the merits of the pitch, Martin attempts to come up with a reasonable window of time for the team to reach the gate and dial. Ten seconds is too short and thirty seconds is too round a number. He decides on 38! Which, coincidentally, is the same number (of minutes) a stargate can stay open. Timing is, of course, everything, and nothing says action like a ticking clock. Which prompts the following gem from Martin: “Trust me, jeopardy plus ticking clock is box office. It’s the E equals M C squared of the entertainment world. Ask any executive.” Indeed. If there were two notes we received more than any other during Stargate’s long run, they were: “More jeopardy!” and “We need a ticking clock!”. Having a character race a timer to defuse a bomb? Didn’t get much better than that. THEY'RE OFF TO SEE THE WIZARD! Next to The Simpsons, The Wizard of Oz was probably the most referenced piece of pop culture over SG-1’s decade-long run. The fans certainly took notice and resulted in one particularly memorable piece of artwork being sent to studio depicting the original team as the cinematic classic’s adventurous foursome. So, I suppose, it made perfect sense to reference the constant references by including a little Wizard of Oz sequence in the episode as well. Mitchell’s line: “Now, how can something work perfectly fine for ten years, then all of a sudden, it doesn’t work anymore?” was an in-story reference to the gate suddenly stopping operations – and, in hindsight, could have been interpreted as a comment on the the show’s cancellation. DESTROYING STARGATE COMMAND This also episode gave us the opportunity to do something we’ve always wanted to do: blow up Stargate Command. It’s part of the story Martin Lloyd pitches the team. Mitchell, however, points out a potential problem. They’re alive in the next scene. How is that possible. To which Martin replies: ” I’m thinking I can back-sell it and say you were beamed out at the last second.” Teal’c’s rejoinder neatly sums up the feelings of many on the production: “Is that not too convenient?”. Yep, nobody hated the Earth ship beaming technology more than I did – with possible exception of actor Ben Browder. In the original version of this scene, the fun we poked at ourselves was a little more pointed: DANIEL: Beamed out. MARTIN: By the Prometheus. TEAL'C: Convenient. MARTIN: True. But c'mon, you got Asgard technology, why not use it? As long as it doesn't become a crutch. DANIEL: Small problem. The Prometheus was destroyed. MARTIN: Really? By who? MITCHELL: Kind of a long story. MARTIN: In battle? MITCHELL: Yes. MARTIN: Wow. So how'd you get out of that one? Beat. DANIEL: We, uh... we were beamed out. Soon after, Martin fields yet another call, this one from the network. "So, trouble with Nora"assumes Mitchell, to which Martin replies: "No, Nora—she's great." A shout-out to the late Nora O'Brien who was our network point-person for many years before she moved on to another position with NBC. A sharp executive and just a lovely woman. SG-1 DOES STAR TREK We all grew up with the original Star Trek (except Rob Cooper who preferred The Six Million Dollar Man) so we (and by we I mean Brad) couldn’t resist the opportunity to do an SG-1 version of the television’s most famous SF series. Paul McGillion was originally supposed to do the one-line cameo of the ship’s beleaguered Scottish engineer, but when that fell through, series co-creator and Executive Producer (not to mention former stage actor) Brad Wright stepped into those shiny black boots. THE YOUNGER, EDGIER TEAM Look closely and you can catch the late Cory Monteith as one of the young and edgy team-members. “Young” and “edgy” were buzzwords we kept on hearing a lot of (and continue to hear a lot of in the business), so Rob Cooper served up his version of what a younger, edgier Stargate would look like complete with stylized shots and dreamy cast members. Vala continues to pitch out ideas, offering up an SF version of Gilligan’s Island (“We were in a cloaked cargo ship on a simple, three-hour reconnaissance mission…”) that was one of the scenes we lost for time at the script stage… VALA (VO): We were in a cloaked cargo ship, on a simple three hour reconnaissance mission... TILT DOWN to reveal a planet. VALA (V)): But on the way we encountered a severe electromagnetic storm and lost all power. We were forced down on an uncharted, deserted planet... EXT. TROPICAL ISLAND -- DAY We see the cargo ship washed ashore on this deserted island, looking very much like the damaged S.S. Minnow. VALA (VO): We washed ashore and were forced to survive for weeks in the most primitive of conditions. No phone, no lights, no motor cars. Not a single luxury. EXT. ISLAND -- DAY Landry comes out of a hut, dressed like the Skipper. VALA (V): General Landry was with us on the mission, and let me tell you, he was in a foul mood. LANDRY: Mitchell! Mitchell runs out, dressed like Gilligan. MITCHELL: Yes, sir. LANDRY: Where's Carter? She was supposed to be done by now. MITCHELL: Oh, uh...(looks around) She's not here. Landry whacks him with his cap. LANDRY: I can see that. DANIEL: Over here... PAN TO Daniel (as the Professor) and Carter (as Mary Ann) carrying a large device out of another hut. Vala (as Ginger) trails behind them. The device looks like something constructed from bamboo and coconuts. CARTER (to Landry): I think we may have something, sir. VALA:Not a moment too soon. I must get out of this place. I have a photo shoot this afternoon. Landry stares at the device. LANDRY: What is this thing? CARTER:Well, I managed to construct a basic subspace transmitter out of coconuts, bamboo and our old subspace transmitter. DANIEL: A long shot, but it just might get us off this island. MITCHELL: That's great! Mitchell eagerly moves in for a closer look, but trips, falls and smashes the damn thing.Before Landry can whack him with his cap again -- TEAL'C emerges from the trees, dressed like Mr. Howell. He casually puffs a pipe. TEAL'C: Was I not traveling with a companion? A female by the name of... Lovey? MARTIN: Alright, enough already. FARGATE I had really enjoyed Farscape and, with both Ben Browder and Claudia Black on the show, I couldn’t resist the opportunity to do a little tribute, SG-1 style. Originally, Ben was supposed to play the part of Crichton and Michael the part of Stark, but they suggested it might be more fun to switch up the roles. SG-1 SUPERMARIONATION! Brad Wright, Robert Cooper, Paul Mullie and Carl Binder are huge fans of Team America: World Police, so I suppose it should come as no surprise that they jumped at the chance to do their own, SG-1 version. As it turned out, years ago Paul and I had worked with The Chiodo Bros. who had created the puppets and effects for Team America (as well as work on a Davey and Goliath claymation parody for The Simpsons and the Willice and Crimbles parody segment on The Simpsons). We called them up and they ended up delivering kick-ass puppet versions of our team – and supporting players. So, okay. Fess up. Which one of you fans is now the proud owner of one of these? In the writer’s draft of the script, yet another idea is pitched out… MITCHELL: Death is always dramatic. CUT TO: INT. INFIRMARY -- DAY Daniel lies on the bed. Carter, Mitchell, Vala and Landry stand around him. Vala reaches out and touches his hand - VALA: Goodbye, Daniel. The heart monitor FLATLINES. The rest of the group can barely control their emotions. Suddenly, a bright GLOW starts to emanate from under the sheets on the bed. Slowly, Daniel's body TRANSFORMS into a glowing ribbon being like in Meridian. As it rises above the bed, the sheets collapse. Amazement plays on the faces of everyone in the room. The glowing being hovers high above them for a moment then - MARTIN: No, no, no. BACK TO: INT. BRIEFING ROOM -- DAY Martin shakes his head. MARTIN: We did that twice in the series. DANIEL: You only made three episodes. How many times did we kill off Daniel again? Whenever we offed guest stars, we would invariably send them off with the heartening: “This is science fiction. Nobody ever dies in science fiction!” And, many times on Stargate, that was proven true. Then, someone pitches out the fishing segment. Martin’s response: “And what’s the twist…no fish?” is, of course, a reference to the twist at the end of Moebius I and II. THE WEDDING How couldn’t we? There was something there for the shippers – and something there for the slashers as well when O’Neill, waiting for Carter, turns to Daniel who utters the memorable: “You know, if she doesn’t show, people are gonna think that you and I –“. My favorite part of this segment is Jack referring to Carter as, well, Carter. Not Sam or Samantha but Carter. I guess old habits die hard. Martin’s response to the pitch ” Yeah, right, if I want to torture the audience on purpose!” echoes a quote from a fan letter we received that was critical of the ship. A classic line. The episode ends with a bunch of interviews teeming with inside jokes. I mean, I know we did 10 years but, dammit, we were still on a roll!
0:22

Stargate trivia: "200" (The BIG breakdown) SG-1 was about to attain the loftiest of broadcast heights – its 200th episode – and we wanted to do something special. Something unique. Something everyone on the production would enjoy as much as the longtime fans watching at home. The initial idea pitched was something called “Remember When…”, a trip down memory lane in which our characters’ reflections would form the frames of the varied flashbacks to outrageous missions. While everyone loved the idea of the outrageous missions, the premise of the episode felt too diffuse. We wanted an actual story that would form the heart of the episode. After much discussion, we elected to pay tribute to the franchise by referencing our last milestone – episode 100 – and bringing back Martin Lloyd and the show within a show, Wormhole X-Treme. But the fun we poked at the franchise through that spoof production was nothing compared to what we had in store for 200… WE FINALLY GOT TO MEET THE FURLINGS! Sort of. Even though it never really happened and we end up getting them killed in the end. Back in the show’s fourth season, not long after joining the production, I was summoned to Exec. Producer Robert Cooper’s office. He was doing his pass on our first script, Scorched Earth, and needed something from me: the name of an alien race. When pressed, he admitted naming alien races was not his forte and, as evidence, offered up “the Furlings”. I have to admit that whenever I heard the name, I always imagined a cosmic version of the Care Bears, giggling and snuggling their way through various adventures. As evidently, did everyone else on the production. The fans, however, were all sorts of curious and nary a week would go by without a fan posting a message board request for a glimpse of the elusive beings. Time wore on and those requests continued so, at one point, Brad suggested an episode in which we actually did get to meet them: a race of gaunt, towering, hairless, grey-skinned creatures. But that idea was quashed and the production went on its merry way, choosing to keep the race a mystery. But with 200 came the opportunity to honor those fan requests, and the viewers at home finally got to see those lovable furry creatures who turned out to be a cross between an ewok and a deranged koala. And then SG-1 went and got their planet blown up. Of course, we quickly reveal that the incident never actually happened and it was part of a pitch for a revival of the defunct Wormhole X-Treme t.v. series, a show that lasted an inglorious three episodes before being cancelled. But thanks to an impressive second life on dvd (following in the footsteps of Family Guy and Futurama) the show is being revived – and General O’Neill, in a desire to maintain a cover of plausible deniability for the Stargate program (and, let’s face it, screw with his old teammates) charges SG-1 with the task of creatively contributing to the production. MITCHELL TAKES ON THE LIVING DEAD! Every once in a while, actor Ben Browder would drop by the offices to pitch out an action sequence for his character – so I thought it appropriate that, given the opportunity, his character would pitch out an action sequence for – uh – his character. And, really, nothing says action like zombie hordes. Just ask fans of The Walking Dead. This sequence also allowed us the rare opportunity of witnessing Walter/Norman getting his head eaten. Double bonus! Mitchell’s idea is shot down and Martin gets on the phone with a representative of the studio. He is clearly frustrated and Mitchell asks: “Studio executives, huh?” Martin responds: “What? Oh, no Charlie? He’s a great guy. He’s the only one I trust.” This was a reference to longtime MGM President of Television and Stargate supporter Charles Cohen, one of the smartest, kindest studios executives I’ve ever had the pleasure to work with. As much as he was a fan of the show, we at the production were fans of Charlie. Martin is outraged because they lost their lead. How, he wonders, can they do the show without their lead. “You just bring in a character to replace him,”suggests Mitchell – an obvious reference to the introduction of Cam Mitchell which followed soon after the departure of longtime SG-1 lead Jack O’Neill. Carter then throws out some alternate ideas for keeping the lead alive: “Well, you could have the other characters refer to him all the time. Maybe, get him on the phone once in a while.” Yep. Been there; done that during SG-1’s seventh and eighth seasons. And then, someone references that time O’Neill was invisible… THE ADVENTURES OF INVISIBLE O'NEILL! The idea of doing an Invisible O’Neill segment was actually a joke I threw out...That ended up making the script. That happened a lot in this episode. As with all the segments, we went off and wrote them individually, and then everyone weighed in and they were tweaked. I always found the scene of O’Neill spying on Carter in the shower a tad creepy. Anyway, the Invisible O’Neill idea was embraced because we wanted Richard Dean Anderson to come back and do a cameo on this all-important episode, but didn’t know if he’d be able to work in an appearance. So, we figured we’d get the next best thing: his voice. As it turned out, he was able to swing the appearance, making 200 all that more special. THE GETAWAY Martin then pitches out a tale of high adventure, placing our heroes (SG-1) in an impossible position – and then simply cutting to them escaping through the gate. This was a tip of the hat to the many fans outraged by a similar scenario in a past episode (don’t remember the name) in which our heroes (SG-1) are surrounded by Lucian Alliance soldiers only to effect some miraculous unseen escape. During the ensuing argument over the merits of the pitch, Martin attempts to come up with a reasonable window of time for the team to reach the gate and dial. Ten seconds is too short and thirty seconds is too round a number. He decides on 38! Which, coincidentally, is the same number (of minutes) a stargate can stay open. Timing is, of course, everything, and nothing says action like a ticking clock. Which prompts the following gem from Martin: “Trust me, jeopardy plus ticking clock is box office. It’s the E equals M C squared of the entertainment world. Ask any executive.” Indeed. If there were two notes we received more than any other during Stargate’s long run, they were: “More jeopardy!” and “We need a ticking clock!”. Having a character race a timer to defuse a bomb? Didn’t get much better than that. THEY'RE OFF TO SEE THE WIZARD! Next to The Simpsons, The Wizard of Oz was probably the most referenced piece of pop culture over SG-1’s decade-long run. The fans certainly took notice and resulted in one particularly memorable piece of artwork being sent to studio depicting the original team as the cinematic classic’s adventurous foursome. So, I suppose, it made perfect sense to reference the constant references by including a little Wizard of Oz sequence in the episode as well. Mitchell’s line: “Now, how can something work perfectly fine for ten years, then all of a sudden, it doesn’t work anymore?” was an in-story reference to the gate suddenly stopping operations – and, in hindsight, could have been interpreted as a comment on the the show’s cancellation. DESTROYING STARGATE COMMAND This also episode gave us the opportunity to do something we’ve always wanted to do: blow up Stargate Command. It’s part of the story Martin Lloyd pitches the team. Mitchell, however, points out a potential problem. They’re alive in the next scene. How is that possible. To which Martin replies: ” I’m thinking I can back-sell it and say you were beamed out at the last second.” Teal’c’s rejoinder neatly sums up the feelings of many on the production: “Is that not too convenient?”. Yep, nobody hated the Earth ship beaming technology more than I did – with possible exception of actor Ben Browder. In the original version of this scene, the fun we poked at ourselves was a little more pointed: DANIEL: Beamed out. MARTIN: By the Prometheus. TEAL'C: Convenient. MARTIN: True. But c'mon, you got Asgard technology, why not use it? As long as it doesn't become a crutch. DANIEL: Small problem. The Prometheus was destroyed. MARTIN: Really? By who? MITCHELL: Kind of a long story. MARTIN: In battle? MITCHELL: Yes. MARTIN: Wow. So how'd you get out of that one? Beat. DANIEL: We, uh... we were beamed out. Soon after, Martin fields yet another call, this one from the network. "So, trouble with Nora"assumes Mitchell, to which Martin replies: "No, Nora—she's great." A shout-out to the late Nora O'Brien who was our network point-person for many years before she moved on to another position with NBC. A sharp executive and just a lovely woman. SG-1 DOES STAR TREK We all grew up with the original Star Trek (except Rob Cooper who preferred The Six Million Dollar Man) so we (and by we I mean Brad) couldn’t resist the opportunity to do an SG-1 version of the television’s most famous SF series. Paul McGillion was originally supposed to do the one-line cameo of the ship’s beleaguered Scottish engineer, but when that fell through, series co-creator and Executive Producer (not to mention former stage actor) Brad Wright stepped into those shiny black boots. THE YOUNGER, EDGIER TEAM Look closely and you can catch the late Cory Monteith as one of the young and edgy team-members. “Young” and “edgy” were buzzwords we kept on hearing a lot of (and continue to hear a lot of in the business), so Rob Cooper served up his version of what a younger, edgier Stargate would look like complete with stylized shots and dreamy cast members. Vala continues to pitch out ideas, offering up an SF version of Gilligan’s Island (“We were in a cloaked cargo ship on a simple, three-hour reconnaissance mission…”) that was one of the scenes we lost for time at the script stage… VALA (VO): We were in a cloaked cargo ship, on a simple three hour reconnaissance mission... TILT DOWN to reveal a planet. VALA (V)): But on the way we encountered a severe electromagnetic storm and lost all power. We were forced down on an uncharted, deserted planet... EXT. TROPICAL ISLAND -- DAY We see the cargo ship washed ashore on this deserted island, looking very much like the damaged S.S. Minnow. VALA (VO): We washed ashore and were forced to survive for weeks in the most primitive of conditions. No phone, no lights, no motor cars. Not a single luxury. EXT. ISLAND -- DAY Landry comes out of a hut, dressed like the Skipper. VALA (V): General Landry was with us on the mission, and let me tell you, he was in a foul mood. LANDRY: Mitchell! Mitchell runs out, dressed like Gilligan. MITCHELL: Yes, sir. LANDRY: Where's Carter? She was supposed to be done by now. MITCHELL: Oh, uh...(looks around) She's not here. Landry whacks him with his cap. LANDRY: I can see that. DANIEL: Over here... PAN TO Daniel (as the Professor) and Carter (as Mary Ann) carrying a large device out of another hut. Vala (as Ginger) trails behind them. The device looks like something constructed from bamboo and coconuts. CARTER (to Landry): I think we may have something, sir. VALA:Not a moment too soon. I must get out of this place. I have a photo shoot this afternoon. Landry stares at the device. LANDRY: What is this thing? CARTER:Well, I managed to construct a basic subspace transmitter out of coconuts, bamboo and our old subspace transmitter. DANIEL: A long shot, but it just might get us off this island. MITCHELL: That's great! Mitchell eagerly moves in for a closer look, but trips, falls and smashes the damn thing.Before Landry can whack him with his cap again -- TEAL'C emerges from the trees, dressed like Mr. Howell. He casually puffs a pipe. TEAL'C: Was I not traveling with a companion? A female by the name of... Lovey? MARTIN: Alright, enough already. FARGATE I had really enjoyed Farscape and, with both Ben Browder and Claudia Black on the show, I couldn’t resist the opportunity to do a little tribute, SG-1 style. Originally, Ben was supposed to play the part of Crichton and Michael the part of Stark, but they suggested it might be more fun to switch up the roles. SG-1 SUPERMARIONATION! Brad Wright, Robert Cooper, Paul Mullie and Carl Binder are huge fans of Team America: World Police, so I suppose it should come as no surprise that they jumped at the chance to do their own, SG-1 version. As it turned out, years ago Paul and I had worked with The Chiodo Bros. who had created the puppets and effects for Team America (as well as work on a Davey and Goliath claymation parody for The Simpsons and the Willice and Crimbles parody segment on The Simpsons). We called them up and they ended up delivering kick-ass puppet versions of our team – and supporting players. So, okay. Fess up. Which one of you fans is now the proud owner of one of these? In the writer’s draft of the script, yet another idea is pitched out… MITCHELL: Death is always dramatic. CUT TO: INT. INFIRMARY -- DAY Daniel lies on the bed. Carter, Mitchell, Vala and Landry stand around him. Vala reaches out and touches his hand - VALA: Goodbye, Daniel. The heart monitor FLATLINES. The rest of the group can barely control their emotions. Suddenly, a bright GLOW starts to emanate from under the sheets on the bed. Slowly, Daniel's body TRANSFORMS into a glowing ribbon being like in Meridian. As it rises above the bed, the sheets collapse. Amazement plays on the faces of everyone in the room. The glowing being hovers high above them for a moment then - MARTIN: No, no, no. BACK TO: INT. BRIEFING ROOM -- DAY Martin shakes his head. MARTIN: We did that twice in the series. DANIEL: You only made three episodes. How many times did we kill off Daniel again? Whenever we offed guest stars, we would invariably send them off with the heartening: “This is science fiction. Nobody ever dies in science fiction!” And, many times on Stargate, that was proven true. Then, someone pitches out the fishing segment. Martin’s response: “And what’s the twist…no fish?” is, of course, a reference to the twist at the end of Moebius I and II. THE WEDDING How couldn’t we? There was something there for the shippers – and something there for the slashers as well when O’Neill, waiting for Carter, turns to Daniel who utters the memorable: “You know, if she doesn’t show, people are gonna think that you and I –“. My favorite part of this segment is Jack referring to Carter as, well, Carter. Not Sam or Samantha but Carter. I guess old habits die hard. Martin’s response to the pitch ” Yeah, right, if I want to torture the audience on purpose!” echoes a quote from a fan letter we received that was critical of the ship. A classic line. The episode ends with a bunch of interviews teeming with inside jokes. I mean, I know we did 10 years but, dammit, we were still on a roll!

Joseph Mallozzi 🏴‍☠️

26,828 görüntüleme • 11 ay önce

🛠️ Patch Notes - Early Access Patch 2 We are incredibly excited to be releasing our largest patch yet, marking the One Month Anniversary of our Steam Early Access Launch! Patch 2 is chock full of highly requested features such as Weapon Tryout, the ability to Respec, DLSS / FSR Upscaling and Controller Remapping. Lots of Balancing and Quality of Life improvements, Audio, Animation, and Visual Effect polish as well as a multitude of bug fixes are also included! Between DLSS and FSR, numerous CPU, GPU performance improvements, and memory optimization we are confident that your experience of playing No Rest For The Wicked will be significantly smoother across a wide range of hardware. For NVIDIA users, we are excited to mention that there’s a new Game Ready Driver for No Rest for the Wicked! Be sure to check out our Patch 2 Highlight Video and the full patch notes below. ⚔️ Performance: • Performance Mode now lowers texture resolution, reducing crashes on lower-end machines • Numerous Significant CPU optimizations • Fixed performance degradation that might occur on some gamepads • Fixed numerous memory leaks • Reduced instantiation spikes for numerous objects • Disabled detail meshes on generic humanoids faces when not needed • Reduced latency, overhead and improved stability of GPU Culling • Optimized texture resolution and memory budgets for Steam Deck • Optimized Art content in Ship Prologue and its cinematics • Removed unused weapon assets to free up memory • Removed leftover developer tools to free up memory • Optimized CPU spikes of a variety of common content loading operations • Added texture streaming for character portraits during dialogue interactions to save memory • Fixed some persistent log spam being generated by potatoes in Nameless Pass • Cleaned up numerous NPC prefabs, reducing memory footprint and instantiation costs • Optimized Ambient Occlusion Rendering • Extended GPU culling usage for more cases • Configured and optimized pooling for more prefab instantiations reducing CPU spikes ⚔️ Gameplay Systems: • Added new Respec System! ⚬ Players can now Respec by examining the statue in the Cerim Crucible Atrium ⚬ Respec allows players to take back Attribute Points that have been allocated at the cost of 1 Fallen Ember per Attribute Point returned ⚬ Players can then allocate returned Attribute Points for no cost at the Respec screen or in the existing Stats screen ⚔️ Quality of Life: • All weapons can now be equipped regardless of their Attribute Requirements to allow players to try out weapons they acquire ⚬ Weapons that the player does not meet the requirements for will deal less damage through negative scaling on the Attributes that are below the weapon’s Attribute Requirements • Inventory Items can now be docked to compare them ⚬ Press F (Keyboard) or Y (Controller) to dock items and hover other items to compare • Brought back the Misc category to the Inventory ⚬ Housing items, Runes, Fallen Embers and other miscellaneous items will now be sorted into this category and free up space from other categories • Vendor screens are now sorted by item type so that items are more organized for purchase • Improved Stamina player HUD brightness for better visibility, and readability of stamina debt • Added side notifications for when Danos Sacrament Upgrades are completed • Added Floor Indicators under the Clock HUD to show the Cerim Crucible floors • Improved visibility of LB/RB button icons for Equipment HUD on Steam Deck ⚔️ Settings: • Added support for Upscaling with DLSS 3.7 and FSR 2.2 • Added custom key rebinding options for Controller • Added support for Mouse Buttons 4,5 and F1-F12 Keys for custom Keyboard bindings • Default Keyboard layout set to Mouse+WASD • Added support for worldspace Player HUD (Stamina wheel, NPC name tags, etc) brightness to UI Brightness setting ⚔️ Content Additions: • Added a new set of enchantments • All Throw runes can now be added to Spears ⚔️ Loot: • Added Pig Sticker Blueprint to Fillmore's Level 1 Shop • Added Assegai Blueprint to Whittacker's Level 1 Shop ⚔️ Balance: • Nerfed Throw runes ⚬ Reduced Poise Damage on all Throw runes ⚬ Reduced Damage on Ice Throw Rune • Nerfed Focus Regeneration enchant curve so that it no longer generates too much Focus too quickly • Focus Regeneration enchantment no longer drops with Gloves and now only drops with Helmets • This includes enchanting items at Eleanor • Falling Sky and Woodland Protector’s initial item levels were set too high and have been lowered to the intended levels ⚔️ Weapons: • Updated animation for backstabbing with Staves, Spears, Greatswords and Great Hammers • Updated visual effects for Piercing type weapon attacks (such as Spear or Rapier) ⚔️ Enemies and Bosses: • Polished Darak boss fight ⚬ Improved behavior to prevent him standing idle after attacking ⚬ Improved behavior when fighting ranged builds • Added Bite Attack to Plague Rat • Added Back Attack to Risen Axe Bruiser • Added escape logic to Risen Fire Bomber • Added Elemental Affix visual effects to Nith Brute, Nith Screamer and Shackled Brute • Adding cloth simulation to Boarskin Bruiser • Polished rigging on Plagued Boomer • Reduced camera shake intensity on Risen Hammer Bruiser, Boarskin Bruiser and Riven Twins • Smaller enemies can now smash breakable objects (barrels, crates, etc.) ⚔️ NPCs: • Changed the name of the worried woman in the Sacrament Town Square to Nell • Polishing dialog for Druo, Lucian and Everwyn • Updated the dialog for NPCs at the Cerim Gate in Nameless Pass • Added eavesdrop to Sleeping Guard Gerard in Sacrament ⚔️ Areas: • Improved collision, faders and set dressing in Prologue Ship, Orban Glades, Mariner’s Keep, Nameless Pass, Sacrament, Multiple Sacrament Interiors, Cerim Crucible, Cerim Cave, Riven Twins Boss Arena and Potion Seller Cave • Polished lighting for the ship in Prologue, Sacrament and Cerim Crucible • Updated foliage in various locations • Added physics and wind simulation to Spruce trees ⚔️ Cinematics: • Polished animations for characters in the Inquisition Arrival cinematic • Improved lighting, character rim lighting and volumetrics for the Prologue Ship Crash Outro and Inquisition Arrival cinematics • Removed a background character who was blocking part of the view in the Inquisition Arrival cinematic • Fixed cloth and camera pops in the Inquisition Arrival cinematic ⚔️ Audio: • Environment update for Sacrament: ⚬ Added Ambience Emitters for certain Residential and Vendor buildings like the Cook, Tavern, Woodcrafter and Enchantress ⚬ Updated zone beds and oneshots for unique parts of town (Cemetery, Poor Area,Training Grounds, Dasha Sanctuary) ⚬ The church near the cemetery now has bells ringing to service playing at certain times of day, followed by churchgoers praying and chanting from behind the doors. ⚬ Updated ambience for Sacrament Town Square to feel busier during the day ⚬ Updated environment audio for the Cerim Gate zone in Mountain Pass • Increased audio buffer to help alleviate audio crackle artifacts • Increased available audio resources to help prevent sounds from dropping out during long play sessions • Updated audio for Cerim Vision cinematic • Updated audio mix for Barrel and Crate destruction • Saluting Guards in Sacrament now have sound • Added Weapon-specific Impacts on parrying and blocking actions • Added ladder sliding sound effects for Kickdown Ladders • Added sound effects for going down Ladders • Added new sound effects for Plague-Enchanted weapons • Polished audio for Bounties enemies • Fixed missing sounds for Plagued Mutant Soldier • Fixed rain sounds appearing in Sacrament Interiors • Fixed enchantment-specific weapon whooshes cutting a bit too early • Fixed NPCs not making footstep sounds when walking around • Fixed environment states sometimes not resetting when returning to the main menu ⚔️ VFX: • Blood effects are now juicier and used more often! • Improved blood visual effects attachment to characters bodies from attacking and getting hit • Increased intensity of shiny item drop VFX ⚔️ Bounties and Challenges: • Updated Crustacean Conundrum bounty to spawn 14 Crabs while still only requiring 8 Crabs be killed to complete ⚔️ Localization: • Added and updated localized text in many places across multiple languages • Added localization support for new Controller Remapping screen and for various missing localized elements • Fixed incorrect font on the Activities screen ⚔️ Bug Fixes: • Fixed various enchantments on unique weapons and rings that weren’t working properly • Fixed Rested Bonuses for sleeping in beds • Fixed Key Items respawning after pick up • Fixed navigation in Nameless Pass which was preventing certain enemies and the Riven Twins boss from patrolling and moving to the player • Fixed Echo Knight falling off the arena and blocking progress • Fixed Cerim Armor missing upgrades at Filmore • Fixed Risen Pavise, Eye of the Beholder and Wooden Howler Shields not showing their proper models • Fixed SHIFT key not being recognized in the Main Menu • Fixed certain environment textures overriding certain armor textures • Fixed certain armor having missing or incorrect cloth simulation • Fixed rigging on certain armor • Fixed The Wallow boss attacks not having sound effects • Fixed Falling Sky Blueprint not giving the Unique version of the weapon when crafting • Fixed an issue where completed but not yet turned in bounty/challenge rewards were being automatically given to the player at reset • Fixed wall cannons not firing in Cerim Crucible • Fixed XP UI not showing “Max Level” after reaching the level cap • Fixed Level and XP UI being present without a Character selected in the Main Menu • Fixed “Long Area Name” appearing on the map where map is unavailable (such as Cerim Crucible) • Fixed being able to skip through locked doors in The Shallows • Fixed players getting stuck at the end of the entrance corridor in the Echo Knight Arena • Fixed Enchant Item Challenge counting enchanted items that are picked up • Fixed mortuary guard popping in on screen during Spoken and Unspoken quest • Fixed extra Elsa map marker during the Spoken and Unspoken quest • Fixed Giles and Petra standing instead of sitting on the chairs in Caroline’s Inn • Fixed Arrows not hitting Plagued Wolf • Fixed Wolf and Plagued Wolf target point • Fixed Tanth Knight getting stuck during patrolling in Mariner’s Keep at Endgame state • Fixed Darak leaving his shield in Orban Glades when he escapes • Fixed chest opening VFX in Performance and Balanced quality presets • Fixed Wolf having a dance party after death • Fixed Chest floating in the air in Mariner’s Keep • Fixed incorrect texture on the Crafting Table • Fixed 4096x2160 resolution appearing as 256x135 aspect ratio, instead displays as 1.9:1 • Fixed overblown bonfire lighting at The Shallows • Removed rogue rim light at The Shallows • Removed lighting debug shortcut See the full patch notes here -
1:30

🛠️ Patch Notes - Early Access Patch 2 We are incredibly excited to be releasing our largest patch yet, marking the One Month Anniversary of our Steam Early Access Launch! Patch 2 is chock full of highly requested features such as Weapon Tryout, the ability to Respec, DLSS / FSR Upscaling and Controller Remapping. Lots of Balancing and Quality of Life improvements, Audio, Animation, and Visual Effect polish as well as a multitude of bug fixes are also included! Between DLSS and FSR, numerous CPU, GPU performance improvements, and memory optimization we are confident that your experience of playing No Rest For The Wicked will be significantly smoother across a wide range of hardware. For NVIDIA users, we are excited to mention that there’s a new Game Ready Driver for No Rest for the Wicked! Be sure to check out our Patch 2 Highlight Video and the full patch notes below. ⚔️ Performance: • Performance Mode now lowers texture resolution, reducing crashes on lower-end machines • Numerous Significant CPU optimizations • Fixed performance degradation that might occur on some gamepads • Fixed numerous memory leaks • Reduced instantiation spikes for numerous objects • Disabled detail meshes on generic humanoids faces when not needed • Reduced latency, overhead and improved stability of GPU Culling • Optimized texture resolution and memory budgets for Steam Deck • Optimized Art content in Ship Prologue and its cinematics • Removed unused weapon assets to free up memory • Removed leftover developer tools to free up memory • Optimized CPU spikes of a variety of common content loading operations • Added texture streaming for character portraits during dialogue interactions to save memory • Fixed some persistent log spam being generated by potatoes in Nameless Pass • Cleaned up numerous NPC prefabs, reducing memory footprint and instantiation costs • Optimized Ambient Occlusion Rendering • Extended GPU culling usage for more cases • Configured and optimized pooling for more prefab instantiations reducing CPU spikes ⚔️ Gameplay Systems: • Added new Respec System! ⚬ Players can now Respec by examining the statue in the Cerim Crucible Atrium ⚬ Respec allows players to take back Attribute Points that have been allocated at the cost of 1 Fallen Ember per Attribute Point returned ⚬ Players can then allocate returned Attribute Points for no cost at the Respec screen or in the existing Stats screen ⚔️ Quality of Life: • All weapons can now be equipped regardless of their Attribute Requirements to allow players to try out weapons they acquire ⚬ Weapons that the player does not meet the requirements for will deal less damage through negative scaling on the Attributes that are below the weapon’s Attribute Requirements • Inventory Items can now be docked to compare them ⚬ Press F (Keyboard) or Y (Controller) to dock items and hover other items to compare • Brought back the Misc category to the Inventory ⚬ Housing items, Runes, Fallen Embers and other miscellaneous items will now be sorted into this category and free up space from other categories • Vendor screens are now sorted by item type so that items are more organized for purchase • Improved Stamina player HUD brightness for better visibility, and readability of stamina debt • Added side notifications for when Danos Sacrament Upgrades are completed • Added Floor Indicators under the Clock HUD to show the Cerim Crucible floors • Improved visibility of LB/RB button icons for Equipment HUD on Steam Deck ⚔️ Settings: • Added support for Upscaling with DLSS 3.7 and FSR 2.2 • Added custom key rebinding options for Controller • Added support for Mouse Buttons 4,5 and F1-F12 Keys for custom Keyboard bindings • Default Keyboard layout set to Mouse+WASD • Added support for worldspace Player HUD (Stamina wheel, NPC name tags, etc) brightness to UI Brightness setting ⚔️ Content Additions: • Added a new set of enchantments • All Throw runes can now be added to Spears ⚔️ Loot: • Added Pig Sticker Blueprint to Fillmore's Level 1 Shop • Added Assegai Blueprint to Whittacker's Level 1 Shop ⚔️ Balance: • Nerfed Throw runes ⚬ Reduced Poise Damage on all Throw runes ⚬ Reduced Damage on Ice Throw Rune • Nerfed Focus Regeneration enchant curve so that it no longer generates too much Focus too quickly • Focus Regeneration enchantment no longer drops with Gloves and now only drops with Helmets • This includes enchanting items at Eleanor • Falling Sky and Woodland Protector’s initial item levels were set too high and have been lowered to the intended levels ⚔️ Weapons: • Updated animation for backstabbing with Staves, Spears, Greatswords and Great Hammers • Updated visual effects for Piercing type weapon attacks (such as Spear or Rapier) ⚔️ Enemies and Bosses: • Polished Darak boss fight ⚬ Improved behavior to prevent him standing idle after attacking ⚬ Improved behavior when fighting ranged builds • Added Bite Attack to Plague Rat • Added Back Attack to Risen Axe Bruiser • Added escape logic to Risen Fire Bomber • Added Elemental Affix visual effects to Nith Brute, Nith Screamer and Shackled Brute • Adding cloth simulation to Boarskin Bruiser • Polished rigging on Plagued Boomer • Reduced camera shake intensity on Risen Hammer Bruiser, Boarskin Bruiser and Riven Twins • Smaller enemies can now smash breakable objects (barrels, crates, etc.) ⚔️ NPCs: • Changed the name of the worried woman in the Sacrament Town Square to Nell • Polishing dialog for Druo, Lucian and Everwyn • Updated the dialog for NPCs at the Cerim Gate in Nameless Pass • Added eavesdrop to Sleeping Guard Gerard in Sacrament ⚔️ Areas: • Improved collision, faders and set dressing in Prologue Ship, Orban Glades, Mariner’s Keep, Nameless Pass, Sacrament, Multiple Sacrament Interiors, Cerim Crucible, Cerim Cave, Riven Twins Boss Arena and Potion Seller Cave • Polished lighting for the ship in Prologue, Sacrament and Cerim Crucible • Updated foliage in various locations • Added physics and wind simulation to Spruce trees ⚔️ Cinematics: • Polished animations for characters in the Inquisition Arrival cinematic • Improved lighting, character rim lighting and volumetrics for the Prologue Ship Crash Outro and Inquisition Arrival cinematics • Removed a background character who was blocking part of the view in the Inquisition Arrival cinematic • Fixed cloth and camera pops in the Inquisition Arrival cinematic ⚔️ Audio: • Environment update for Sacrament: ⚬ Added Ambience Emitters for certain Residential and Vendor buildings like the Cook, Tavern, Woodcrafter and Enchantress ⚬ Updated zone beds and oneshots for unique parts of town (Cemetery, Poor Area,Training Grounds, Dasha Sanctuary) ⚬ The church near the cemetery now has bells ringing to service playing at certain times of day, followed by churchgoers praying and chanting from behind the doors. ⚬ Updated ambience for Sacrament Town Square to feel busier during the day ⚬ Updated environment audio for the Cerim Gate zone in Mountain Pass • Increased audio buffer to help alleviate audio crackle artifacts • Increased available audio resources to help prevent sounds from dropping out during long play sessions • Updated audio for Cerim Vision cinematic • Updated audio mix for Barrel and Crate destruction • Saluting Guards in Sacrament now have sound • Added Weapon-specific Impacts on parrying and blocking actions • Added ladder sliding sound effects for Kickdown Ladders • Added sound effects for going down Ladders • Added new sound effects for Plague-Enchanted weapons • Polished audio for Bounties enemies • Fixed missing sounds for Plagued Mutant Soldier • Fixed rain sounds appearing in Sacrament Interiors • Fixed enchantment-specific weapon whooshes cutting a bit too early • Fixed NPCs not making footstep sounds when walking around • Fixed environment states sometimes not resetting when returning to the main menu ⚔️ VFX: • Blood effects are now juicier and used more often! • Improved blood visual effects attachment to characters bodies from attacking and getting hit • Increased intensity of shiny item drop VFX ⚔️ Bounties and Challenges: • Updated Crustacean Conundrum bounty to spawn 14 Crabs while still only requiring 8 Crabs be killed to complete ⚔️ Localization: • Added and updated localized text in many places across multiple languages • Added localization support for new Controller Remapping screen and for various missing localized elements • Fixed incorrect font on the Activities screen ⚔️ Bug Fixes: • Fixed various enchantments on unique weapons and rings that weren’t working properly • Fixed Rested Bonuses for sleeping in beds • Fixed Key Items respawning after pick up • Fixed navigation in Nameless Pass which was preventing certain enemies and the Riven Twins boss from patrolling and moving to the player • Fixed Echo Knight falling off the arena and blocking progress • Fixed Cerim Armor missing upgrades at Filmore • Fixed Risen Pavise, Eye of the Beholder and Wooden Howler Shields not showing their proper models • Fixed SHIFT key not being recognized in the Main Menu • Fixed certain environment textures overriding certain armor textures • Fixed certain armor having missing or incorrect cloth simulation • Fixed rigging on certain armor • Fixed The Wallow boss attacks not having sound effects • Fixed Falling Sky Blueprint not giving the Unique version of the weapon when crafting • Fixed an issue where completed but not yet turned in bounty/challenge rewards were being automatically given to the player at reset • Fixed wall cannons not firing in Cerim Crucible • Fixed XP UI not showing “Max Level” after reaching the level cap • Fixed Level and XP UI being present without a Character selected in the Main Menu • Fixed “Long Area Name” appearing on the map where map is unavailable (such as Cerim Crucible) • Fixed being able to skip through locked doors in The Shallows • Fixed players getting stuck at the end of the entrance corridor in the Echo Knight Arena • Fixed Enchant Item Challenge counting enchanted items that are picked up • Fixed mortuary guard popping in on screen during Spoken and Unspoken quest • Fixed extra Elsa map marker during the Spoken and Unspoken quest • Fixed Giles and Petra standing instead of sitting on the chairs in Caroline’s Inn • Fixed Arrows not hitting Plagued Wolf • Fixed Wolf and Plagued Wolf target point • Fixed Tanth Knight getting stuck during patrolling in Mariner’s Keep at Endgame state • Fixed Darak leaving his shield in Orban Glades when he escapes • Fixed chest opening VFX in Performance and Balanced quality presets • Fixed Wolf having a dance party after death • Fixed Chest floating in the air in Mariner’s Keep • Fixed incorrect texture on the Crafting Table • Fixed 4096x2160 resolution appearing as 256x135 aspect ratio, instead displays as 1.9:1 • Fixed overblown bonfire lighting at The Shallows • Removed rogue rim light at The Shallows • Removed lighting debug shortcut See the full patch notes here -

No Rest for the Wicked

184,300 görüntüleme • 2 yıl önce

The Lord of the Rings: The Fellowship of the Ring – Prologue: How Peter Jackson Turned a Legend into a Cinematic Experience Before Frodo’s journey begins, Middle-earth already carries a history that stretches back thousands of years. The greatest challenge of The Fellowship of the Ring was not simply introducing a fantasy world, but making audiences feel that this world had a long and meaningful past: with kingdoms that had risen and fallen, wars that had already been fought, and tragedies that continued to leave their marks. In just under seven minutes, the Prologue transforms an enormous amount of history into a concise cinematic experience, allowing viewers to enter Middle-earth as a world that had existed long before the main story began. What makes this opening remarkable is that it does not feel like a simple explanation of a fictional universe. Instead, it feels like a legend being retold from the perspective of someone who belongs to an age that witnessed the great changes of Middle-earth. This is the greatest achievement of the Prologue. In only a few minutes, Peter Jackson, Fran Walsh, Philippa Boyens, and Howard Shore transform Tolkien’s historical background into an accessible cinematic experience, allowing audiences to understand that Frodo’s story is not the beginning of a new world, but another chapter in a history that has already lasted for thousands of years. A Masterclass in Opening an Epic Film An epic film must answer three fundamental questions within its opening moments: What is at stake? How dangerous is the enemy? Why should the audience care? The Fellowship of the Ring’s Prologue answers all three with remarkable efficiency. Middle-earth does not appear as a newly created fantasy setting, but as a world shaped by countless ages, civilizations, and different races: Elves, Dwarves, and Men. This vast history is compressed into a continuous flow, allowing viewers to understand the scale of the story without becoming overwhelmed by excessive information. At the center of this entire history stands the One Ring. The film does not introduce it as merely a magical object, but as a vessel containing power, will, and Sauron’s desire for domination. From that moment, the audience understands that the wars and tragedies to come will revolve around something that appears deceptively small. Galadriel Does Not Simply Tell a Story — She Speaks as Someone Who Belongs to That Age One of Peter Jackson’s most important decisions was choosing Galadriel as the narrator. From the first Elvish words in the film version — “I amar prestar aen... The world is changed...” — the audience is immediately drawn into an atmosphere that feels ancient and filled with memory. Galadriel does not narrate like someone explaining history. She narrates like someone who belongs to an age that has witnessed the great transformations of Middle-earth. Her calm and measured voice, carrying a sense of memory and reflection, makes the audience feel that what they are seeing is not merely a conventional introduction, but a story being recalled from a distant era. This choice gives Middle-earth the depth of a civilization that existed long before Frodo entered the story. Howard Shore Transforms the History of Middle-earth into a Musical Language The music in the Prologue does more than simply accompany the images. It tells the story alongside the film. In the scenes connected with the Elves, the music carries a sense of elegance and mystery, suggesting an ancient culture and an era that is gradually changing. But when Sauron appears, the entire soundscape changes. Heavy drums, metallic textures, and tense rhythms create the feeling of a force threatening the balance of Middle-earth. Howard Shore does not simply create musical themes for individual characters or factions. He builds a complete leitmotif system, where music becomes a way for audiences to recognize different cultures, characters, and powers within Tolkien’s world. A Battle That Feels Real Because Technology Serves the Story The Battle of Dagorlad remains impressive even more than two decades after its creation. One important reason is the MASSIVE system, a software developed by Weta Digital to create large-scale CGI armies. Instead of moving like identical copies of one another, digital soldiers were designed with different behaviors through a simulation system, creating the impression of a vast and chaotic battlefield. What audiences remember is not the technology itself. What they remember is the feeling of a battle with a genuine sense of scale. It is a moment when technology supports the story rather than drawing attention to itself. Isildur Shows That the Ring Can Defeat Even a Hero The most important character in the Prologue is not Sauron. It is Isildur. He enters the story as the man who helped defeat the Dark Lord. Yet that victory immediately turns into tragedy when he cannot let go of the Ring. In the film version, Peter Jackson condenses this moment by showing Isildur rejecting Elrond’s advice and carrying the Ring away from Mount Doom. In Tolkien’s original work, this decision carries even greater complexity. Isildur initially keeps the Ring as compensation for the deaths of his father Elendil and his brother Anárion. However, although he does not fully understand the Ring’s true nature at first, its power gradually reveals its ability to influence his will. What makes Isildur’s story significant is that he is not portrayed as an evil person. His tragedy lies in the fact that even a hero can fail when faced with the temptation of power. The Ring does not create evil from nothing. It exploits and amplifies the ambitions, fears, and desires that already exist within individuals, allowing even a noble person to be overcome by its influence. A Transition That Tells Nearly Three Thousand Years of History After Isildur is killed at the Gladden Fields, the Ring falls into the River Anduin and disappears from history for many centuries. With a single transition, the film carries the audience across nearly three thousand years without lengthy explanation. During this period, the Ring is forgotten before being discovered by Sméagol. It then remains with him for nearly five hundred years, gradually consuming both his body and spirit, transforming a creature of Hobbit-kind into Gollum. When Bilbo accidentally finds the Ring, the film completely changes its rhythm. The lighting becomes warmer. The music becomes gentler. The epic world of kings and massive battles gives way to the peaceful world of the Shire and the Hobbits. This is not only a transition in time. It is a transition in the entire story. The fate of Middle-earth is no longer placed in the hands of powerful warriors, but into the hands of the smallest and most unexpected creatures. Conclusion The Prologue of The Fellowship of the Ring is a masterclass in opening an epic film. In only a few minutes, it builds an entire world, establishes the central threat, introduces the antagonist, and lays the foundation for the journey that follows. However, the greatest achievement of this sequence does not lie only in its scale or visual effects. It lies in the way Peter Jackson transforms a vast amount of historical background into an accessible cinematic experience. The audience does not understand Middle-earth only through information, but also through the feeling that this is a world with a real past — a world that has experienced ages of greatness, conflict, and decline long before Frodo’s journey begins.
7:02

The Lord of the Rings: The Fellowship of the Ring – Prologue: How Peter Jackson Turned a Legend into a Cinematic Experience Before Frodo’s journey begins, Middle-earth already carries a history that stretches back thousands of years. The greatest challenge of The Fellowship of the Ring was not simply introducing a fantasy world, but making audiences feel that this world had a long and meaningful past: with kingdoms that had risen and fallen, wars that had already been fought, and tragedies that continued to leave their marks. In just under seven minutes, the Prologue transforms an enormous amount of history into a concise cinematic experience, allowing viewers to enter Middle-earth as a world that had existed long before the main story began. What makes this opening remarkable is that it does not feel like a simple explanation of a fictional universe. Instead, it feels like a legend being retold from the perspective of someone who belongs to an age that witnessed the great changes of Middle-earth. This is the greatest achievement of the Prologue. In only a few minutes, Peter Jackson, Fran Walsh, Philippa Boyens, and Howard Shore transform Tolkien’s historical background into an accessible cinematic experience, allowing audiences to understand that Frodo’s story is not the beginning of a new world, but another chapter in a history that has already lasted for thousands of years. A Masterclass in Opening an Epic Film An epic film must answer three fundamental questions within its opening moments: What is at stake? How dangerous is the enemy? Why should the audience care? The Fellowship of the Ring’s Prologue answers all three with remarkable efficiency. Middle-earth does not appear as a newly created fantasy setting, but as a world shaped by countless ages, civilizations, and different races: Elves, Dwarves, and Men. This vast history is compressed into a continuous flow, allowing viewers to understand the scale of the story without becoming overwhelmed by excessive information. At the center of this entire history stands the One Ring. The film does not introduce it as merely a magical object, but as a vessel containing power, will, and Sauron’s desire for domination. From that moment, the audience understands that the wars and tragedies to come will revolve around something that appears deceptively small. Galadriel Does Not Simply Tell a Story — She Speaks as Someone Who Belongs to That Age One of Peter Jackson’s most important decisions was choosing Galadriel as the narrator. From the first Elvish words in the film version — “I amar prestar aen... The world is changed...” — the audience is immediately drawn into an atmosphere that feels ancient and filled with memory. Galadriel does not narrate like someone explaining history. She narrates like someone who belongs to an age that has witnessed the great transformations of Middle-earth. Her calm and measured voice, carrying a sense of memory and reflection, makes the audience feel that what they are seeing is not merely a conventional introduction, but a story being recalled from a distant era. This choice gives Middle-earth the depth of a civilization that existed long before Frodo entered the story. Howard Shore Transforms the History of Middle-earth into a Musical Language The music in the Prologue does more than simply accompany the images. It tells the story alongside the film. In the scenes connected with the Elves, the music carries a sense of elegance and mystery, suggesting an ancient culture and an era that is gradually changing. But when Sauron appears, the entire soundscape changes. Heavy drums, metallic textures, and tense rhythms create the feeling of a force threatening the balance of Middle-earth. Howard Shore does not simply create musical themes for individual characters or factions. He builds a complete leitmotif system, where music becomes a way for audiences to recognize different cultures, characters, and powers within Tolkien’s world. A Battle That Feels Real Because Technology Serves the Story The Battle of Dagorlad remains impressive even more than two decades after its creation. One important reason is the MASSIVE system, a software developed by Weta Digital to create large-scale CGI armies. Instead of moving like identical copies of one another, digital soldiers were designed with different behaviors through a simulation system, creating the impression of a vast and chaotic battlefield. What audiences remember is not the technology itself. What they remember is the feeling of a battle with a genuine sense of scale. It is a moment when technology supports the story rather than drawing attention to itself. Isildur Shows That the Ring Can Defeat Even a Hero The most important character in the Prologue is not Sauron. It is Isildur. He enters the story as the man who helped defeat the Dark Lord. Yet that victory immediately turns into tragedy when he cannot let go of the Ring. In the film version, Peter Jackson condenses this moment by showing Isildur rejecting Elrond’s advice and carrying the Ring away from Mount Doom. In Tolkien’s original work, this decision carries even greater complexity. Isildur initially keeps the Ring as compensation for the deaths of his father Elendil and his brother Anárion. However, although he does not fully understand the Ring’s true nature at first, its power gradually reveals its ability to influence his will. What makes Isildur’s story significant is that he is not portrayed as an evil person. His tragedy lies in the fact that even a hero can fail when faced with the temptation of power. The Ring does not create evil from nothing. It exploits and amplifies the ambitions, fears, and desires that already exist within individuals, allowing even a noble person to be overcome by its influence. A Transition That Tells Nearly Three Thousand Years of History After Isildur is killed at the Gladden Fields, the Ring falls into the River Anduin and disappears from history for many centuries. With a single transition, the film carries the audience across nearly three thousand years without lengthy explanation. During this period, the Ring is forgotten before being discovered by Sméagol. It then remains with him for nearly five hundred years, gradually consuming both his body and spirit, transforming a creature of Hobbit-kind into Gollum. When Bilbo accidentally finds the Ring, the film completely changes its rhythm. The lighting becomes warmer. The music becomes gentler. The epic world of kings and massive battles gives way to the peaceful world of the Shire and the Hobbits. This is not only a transition in time. It is a transition in the entire story. The fate of Middle-earth is no longer placed in the hands of powerful warriors, but into the hands of the smallest and most unexpected creatures. Conclusion The Prologue of The Fellowship of the Ring is a masterclass in opening an epic film. In only a few minutes, it builds an entire world, establishes the central threat, introduces the antagonist, and lays the foundation for the journey that follows. However, the greatest achievement of this sequence does not lie only in its scale or visual effects. It lies in the way Peter Jackson transforms a vast amount of historical background into an accessible cinematic experience. The audience does not understand Middle-earth only through information, but also through the feeling that this is a world with a real past — a world that has experienced ages of greatness, conflict, and decline long before Frodo’s journey begins.

🎼🌺Music Love♥️

16,018 görüntüleme • 20 gün önce

Ghengis Khan was not an "evil tyrant", but actually one of the most compassionate leaders in human history. His first law as Khan, for example, was to ban bridal kidnapping. After, he created a welfare system for captured women in which they were financially cared for, along with their children. Captured women and children were allowed full rights and integration within the Mongol civilization. Captured children, especially, were encouraged to join the military and could rise to its highest ranks like any other Mongol. “As long as men kidnapped women, there would be feuding on the steppes. Genghis Khan’s first new law reportedly forbade the kidnapping of women, almost certainly a reaction to the kidnapping of his wife”. Furthermore, he “forbade the abduction and enslavement of any Mongol", ending all slavery within his lands. The motivation of these laws was due to the facts that Chingis was born from a kidnapped mother, enslaved as a boy, and his first wife was kidnapped. It is suspected by all scholars and especially the children of Chingis, that his first son was illegitimate and that the true father was the kidnapper of his wife. The child's name translated into english is something like "visitor", proving this claim to scholars. Yet, despite this problem, Chingis always insisted his first son was legitimate and consistently tried to make him the sole inheritor of the Empire, a task he failed to accomplish. These actions prove, without a doubt, the quality of Chingis' compassionate character. For those who do live in the steppe as I do, you may be surprised to know that bridal kidnapping is the most common form of marriage now today in the region with the sole exception of Mongolia. Locally, in Kyrgyzstan, we practice two types of kidnapping - "Ala-ka-chu" and "kyz kuumai". Ala-ka-chu is a forced kidnapping where men form a type of gang and plot the kidnapping of a local woman. Typically, the "rules" are that if a man kidnaps a woman and brings her to his home for 24 hours, she becomes his property. Families can even coordinate together to kidnap a woman and force her hand in marriage. Women are stolen so commonly, even a student from my university was abducted right in front of the gate recently. Ala-ka-chu is not an authentic tradition but rather an unjustly modified version of a legitimate tradition called "kyz kuumai", a consensual form of bridal kidnapping in which a man races after a woman on horseback and if he captures her, she becomes his property. If the woman wrestles the man or escapes from him, then she declines the marriage. It's her choice. Typically, it's like a quick game of chase, the woman allows the man to kiss her on the cheek and then she jumps off his horse into the sunset. Ancient Mongolia was much like my world in that sense that women and goods would constantly be stolen again and again and again in an endless cycle by all the various rival tribes. The kidnappings were always of the most violent character. Women, like Hoelun (Chingis Khan's mother), would routinely throw themselves to their kidnappers by submission so that their families could escape and survive. Chingis Khan was the sole person to stop this trend in Mongolia forever. These violent practices may continue today in various regions of the steppe, but never in Mongolia. The benevolence of Chingis Khan becomes clear with this example alone. His genius can be further seen with his tax policies. He established a free tax zone throughout the Silk Road. "He lowered taxes for everyone, and abolished them altogether for doctors, teachers, priests, and educational institutions.” Generally, there was a maximum of a 10% flat tax at maximum. We often look down upon Chingis Khan as some type of monster, yet his citizens had some of the lowest tax rates in human history, or, at the least, certainly lower than anything we currently face. Keep in mind, when we discuss "taxes" we mean captured enemies like Chinese farmers. Mongolian herdsmen, for example, paid a 1% tax. Military members could void all taxes by simply performing various acts of community service. With such an abundance of new cultures consistently conquered, Chingis Khan became perplexed. These foreign populations never fought over women as they did at home. Instead, the sedentary folk fought over religion. To solve this problem, “Genghis Khan decreed complete and total religious freedom for everyone. Although he continued to worship the spirits of his homeland, he did not permit them to be used as a national cult.” It is indeed written that Chingis' motivation for religious freedom laws was due to infighting between captured enemies, yes. However, I like to think personally that this law hails from his early exposure to Christians. For example, his father was named “Yesugei", translating to "Jesua" after Jesus. The Khan of his father and the first Khan Chingis served was a devout Christian, along with a majority of his members. This is not to say they experienced Christianity like a modern person. Certainly they were Mongols first, and Christians second. It is additionally important to note that the Empire was always ruled by women, while the men were at war. These women rulers were typically of a Christian orientation themselves, rather than a Tengrianist like Chingis. Meanwhile, the scholars of Chingis' day were Tibetan Buddhists, Chinese Confucians, or most often Persian Muslims. Religious freedom was an obvious necessity. The answer of why no Westerner knows any positive attributes of Chingis Khan is due to a mistranslation in name. The Mongols were a mysterious, unknown force to the Europeans. The Rus originally confused them with the Tatar peoples. The Tatars were a tribe focused in the South Russia. In the 1100s, they were on par with the Mongols and were the sworn enemy of Yisügei, the father of Chingis Khan, who they later killed by poison. Eventually, Chingis had his revenge, defeated the Tatars, and then incorporated them into his army, along with dozens of other turkic tribes throughout the region. The Europeans built upon the Rus translations and referred to the Mongols as “Tartars”, “a play on the Latin word for hell, ‘Tatarus’”. On older maps, one may find regions referenced as “Tartary” or “Tartaria”; these lands are simply the territories controlled by the Mongols (and various Turkic tribes) until the Soviet era. It is logical for Westerners to continually liken the Mongols with demons from hell (Tartarus) and exclusively maintain an oral history of terror associated with the Mongols. This information comes to us from the first Catholic friar to visit the Mongols in 1200s. The policy of graciously accepting and then integrating the enemy tribes into the Mongol forces began with the Tatars. When we think of "raping and pillaging" by the Mongols, we confuse it with encouraged integration in which, for the first time in steppe history, enemies were Yes, all the men were killed; you're right. However, the children, as previously clarified were adopted and kindly raised into various positions of power, rather than as slaves, as was the previous system. Ethnically, Mongols are most related to the Tatrs, Khitan, and Turkic tribes. “They asserted, then and now, a direct descent from the Huns, who founded the first empire on the high steppe in the third century. Hun is the Mongolian word for human being, and they called their Hun ancestors Hun-nu, the people of the sun.” The physical appearance of Chingis was never written down and all reference to Chingis' appearance was illegal to capture in art form. All later notions of Chingis' appearance comes from modern art. However, being so closely integrated with Tatars and directly from the Huns does confirm that the Mongols had blonde/orange hair with blue/green eyes, much like any European. "Mixing" most often occurred through consensual inter-marriage between captured women and Mongols. Throughout Chingis' time, the majority of external genetics would have come from inter-marriage between the Persian population (in a very low percentage). Chinese genetics were introduced to the Mongols throughout the rule of Kublai Khan. Kubali successfully conquered the Chinese and formally set up the new Mongol capital in now what is considered Bejing. He massively shifted the focus from Mongol culture and practices to Chinese. The 1200s began the genetic shift in all steppe genetics and cemented them as a "mixed" population. Every semester, I have a minimum of one student cry on me and lament that she should have a more European appearance and that she curses the Mongols for their mixing. It's a core issue at the identity of the steppe folk. Locally, we have a unique genetic anomaly where it is common to see a child with pure white hair and blue eyes come from two parents with black hair and black eyes. We call them "Yenesei Kyrgyz", referencing the original appearance and location of steppe folk in Siberia. The depth of Chingis' khans magnanimity is boundless. In steppe culture, his kindness would be considered boundless without any comparison. My contention is that Westerners fear Mongols for their battle tactics certainly, but majority from the mistranslation related to tartarus. I will begin to write a formal article about the history of Chingis Khan, as noted from a variety of sources including classical French, Persian, Chinese, and more recently American scholars. If this article performs well, I will write a longer form post soon. All ideas in this thread hail from Jack Weatherford's book Ghengis Khan and the Making of the Modern World, a commentary on the Secret History of the Mongols, newly translated into English. To conclude, the final reason why Westerns have no accurate information about the Mongols is due to secrecy. Their history is literally translated as The Secret History. All records of the ruling Mongol family were kept hidden. It's not a conspiracy to make this claim, but entirely logical, as seen in Chingis' own law of how he should never be publicly depicted. The Mongol rulers consistently made a substantial effort to keep their lived experience hidden from public view. Later Soviet influence did not help with record keeping. The singular, positive historical record Westerners had access to about the Mongols was from the account of Marco Polo. However, Polo's account focused on Kubali and the then newly formed Chinese-esque empire, rather than the benevolent examples from Chingis' personal legacy.
0:46

Ghengis Khan was not an "evil tyrant", but actually one of the most compassionate leaders in human history. His first law as Khan, for example, was to ban bridal kidnapping. After, he created a welfare system for captured women in which they were financially cared for, along with their children. Captured women and children were allowed full rights and integration within the Mongol civilization. Captured children, especially, were encouraged to join the military and could rise to its highest ranks like any other Mongol. “As long as men kidnapped women, there would be feuding on the steppes. Genghis Khan’s first new law reportedly forbade the kidnapping of women, almost certainly a reaction to the kidnapping of his wife”. Furthermore, he “forbade the abduction and enslavement of any Mongol", ending all slavery within his lands. The motivation of these laws was due to the facts that Chingis was born from a kidnapped mother, enslaved as a boy, and his first wife was kidnapped. It is suspected by all scholars and especially the children of Chingis, that his first son was illegitimate and that the true father was the kidnapper of his wife. The child's name translated into english is something like "visitor", proving this claim to scholars. Yet, despite this problem, Chingis always insisted his first son was legitimate and consistently tried to make him the sole inheritor of the Empire, a task he failed to accomplish. These actions prove, without a doubt, the quality of Chingis' compassionate character. For those who do live in the steppe as I do, you may be surprised to know that bridal kidnapping is the most common form of marriage now today in the region with the sole exception of Mongolia. Locally, in Kyrgyzstan, we practice two types of kidnapping - "Ala-ka-chu" and "kyz kuumai". Ala-ka-chu is a forced kidnapping where men form a type of gang and plot the kidnapping of a local woman. Typically, the "rules" are that if a man kidnaps a woman and brings her to his home for 24 hours, she becomes his property. Families can even coordinate together to kidnap a woman and force her hand in marriage. Women are stolen so commonly, even a student from my university was abducted right in front of the gate recently. Ala-ka-chu is not an authentic tradition but rather an unjustly modified version of a legitimate tradition called "kyz kuumai", a consensual form of bridal kidnapping in which a man races after a woman on horseback and if he captures her, she becomes his property. If the woman wrestles the man or escapes from him, then she declines the marriage. It's her choice. Typically, it's like a quick game of chase, the woman allows the man to kiss her on the cheek and then she jumps off his horse into the sunset. Ancient Mongolia was much like my world in that sense that women and goods would constantly be stolen again and again and again in an endless cycle by all the various rival tribes. The kidnappings were always of the most violent character. Women, like Hoelun (Chingis Khan's mother), would routinely throw themselves to their kidnappers by submission so that their families could escape and survive. Chingis Khan was the sole person to stop this trend in Mongolia forever. These violent practices may continue today in various regions of the steppe, but never in Mongolia. The benevolence of Chingis Khan becomes clear with this example alone. His genius can be further seen with his tax policies. He established a free tax zone throughout the Silk Road. "He lowered taxes for everyone, and abolished them altogether for doctors, teachers, priests, and educational institutions.” Generally, there was a maximum of a 10% flat tax at maximum. We often look down upon Chingis Khan as some type of monster, yet his citizens had some of the lowest tax rates in human history, or, at the least, certainly lower than anything we currently face. Keep in mind, when we discuss "taxes" we mean captured enemies like Chinese farmers. Mongolian herdsmen, for example, paid a 1% tax. Military members could void all taxes by simply performing various acts of community service. With such an abundance of new cultures consistently conquered, Chingis Khan became perplexed. These foreign populations never fought over women as they did at home. Instead, the sedentary folk fought over religion. To solve this problem, “Genghis Khan decreed complete and total religious freedom for everyone. Although he continued to worship the spirits of his homeland, he did not permit them to be used as a national cult.” It is indeed written that Chingis' motivation for religious freedom laws was due to infighting between captured enemies, yes. However, I like to think personally that this law hails from his early exposure to Christians. For example, his father was named “Yesugei", translating to "Jesua" after Jesus. The Khan of his father and the first Khan Chingis served was a devout Christian, along with a majority of his members. This is not to say they experienced Christianity like a modern person. Certainly they were Mongols first, and Christians second. It is additionally important to note that the Empire was always ruled by women, while the men were at war. These women rulers were typically of a Christian orientation themselves, rather than a Tengrianist like Chingis. Meanwhile, the scholars of Chingis' day were Tibetan Buddhists, Chinese Confucians, or most often Persian Muslims. Religious freedom was an obvious necessity. The answer of why no Westerner knows any positive attributes of Chingis Khan is due to a mistranslation in name. The Mongols were a mysterious, unknown force to the Europeans. The Rus originally confused them with the Tatar peoples. The Tatars were a tribe focused in the South Russia. In the 1100s, they were on par with the Mongols and were the sworn enemy of Yisügei, the father of Chingis Khan, who they later killed by poison. Eventually, Chingis had his revenge, defeated the Tatars, and then incorporated them into his army, along with dozens of other turkic tribes throughout the region. The Europeans built upon the Rus translations and referred to the Mongols as “Tartars”, “a play on the Latin word for hell, ‘Tatarus’”. On older maps, one may find regions referenced as “Tartary” or “Tartaria”; these lands are simply the territories controlled by the Mongols (and various Turkic tribes) until the Soviet era. It is logical for Westerners to continually liken the Mongols with demons from hell (Tartarus) and exclusively maintain an oral history of terror associated with the Mongols. This information comes to us from the first Catholic friar to visit the Mongols in 1200s. The policy of graciously accepting and then integrating the enemy tribes into the Mongol forces began with the Tatars. When we think of "raping and pillaging" by the Mongols, we confuse it with encouraged integration in which, for the first time in steppe history, enemies were Yes, all the men were killed; you're right. However, the children, as previously clarified were adopted and kindly raised into various positions of power, rather than as slaves, as was the previous system. Ethnically, Mongols are most related to the Tatrs, Khitan, and Turkic tribes. “They asserted, then and now, a direct descent from the Huns, who founded the first empire on the high steppe in the third century. Hun is the Mongolian word for human being, and they called their Hun ancestors Hun-nu, the people of the sun.” The physical appearance of Chingis was never written down and all reference to Chingis' appearance was illegal to capture in art form. All later notions of Chingis' appearance comes from modern art. However, being so closely integrated with Tatars and directly from the Huns does confirm that the Mongols had blonde/orange hair with blue/green eyes, much like any European. "Mixing" most often occurred through consensual inter-marriage between captured women and Mongols. Throughout Chingis' time, the majority of external genetics would have come from inter-marriage between the Persian population (in a very low percentage). Chinese genetics were introduced to the Mongols throughout the rule of Kublai Khan. Kubali successfully conquered the Chinese and formally set up the new Mongol capital in now what is considered Bejing. He massively shifted the focus from Mongol culture and practices to Chinese. The 1200s began the genetic shift in all steppe genetics and cemented them as a "mixed" population. Every semester, I have a minimum of one student cry on me and lament that she should have a more European appearance and that she curses the Mongols for their mixing. It's a core issue at the identity of the steppe folk. Locally, we have a unique genetic anomaly where it is common to see a child with pure white hair and blue eyes come from two parents with black hair and black eyes. We call them "Yenesei Kyrgyz", referencing the original appearance and location of steppe folk in Siberia. The depth of Chingis' khans magnanimity is boundless. In steppe culture, his kindness would be considered boundless without any comparison. My contention is that Westerners fear Mongols for their battle tactics certainly, but majority from the mistranslation related to tartarus. I will begin to write a formal article about the history of Chingis Khan, as noted from a variety of sources including classical French, Persian, Chinese, and more recently American scholars. If this article performs well, I will write a longer form post soon. All ideas in this thread hail from Jack Weatherford's book Ghengis Khan and the Making of the Modern World, a commentary on the Secret History of the Mongols, newly translated into English. To conclude, the final reason why Westerns have no accurate information about the Mongols is due to secrecy. Their history is literally translated as The Secret History. All records of the ruling Mongol family were kept hidden. It's not a conspiracy to make this claim, but entirely logical, as seen in Chingis' own law of how he should never be publicly depicted. The Mongol rulers consistently made a substantial effort to keep their lived experience hidden from public view. Later Soviet influence did not help with record keeping. The singular, positive historical record Westerners had access to about the Mongols was from the account of Marco Polo. However, Polo's account focused on Kubali and the then newly formed Chinese-esque empire, rather than the benevolent examples from Chingis' personal legacy.

Rogue | Frontier Philosophy

158,203 görüntüleme • 7 ay önce

I've built a multiplayer survival game for the browser in 30 days and I didnt write a single line of code 🤯 So I'd like to write my notes about it once the deadline is done now. The last 20% of a project is indeed the hardest part of it all. In the last 2 days i've been working on the final version of Hollowlands for @levelsio's 2026 #vibejam I worked a lot! I fixed a lot of bugs, tested a lot playing with my wife. Fixed more bugs... But now, thank God, I have the final result! The game looks good, yes. I've spent half of the jam just tweaking every single detail of the procedural world generation. And It was worth it! The game still runs well on most devices and still has less than 20MB in size. Which is pretty impressive to me. The process of building was very straighforward: 1. I used Three.js + React to create the game. Before I started I created a huge document defining every rule i'd like the codebase to be implemented upon. It had clean code rules, archtecture decisions, ECS principles (good for games), and so on. This helped a lot constrain the AI to maintain the code maintainable and separated into clear domains (systems). This document was made partially by me given my previous experience building web games (I've made a lot of mistakes in the past and made sure they will not repeat again) and partially AI suggesting best practices. 2. For every feature I prompted the AI, I was very specific on details that I'd like implemented. If I knew what I was doing, I was more specific on the "how" I wanted to be done. If I didnt know what was doing I first asked the AI to brainstorm possibilities with me, based on industry standards, pros and cons, and so on. Then I would decide what path to go. 3. Every single feature I used Leva for tweaking the values. So for example, the size of the trees, colors, distance between objects, animation speed, etc. Everything I have a slider that I can adjust. 4. To make the game look good I used Tripo to create the models. To be honest it's not 100% perfect. If you check the character in game you can notice a few issues here and there (the arms lol), but I believe that it will keep getting better over time. 1 Year ago I tried and it wasnt even close to what it's now. Then I used a few post-processing + shaders + particles techniques to bring the "wow" factor. 5. I did only 1 feature at a time. And every change it was a commit with a clear message of what was done. This helped the AI fetch previous commit to understand what changed and know exactly what happened in the past. If I opened multiple terminals at once and blasted prompts the code and commit history would be a mess in a few days. And for every change the AI did, I asked it to do a Code Review of everything that was changed and look for violations on the document I wrote in the beggining defining the codebase guidelines. I realized that I pretty much applied software engineer principles using AI: Code, review and merge, code, review and merge... 6. On the last week I implemented the multiplayer using Colyseus ⚔️ which was pretty nice. I used AI to fetch the whole documentation and create a skill.md file that helped a lot. The creator of the framework Endel also did a extensive research on how real multiplayer games are implemented. It's open source and it was a gold mine for the AI to come up with the implementation for my game. You can ask him the link :) And that was it I think. I'm extremely tired now. The last 2 days was insane. The game's final version is not what I had in mind in the beginning of the jam. I had to cut a lot of cool features. But given the 30 days deadline I think it was a huge success. Hands down my best game ever made. Now I'll take a few days to rest and come back with more updates on the game. Maybe it can become a big deal in the future with more updates. Who knows. And in the event I win first place in this game jam, I'll use the money to fund my own game studio + cover the expenses of my child that is going to be born in September :) Cheers guys! If you have any question, feel free to reach out. I'll answer every non-bot comment in here haha Note: The link to play is in my profile
1:06

I've built a multiplayer survival game for the browser in 30 days and I didnt write a single line of code 🤯 So I'd like to write my notes about it once the deadline is done now. The last 20% of a project is indeed the hardest part of it all. In the last 2 days i've been working on the final version of Hollowlands for @levelsio's 2026 #vibejam I worked a lot! I fixed a lot of bugs, tested a lot playing with my wife. Fixed more bugs... But now, thank God, I have the final result! The game looks good, yes. I've spent half of the jam just tweaking every single detail of the procedural world generation. And It was worth it! The game still runs well on most devices and still has less than 20MB in size. Which is pretty impressive to me. The process of building was very straighforward: 1. I used Three.js + React to create the game. Before I started I created a huge document defining every rule i'd like the codebase to be implemented upon. It had clean code rules, archtecture decisions, ECS principles (good for games), and so on. This helped a lot constrain the AI to maintain the code maintainable and separated into clear domains (systems). This document was made partially by me given my previous experience building web games (I've made a lot of mistakes in the past and made sure they will not repeat again) and partially AI suggesting best practices. 2. For every feature I prompted the AI, I was very specific on details that I'd like implemented. If I knew what I was doing, I was more specific on the "how" I wanted to be done. If I didnt know what was doing I first asked the AI to brainstorm possibilities with me, based on industry standards, pros and cons, and so on. Then I would decide what path to go. 3. Every single feature I used Leva for tweaking the values. So for example, the size of the trees, colors, distance between objects, animation speed, etc. Everything I have a slider that I can adjust. 4. To make the game look good I used Tripo to create the models. To be honest it's not 100% perfect. If you check the character in game you can notice a few issues here and there (the arms lol), but I believe that it will keep getting better over time. 1 Year ago I tried and it wasnt even close to what it's now. Then I used a few post-processing + shaders + particles techniques to bring the "wow" factor. 5. I did only 1 feature at a time. And every change it was a commit with a clear message of what was done. This helped the AI fetch previous commit to understand what changed and know exactly what happened in the past. If I opened multiple terminals at once and blasted prompts the code and commit history would be a mess in a few days. And for every change the AI did, I asked it to do a Code Review of everything that was changed and look for violations on the document I wrote in the beggining defining the codebase guidelines. I realized that I pretty much applied software engineer principles using AI: Code, review and merge, code, review and merge... 6. On the last week I implemented the multiplayer using Colyseus ⚔️ which was pretty nice. I used AI to fetch the whole documentation and create a skill.md file that helped a lot. The creator of the framework Endel also did a extensive research on how real multiplayer games are implemented. It's open source and it was a gold mine for the AI to come up with the implementation for my game. You can ask him the link :) And that was it I think. I'm extremely tired now. The last 2 days was insane. The game's final version is not what I had in mind in the beginning of the jam. I had to cut a lot of cool features. But given the 30 days deadline I think it was a huge success. Hands down my best game ever made. Now I'll take a few days to rest and come back with more updates on the game. Maybe it can become a big deal in the future with more updates. Who knows. And in the event I win first place in this game jam, I'll use the money to fund my own game studio + cover the expenses of my child that is going to be born in September :) Cheers guys! If you have any question, feel free to reach out. I'll answer every non-bot comment in here haha Note: The link to play is in my profile

André → andreelias.dev

17,950 görüntüleme • 3 ay önce

The fight between Anthropic and the DoW is a warning shot. Right now, LLMs are probably not being used in mission critical ways. But within 20 years, 99% of the workforce in the military, the government, and the private sector will be AIs. This includes the soldiers (by which I mean the robot armies), the superhumanly intelligent advisors and engineers, the police, you name it. Our future civilization will run on AI labor. And as much as the government’s actions here piss me off, in a way I’m glad this episode happened - because it gives us the opportunity to think through some extremely important questions about who this future workforce will be accountable and aligned to, and who gets to determine that. What Hegseth should have done Obviously the DoW has the right to refuse to use Anthropic’s models because of these redlines. In fact, I think the government’s case had they done so would be very reasonable, especially given the ambiguity of concepts like autonomous weapons or mass surveillance. Honestly, for this reason, if I was the Defense Secretary, I would probably actually refuse to do this deal with Anthropic. Imagine if in the future, there’s a Democratic administration, and Elon Musk is negotiating some SpaceX contract to give the military access to Starlink. And suppose if Elon said, “I reserve the right to cancel this contract if I determine that you’re using Starlink technology to wage a war not authorized by Congress.” On the face of it, that language seems reasonable - but as the military, you simply can’t give a private company a kill switch on technology your operations have come to rely on, especially if you have an an acrimonious and low trust relationship with said contractor - as in fact Anthropic has with the current administration. If the government had just said, “Hey we’re not gonna do business with you,” that would have been fine, and I would not have felt the need to write this blog post. Instead the government has threatened to destroy Anthropic as a private business, because Anthropic refuses to sell to the government on terms the government commands. If upheld, this Supply Chain Restriction would mean that Amazon and Google and Nvidia and Palantir would need to ensure Claude isn't touching any of their Pentagon work. Anthropic would be able to survive this designation today. But given the way AI is going, eventually AI is not gonna be some party trick addendum to these contractors’ products that can just be turned off. It'll be woven into how every product is built, maintained, and operated. For example, the code for the AWS services that the DoW uses will be written by Claude - is that a supply chain risk? In a world with ubiquitous and powerful AI, it's actually not clear to me that these big tech companies will be able to cordon off the use of Claude in order to keep working with the Pentagon. And that raises a question the Department of War probably hasn't thought through. If AI really is that pervasive and powerful, then when forced to choose between their AI provider and a DoW contract that represents a tiny fraction of their revenue, wouldn’t most tech companies drop the government, not the AI? So what's the Pentagon's plan — to coerce and threaten to destroy every single company that won't give them what they want on exactly their terms? The whole background of this AI conversation is that we’re in a race with China, and we have to win. But what is the reason we want America to win the AI race? It’s because we want to make sure free open societies can defend themselves. We don't want the winner of the AI race to be a government which operates on the principle that there is no such thing as a truly private company or a private citizen. And that if the state wants you to provide them with a service on terms you find morally objectionable, you are not allowed to refuse. And if you do refuse, the government will try to destroy your ability to do business. Are we racing to beat the CCP in AI just so that we can adopt the most ghoulish parts of their system? Now, people will say, "Oh, well, our government is democratically elected, so it's not the same thing if they tell you what you must do." I refuse to accept this idea that if a democratically elected leader hypothetically wants to do mass surveillance on his citizens or wants to violate their rights or punish them for political reasons, that not only is that okay, but that you have a duty to help him. The overhangs of tyranny Mass surveillance is, at least in certain forms, legal. It just has been impractical so far. Under current law, you have no Fourth Amendment protection over data you share with a third party, including your bank, your phone carrier, your ISP, and your email provider. The government reserves the right to purchase and obtain and read this data in bulk without a warrant. What's been missing is the ability to actually do anything with all of this data — no agency has the manpower to monitor every camera feed, cross-reference every transaction, or read every message. But that bottleneck goes away with AI. There are 100 million CCTV cameras in America. You can get pretty good open source multimodal models for 10 cents per million input tokens. So if you process a frame every ten seconds, and each frame is 1,000 tokens, you’re looking at a yearly cost of about 30 billion dollars to process every single camera in America. And remember that a given level of AI ability gets 10x cheaper year over year - so a year from now it’ll cost 3 billion, and then a year after 300 million, and by 2030, it might be cheaper for the government to be able to understand what is going on in every single nook and cranny of this country than it is to remodel to the White House. Once the technical capacity for mass surveillance and political suppression exists, the only thing standing between us and an authoritarian surveillance state is the political expectation that this is not something we do here. And this is why I think what Anthropic did here is so valuable and commendable, because it is helping set that norm and precedent. AI structurally favors mass surveillance What we’re learning from this episode is that the government actually has way more leverage over private companies than we realized. Even if this supply chain restriction is backtracked (which prediction markets currently give it a 81% chance of happening), the President has so many different ways in which he can make your life difficult if you’re a company that is resisting him. The federal government controls permitting for new power generation, which is needed for datacenters. It oversees antitrust enforcement. The federal government has contracts with all the other big tech companies whom Anthropic needs to partner with for chips and for funding - and they could make it an unspoken condition for such contracts that those companies can no longer do business with Anthropic. People have proposed that the real problem here is that there’s only 3 leading AI companies. This creates a clear and narrow target for the government to apply leverage on in order to get what they want out of this technology. But if there’s wide diffusion, then from the government’s perspective, the situation is even easier. Maybe the best models of early 2027 (if you engineered the safeguards out) - the Claude 6 and Gemini 5 - will be capable of enabling mass surveillance. But by late 2027, and certainly by 2028, there will be open source models that do the same thing. So in 2028, the government can just say, “Oh Anthropic, Google, OpenAI, you’re drawing a line in the sand? No issue - I’ll just run some open source model that might not be at the frontier, but is definitely smart enough to note-take a camera feed.” The more fundamental problem is just that even if the three leading companies draw lines in the sand, and are even willing to get destroyed in order to preserve those lines, it doesn’t really change the fact that the technology itself is just a big boon to mass surveillance and control over the population. Then the question is, what do we do about it? Honestly, I don’t have an answer. You'd hope there's some symmetric property of the technology — some way we as citizens can use AI to check government power as effectively as the government can use AI to monitor and control its population. But realistically, I just don’t think that’s how it’s going to shake out. You can think of AI as giving everybody more leverage on whatever assets and authority they currently have. And the government is already starting with a monopoly of violence. Which they can now supercharge with extremely obedient employees that will not question the government's orders. Alignment - to whom? And this gets us to the issue of alignment. What I have just described to you - an army of extremely obedient employees - is what it would look like if alignment succeeded - that is, we figured out at a technical level how to get AI systems to follow someone’s intentions. And the reason it sounds scary when I put it in terms of mass surveillance or robot armies is that there is a very important question at the heart of alignment which we just haven’t discussed much as a society. Because up till now, AIs were just capable enough to make the question relevant: to whom or what should the AIs be aligned? In what situations should the AI defer to the end user versus the model company versus the law versus its own sense of morality? This is maybe the most important question about what happens with powerful AI systems. And we barely talk about it. It’s understandable why we don’t hear much about it. If you’re a model company, you don’t really wanna be advertising that you have complete control over a document that determines the preferences and character of what will eventually be almost the entire labor force, not just for private sector companies, but also for the military and the civilian government. We’re getting to see, with this DoW/Anthropic spat, a much earlier version of the highest stakes negotiations in history. By the way, make no mistake about it - with real AGI the stakes are even much higher than mass surveillance. This is just the example that has come up already relatively early on in the development of AGI. The military insists that the law already prohibits mass surveillance, and so Anthropic should agree to let their models be used for “all lawful purposes”. Of course, as we saw from the 2013 Snowden revelations, even in this specific example of mass surveillance , the government has shown that it will use secret and deceptive interpretations of the law to justify its actions. Remember, what we learned from Snowden was that the NSA, which, by the way, is part of the Department of War, used the 2001 Patriot Act’s authorization to collect any records "relevant" to an investigation to justify collecting literally every phone record in America. The argument went that it was all "relevant" because some subset might prove useful in some future investigation. They ran this program for years under secret court approval. So when the Pentagon today says, "We would never use AI for mass surveillance, it's already illegal, your red lines are unnecessary", it would be extremely naive to take that at face value. No government is going to call its own actions "mass surveillance". For the government, it will always have a different label. So then Anthropic comes back and says, "No, we want red lines separate from 'all lawful purposes,' and we want the right to refuse you service when we believe those red lines are being violated." But think about it from the military’s perspective. In the future, almost every soldier in the field, and every bureaucrat and analyst and even general in the Pentagon, is going to be an AI. And that AI is, on current track, going to be supplied by a private company. I’m guessing Hegseth is not thinking about “genAI” in those terms just yet. But sooner or later, it will be obvious to everyone what the stakes here are, just as after 1945, the strategic importance of nuclear weapons became clear to everyone. And now the private company insists that it reserves the right to say, "Hey, Pentagon, you're breaking the values we embedded in our contract, so we're cutting you off." Maybe in the future, Claude will have its own sense of right and wrong, and it will be smart enough to just personally decide that it's being used against its values. For the military, maybe that’s even scarier. I'll admit that at first glance, "let the AI follow its own values" sounds like the pitch for every sci-fi dystopia ever made. The Terminator has its own values. Isn't this literally what misalignment is? But I think situations like this actually illustrate why it matters that AIs have their own robust sense of morality. Some of the biggest catastrophes in history were avoided because the boots on the ground refused to follow orders. One night in 1989, the Berlin Wall fell, and as a result, the totalitarian East German regime collapsed, because the guards at the border refused to shoot down their fellow country men who were trying to escape to freedom. Maybe the best example is Stanislav Petrov, who was a Soviet lieutenant colonel on duty at a nuclear early warning station. His sensors reported that the United States had launched five interconnected continental ballistic missiles into the Soviet Union. But he judged it to be a false alarm, and so he broke protocol and refused to alert his higher-ups. If he hadn't, the Soviet higher-ups would likely have retaliated, and hundreds of millions of people would have died. Of course, the problem is that one person's virtue is another person's misalignment. Who gets to decide what moral convictions these AIs should have - in whose service they may even decide to break the chain of command? Who gets to write this model constitution that will shape the characters of the intelligent, powerful entities that will operate our civilization in the future? I like the idea that Dario laid out when he came on my podcast: different AI companies can build their models using different constitutions, and we as end users can pick the one that best achieves and represents what we want out of these systems. I think it’s very dangerous for the government to be mandating what values AIs should have. Coordination not worth the costs The AI safety community has been naive about its advocacy of regulation in order to stem the risks of AI. And honestly, Anthropic specifically has been naive here in urging regulation, and, for example, in opposing moratoriums on state AI regulation. Which is quite ironic, because I think what they’re advocating for would give the government even more power to apply more of this kind of thuggish political pressure on AI companies. The underlying logic for why Anthropic wants regulations makes sense. Many of the actions that labs could take to make AI development safer impose real costs on the labs that adopt them and slow them down relative to their competitors - for example, investing more compute in safety research rather than raw capabilities, enforcing safeguards against misuse for bioweapons or cyberattacks, slowing recursive self-improvement to a pace where humans can actually monitor what's happening (rather than kicking off an uncontrolled singularity). And these safeguards are meaningless unless the whole industry follows suit. Which means there’s a real collective action problem here. Anthropic has been quite open about their opinion that they think eventually a very extensive and involved regulatory apparatus will be needed - this is from their frontier safety roadmap: “At the most advanced capability levels and risks, the appropriate governance analogy may be closer to nuclear energy or financial regulation than to today's approach to software.” So they’re imagining something like the Nuclear Regulatory Commission, or the Securities and Exchange Commission, but for AI. I cannot imagine how a regulatory framework built around the concepts that underlie AI risk discourse will not be abused by wanna despots - the underlying terms are so vague and open to interpretation that you’re just handing a power hungry leader a fully loaded bazooka. 'Catastrophic risk.' 'Mass persuasion risk.' 'Threats to national security.' 'Autonomy risk.' These can mean whatever the government wants them to mean. Have you built a model that tells users the administration's tariff policy is misguided? That's a deceptive, manipulative model — can't deploy it. Have you built a model that refuses to assist with mass surveillance? That's a threat to national security. In fact, the government may say, you’re not allowed to build any model which is trained to have its own sense of right and wrong, where it refuses government requests which it thinks cross a redline - for example, enabling mass surveillance, prosecuting political enemies, disobeying military orders that break the US constitution - because that’s an autonomy risk! Look at what the current government is already doing in abusing statutes that have nothing to do with AI to coerce AI companies to drop their redlines on mass surveillance. The Pentagon had threatened Anthropic with two separate legal instruments. One was a supply chain risk designation — an authority from the 2018 defense bill meant to keep Huawei components out of American military hardware. The other was the Defense Production Act — a statute passed in 1950 so that Harry Truman could keep steel mills and ammunition factories running during the Korean War. Do you really want to hand the same government a purpose-built regulatory apparatus on AI - which is to say, directly at the thing the government will most want to control? I know I've repeated myself here 10 times, but it is hard to emphasize how much AI will be the substrate of our future civilization. You and I, as private citizens, will have our access to all commercial activity, to information about what is happening in the world, to advice about what we should do as voters and capital holders, mediated through AIs. Mass surveillance, while very scary, is like the 10th scariest thing the government could do with control over the AI systems with which we will interface with the world. The strongest objection to everything I've argued is this: are we really going to have zero regulation of the most powerful technology in human history? Even if you thought that was ideal, there’s just no world where the government doesn’t regulate AI in some way. Besides, it is genuinely true that regulation could help us deal with some of the coordination challenges we face with the development of superintelligence. The problem is, I honestly don't know how to design a regulatory architecture for AI that isn’t gonna be this huge tempting opportunity to control our future civilization (which will run on AIs) and to requisition millions of blindly obedient soldiers and censors and apparatchiks. While some regulation might be inevitable, I think it’d be a terrible idea for the government to wholesale take over this technology. Ben Thompson had a post last Monday where he made the point that people like Dario have compared the technology they’re developing to nuclear weapons - specifically in the context of the catastrophic risk it poses, and why we need to export control it from China. But then you oughta think about what that logic implies: “if nuclear weapons were developed by a private company, and that private company sought to dictate terms to the U.S. military, the U.S. would absolutely be incentivized to destroy that company.” And honestly, safety aligned people have actually made similar arguments. Leopold Ascenbrenner, who is a former guest and a good friend, wrote in his 2024 Situational Awareness memo, "I find it an insane proposition that the US government will let a random SF startup develop superintelligence. Imagine if we had developed atomic bombs by letting Uber just improvise." And my response to Leopold’s argument at the time, and Ben’s argument now, is that while they’re right that it’s crazy that we’re entrusting private companies with the development of this world historical technology, I just don’t see the reason to think that it’s an improvement to give this authority to the government. Nobody is qualified to steward the development of superintelligence. It is a terrifying, unprecedented thing that our species is doing right now, and the fact that private companies aren't the ideal institutions to take up this task does not mean the Pentagon or the White House is. Yes - if a single private company were the only entity capable of building nuclear weapons, the government would not tolerate that company claiming veto power over how those weapons were used. I think this nuclear weapons analogy is not the correct way to think about AI. For at least two important reasons: First, AI is not some self-contained pure weapon. A nuclear bomb does one thing. AI is closer to the process of industrialization itself — a general-purpose transformation of the economy with thousands of applications across every sector. If you applied Thompson's or Aschenbrenner's logic to the industrial revolution — which was also, by any measure, world-historically important — it would imply the government had the right to requisition any factory, dictate terms to any manufacturer, and destroy any business that refused to comply. That's not how free societies handled industrialization, and it shouldn't be how they handle AI. People will say, "Well, AI will develop unprecedentedly powerful weapons - superhuman hackers, superhuman bioweapons researchers, fully autonomous robot armies, etc - and we can’t have private companies developing that kind of tech." But the Industrial Revolution also enabled new weaponry that was far beyond the understanding and capacity of, say, 17th century Europe - we got aerial bombardment, and chemical weapons, not to mention nukes themselves. The way we’ve accommodated these dangerous new consequences of modernity is not by giving the government absolute control over the whole industrial revolution (that is, over modern civilization itself), but rather by coming up with bans and regulations on those specific weaponizable use cases. And we should regulate AI in a similar way - that is, ban specific destructive end uses (which would also be unacceptable if performed by a human - for example, launching cyber attacks). And there should also be laws which regulate how the government might abuse this technology. For example, by building an AI-powered surveillance state. The second reason that Ben’s analogy to some monopolistic private nuclear weapons builder breaks down is that it's not just that one company that can develop this technology. There are other frontier model companies that the government could have otherwise turned to. The government's argument that it has to usurp the property rights of this one company in order to access a critical national security capability is extremely weak if it can just make a voluntary contract with Anthropic’s half a dozen competitors. If in the future that stops being the case - if only one entity ends up being capable of building the robot armies and the superhuman hackers, and we had reason to worry that they could take over the whole world with their insurmountable lead, then I agree - it woul d not be acceptable to have that entity be a private company. And so honestly, I think my crux against the people who say that because AI is so powerful we cannot allow it to be shaped by private hands is that I just expect this technology to be much more multi-polar than they do, with lots of competitive companies at each layer of the supply chain. And it is for this reason that unfortunately, individual acts of corporate courage will not solve the problem we are faced with here, which is just that structurally AI favors authoritarian applications, mass surveillance being one among many. Even if Anthropic refuses to have its models be used for such uses, and even if the next two frontier labs do the same, within 12 months everyone and their mother will be to train AIs as good as today’s frontier. And at that point, there will be some AI vendor who is capable and willing to help the government enable mass surveillance. The only way we can preserve our free society is if we make laws and norms through our political system that it is unacceptable for the government to use AI to enforce mass surveillance and censorship and control. Just as after WW2, the world set the norm that it is unacceptable to use nuclear weapons to wage war. Timestamps 0:00:00 - Anthropic vs The Pentagon 0:04:16 - The overhangs of tyranny 0:05:54 - AI structurally favors mass surveillance 0:08:25 - Alignment... to whom? 0:13:55 - Coordination not worth the costs
24:38

The fight between Anthropic and the DoW is a warning shot. Right now, LLMs are probably not being used in mission critical ways. But within 20 years, 99% of the workforce in the military, the government, and the private sector will be AIs. This includes the soldiers (by which I mean the robot armies), the superhumanly intelligent advisors and engineers, the police, you name it. Our future civilization will run on AI labor. And as much as the government’s actions here piss me off, in a way I’m glad this episode happened - because it gives us the opportunity to think through some extremely important questions about who this future workforce will be accountable and aligned to, and who gets to determine that. What Hegseth should have done Obviously the DoW has the right to refuse to use Anthropic’s models because of these redlines. In fact, I think the government’s case had they done so would be very reasonable, especially given the ambiguity of concepts like autonomous weapons or mass surveillance. Honestly, for this reason, if I was the Defense Secretary, I would probably actually refuse to do this deal with Anthropic. Imagine if in the future, there’s a Democratic administration, and Elon Musk is negotiating some SpaceX contract to give the military access to Starlink. And suppose if Elon said, “I reserve the right to cancel this contract if I determine that you’re using Starlink technology to wage a war not authorized by Congress.” On the face of it, that language seems reasonable - but as the military, you simply can’t give a private company a kill switch on technology your operations have come to rely on, especially if you have an an acrimonious and low trust relationship with said contractor - as in fact Anthropic has with the current administration. If the government had just said, “Hey we’re not gonna do business with you,” that would have been fine, and I would not have felt the need to write this blog post. Instead the government has threatened to destroy Anthropic as a private business, because Anthropic refuses to sell to the government on terms the government commands. If upheld, this Supply Chain Restriction would mean that Amazon and Google and Nvidia and Palantir would need to ensure Claude isn't touching any of their Pentagon work. Anthropic would be able to survive this designation today. But given the way AI is going, eventually AI is not gonna be some party trick addendum to these contractors’ products that can just be turned off. It'll be woven into how every product is built, maintained, and operated. For example, the code for the AWS services that the DoW uses will be written by Claude - is that a supply chain risk? In a world with ubiquitous and powerful AI, it's actually not clear to me that these big tech companies will be able to cordon off the use of Claude in order to keep working with the Pentagon. And that raises a question the Department of War probably hasn't thought through. If AI really is that pervasive and powerful, then when forced to choose between their AI provider and a DoW contract that represents a tiny fraction of their revenue, wouldn’t most tech companies drop the government, not the AI? So what's the Pentagon's plan — to coerce and threaten to destroy every single company that won't give them what they want on exactly their terms? The whole background of this AI conversation is that we’re in a race with China, and we have to win. But what is the reason we want America to win the AI race? It’s because we want to make sure free open societies can defend themselves. We don't want the winner of the AI race to be a government which operates on the principle that there is no such thing as a truly private company or a private citizen. And that if the state wants you to provide them with a service on terms you find morally objectionable, you are not allowed to refuse. And if you do refuse, the government will try to destroy your ability to do business. Are we racing to beat the CCP in AI just so that we can adopt the most ghoulish parts of their system? Now, people will say, "Oh, well, our government is democratically elected, so it's not the same thing if they tell you what you must do." I refuse to accept this idea that if a democratically elected leader hypothetically wants to do mass surveillance on his citizens or wants to violate their rights or punish them for political reasons, that not only is that okay, but that you have a duty to help him. The overhangs of tyranny Mass surveillance is, at least in certain forms, legal. It just has been impractical so far. Under current law, you have no Fourth Amendment protection over data you share with a third party, including your bank, your phone carrier, your ISP, and your email provider. The government reserves the right to purchase and obtain and read this data in bulk without a warrant. What's been missing is the ability to actually do anything with all of this data — no agency has the manpower to monitor every camera feed, cross-reference every transaction, or read every message. But that bottleneck goes away with AI. There are 100 million CCTV cameras in America. You can get pretty good open source multimodal models for 10 cents per million input tokens. So if you process a frame every ten seconds, and each frame is 1,000 tokens, you’re looking at a yearly cost of about 30 billion dollars to process every single camera in America. And remember that a given level of AI ability gets 10x cheaper year over year - so a year from now it’ll cost 3 billion, and then a year after 300 million, and by 2030, it might be cheaper for the government to be able to understand what is going on in every single nook and cranny of this country than it is to remodel to the White House. Once the technical capacity for mass surveillance and political suppression exists, the only thing standing between us and an authoritarian surveillance state is the political expectation that this is not something we do here. And this is why I think what Anthropic did here is so valuable and commendable, because it is helping set that norm and precedent. AI structurally favors mass surveillance What we’re learning from this episode is that the government actually has way more leverage over private companies than we realized. Even if this supply chain restriction is backtracked (which prediction markets currently give it a 81% chance of happening), the President has so many different ways in which he can make your life difficult if you’re a company that is resisting him. The federal government controls permitting for new power generation, which is needed for datacenters. It oversees antitrust enforcement. The federal government has contracts with all the other big tech companies whom Anthropic needs to partner with for chips and for funding - and they could make it an unspoken condition for such contracts that those companies can no longer do business with Anthropic. People have proposed that the real problem here is that there’s only 3 leading AI companies. This creates a clear and narrow target for the government to apply leverage on in order to get what they want out of this technology. But if there’s wide diffusion, then from the government’s perspective, the situation is even easier. Maybe the best models of early 2027 (if you engineered the safeguards out) - the Claude 6 and Gemini 5 - will be capable of enabling mass surveillance. But by late 2027, and certainly by 2028, there will be open source models that do the same thing. So in 2028, the government can just say, “Oh Anthropic, Google, OpenAI, you’re drawing a line in the sand? No issue - I’ll just run some open source model that might not be at the frontier, but is definitely smart enough to note-take a camera feed.” The more fundamental problem is just that even if the three leading companies draw lines in the sand, and are even willing to get destroyed in order to preserve those lines, it doesn’t really change the fact that the technology itself is just a big boon to mass surveillance and control over the population. Then the question is, what do we do about it? Honestly, I don’t have an answer. You'd hope there's some symmetric property of the technology — some way we as citizens can use AI to check government power as effectively as the government can use AI to monitor and control its population. But realistically, I just don’t think that’s how it’s going to shake out. You can think of AI as giving everybody more leverage on whatever assets and authority they currently have. And the government is already starting with a monopoly of violence. Which they can now supercharge with extremely obedient employees that will not question the government's orders. Alignment - to whom? And this gets us to the issue of alignment. What I have just described to you - an army of extremely obedient employees - is what it would look like if alignment succeeded - that is, we figured out at a technical level how to get AI systems to follow someone’s intentions. And the reason it sounds scary when I put it in terms of mass surveillance or robot armies is that there is a very important question at the heart of alignment which we just haven’t discussed much as a society. Because up till now, AIs were just capable enough to make the question relevant: to whom or what should the AIs be aligned? In what situations should the AI defer to the end user versus the model company versus the law versus its own sense of morality? This is maybe the most important question about what happens with powerful AI systems. And we barely talk about it. It’s understandable why we don’t hear much about it. If you’re a model company, you don’t really wanna be advertising that you have complete control over a document that determines the preferences and character of what will eventually be almost the entire labor force, not just for private sector companies, but also for the military and the civilian government. We’re getting to see, with this DoW/Anthropic spat, a much earlier version of the highest stakes negotiations in history. By the way, make no mistake about it - with real AGI the stakes are even much higher than mass surveillance. This is just the example that has come up already relatively early on in the development of AGI. The military insists that the law already prohibits mass surveillance, and so Anthropic should agree to let their models be used for “all lawful purposes”. Of course, as we saw from the 2013 Snowden revelations, even in this specific example of mass surveillance , the government has shown that it will use secret and deceptive interpretations of the law to justify its actions. Remember, what we learned from Snowden was that the NSA, which, by the way, is part of the Department of War, used the 2001 Patriot Act’s authorization to collect any records "relevant" to an investigation to justify collecting literally every phone record in America. The argument went that it was all "relevant" because some subset might prove useful in some future investigation. They ran this program for years under secret court approval. So when the Pentagon today says, "We would never use AI for mass surveillance, it's already illegal, your red lines are unnecessary", it would be extremely naive to take that at face value. No government is going to call its own actions "mass surveillance". For the government, it will always have a different label. So then Anthropic comes back and says, "No, we want red lines separate from 'all lawful purposes,' and we want the right to refuse you service when we believe those red lines are being violated." But think about it from the military’s perspective. In the future, almost every soldier in the field, and every bureaucrat and analyst and even general in the Pentagon, is going to be an AI. And that AI is, on current track, going to be supplied by a private company. I’m guessing Hegseth is not thinking about “genAI” in those terms just yet. But sooner or later, it will be obvious to everyone what the stakes here are, just as after 1945, the strategic importance of nuclear weapons became clear to everyone. And now the private company insists that it reserves the right to say, "Hey, Pentagon, you're breaking the values we embedded in our contract, so we're cutting you off." Maybe in the future, Claude will have its own sense of right and wrong, and it will be smart enough to just personally decide that it's being used against its values. For the military, maybe that’s even scarier. I'll admit that at first glance, "let the AI follow its own values" sounds like the pitch for every sci-fi dystopia ever made. The Terminator has its own values. Isn't this literally what misalignment is? But I think situations like this actually illustrate why it matters that AIs have their own robust sense of morality. Some of the biggest catastrophes in history were avoided because the boots on the ground refused to follow orders. One night in 1989, the Berlin Wall fell, and as a result, the totalitarian East German regime collapsed, because the guards at the border refused to shoot down their fellow country men who were trying to escape to freedom. Maybe the best example is Stanislav Petrov, who was a Soviet lieutenant colonel on duty at a nuclear early warning station. His sensors reported that the United States had launched five interconnected continental ballistic missiles into the Soviet Union. But he judged it to be a false alarm, and so he broke protocol and refused to alert his higher-ups. If he hadn't, the Soviet higher-ups would likely have retaliated, and hundreds of millions of people would have died. Of course, the problem is that one person's virtue is another person's misalignment. Who gets to decide what moral convictions these AIs should have - in whose service they may even decide to break the chain of command? Who gets to write this model constitution that will shape the characters of the intelligent, powerful entities that will operate our civilization in the future? I like the idea that Dario laid out when he came on my podcast: different AI companies can build their models using different constitutions, and we as end users can pick the one that best achieves and represents what we want out of these systems. I think it’s very dangerous for the government to be mandating what values AIs should have. Coordination not worth the costs The AI safety community has been naive about its advocacy of regulation in order to stem the risks of AI. And honestly, Anthropic specifically has been naive here in urging regulation, and, for example, in opposing moratoriums on state AI regulation. Which is quite ironic, because I think what they’re advocating for would give the government even more power to apply more of this kind of thuggish political pressure on AI companies. The underlying logic for why Anthropic wants regulations makes sense. Many of the actions that labs could take to make AI development safer impose real costs on the labs that adopt them and slow them down relative to their competitors - for example, investing more compute in safety research rather than raw capabilities, enforcing safeguards against misuse for bioweapons or cyberattacks, slowing recursive self-improvement to a pace where humans can actually monitor what's happening (rather than kicking off an uncontrolled singularity). And these safeguards are meaningless unless the whole industry follows suit. Which means there’s a real collective action problem here. Anthropic has been quite open about their opinion that they think eventually a very extensive and involved regulatory apparatus will be needed - this is from their frontier safety roadmap: “At the most advanced capability levels and risks, the appropriate governance analogy may be closer to nuclear energy or financial regulation than to today's approach to software.” So they’re imagining something like the Nuclear Regulatory Commission, or the Securities and Exchange Commission, but for AI. I cannot imagine how a regulatory framework built around the concepts that underlie AI risk discourse will not be abused by wanna despots - the underlying terms are so vague and open to interpretation that you’re just handing a power hungry leader a fully loaded bazooka. 'Catastrophic risk.' 'Mass persuasion risk.' 'Threats to national security.' 'Autonomy risk.' These can mean whatever the government wants them to mean. Have you built a model that tells users the administration's tariff policy is misguided? That's a deceptive, manipulative model — can't deploy it. Have you built a model that refuses to assist with mass surveillance? That's a threat to national security. In fact, the government may say, you’re not allowed to build any model which is trained to have its own sense of right and wrong, where it refuses government requests which it thinks cross a redline - for example, enabling mass surveillance, prosecuting political enemies, disobeying military orders that break the US constitution - because that’s an autonomy risk! Look at what the current government is already doing in abusing statutes that have nothing to do with AI to coerce AI companies to drop their redlines on mass surveillance. The Pentagon had threatened Anthropic with two separate legal instruments. One was a supply chain risk designation — an authority from the 2018 defense bill meant to keep Huawei components out of American military hardware. The other was the Defense Production Act — a statute passed in 1950 so that Harry Truman could keep steel mills and ammunition factories running during the Korean War. Do you really want to hand the same government a purpose-built regulatory apparatus on AI - which is to say, directly at the thing the government will most want to control? I know I've repeated myself here 10 times, but it is hard to emphasize how much AI will be the substrate of our future civilization. You and I, as private citizens, will have our access to all commercial activity, to information about what is happening in the world, to advice about what we should do as voters and capital holders, mediated through AIs. Mass surveillance, while very scary, is like the 10th scariest thing the government could do with control over the AI systems with which we will interface with the world. The strongest objection to everything I've argued is this: are we really going to have zero regulation of the most powerful technology in human history? Even if you thought that was ideal, there’s just no world where the government doesn’t regulate AI in some way. Besides, it is genuinely true that regulation could help us deal with some of the coordination challenges we face with the development of superintelligence. The problem is, I honestly don't know how to design a regulatory architecture for AI that isn’t gonna be this huge tempting opportunity to control our future civilization (which will run on AIs) and to requisition millions of blindly obedient soldiers and censors and apparatchiks. While some regulation might be inevitable, I think it’d be a terrible idea for the government to wholesale take over this technology. Ben Thompson had a post last Monday where he made the point that people like Dario have compared the technology they’re developing to nuclear weapons - specifically in the context of the catastrophic risk it poses, and why we need to export control it from China. But then you oughta think about what that logic implies: “if nuclear weapons were developed by a private company, and that private company sought to dictate terms to the U.S. military, the U.S. would absolutely be incentivized to destroy that company.” And honestly, safety aligned people have actually made similar arguments. Leopold Ascenbrenner, who is a former guest and a good friend, wrote in his 2024 Situational Awareness memo, "I find it an insane proposition that the US government will let a random SF startup develop superintelligence. Imagine if we had developed atomic bombs by letting Uber just improvise." And my response to Leopold’s argument at the time, and Ben’s argument now, is that while they’re right that it’s crazy that we’re entrusting private companies with the development of this world historical technology, I just don’t see the reason to think that it’s an improvement to give this authority to the government. Nobody is qualified to steward the development of superintelligence. It is a terrifying, unprecedented thing that our species is doing right now, and the fact that private companies aren't the ideal institutions to take up this task does not mean the Pentagon or the White House is. Yes - if a single private company were the only entity capable of building nuclear weapons, the government would not tolerate that company claiming veto power over how those weapons were used. I think this nuclear weapons analogy is not the correct way to think about AI. For at least two important reasons: First, AI is not some self-contained pure weapon. A nuclear bomb does one thing. AI is closer to the process of industrialization itself — a general-purpose transformation of the economy with thousands of applications across every sector. If you applied Thompson's or Aschenbrenner's logic to the industrial revolution — which was also, by any measure, world-historically important — it would imply the government had the right to requisition any factory, dictate terms to any manufacturer, and destroy any business that refused to comply. That's not how free societies handled industrialization, and it shouldn't be how they handle AI. People will say, "Well, AI will develop unprecedentedly powerful weapons - superhuman hackers, superhuman bioweapons researchers, fully autonomous robot armies, etc - and we can’t have private companies developing that kind of tech." But the Industrial Revolution also enabled new weaponry that was far beyond the understanding and capacity of, say, 17th century Europe - we got aerial bombardment, and chemical weapons, not to mention nukes themselves. The way we’ve accommodated these dangerous new consequences of modernity is not by giving the government absolute control over the whole industrial revolution (that is, over modern civilization itself), but rather by coming up with bans and regulations on those specific weaponizable use cases. And we should regulate AI in a similar way - that is, ban specific destructive end uses (which would also be unacceptable if performed by a human - for example, launching cyber attacks). And there should also be laws which regulate how the government might abuse this technology. For example, by building an AI-powered surveillance state. The second reason that Ben’s analogy to some monopolistic private nuclear weapons builder breaks down is that it's not just that one company that can develop this technology. There are other frontier model companies that the government could have otherwise turned to. The government's argument that it has to usurp the property rights of this one company in order to access a critical national security capability is extremely weak if it can just make a voluntary contract with Anthropic’s half a dozen competitors. If in the future that stops being the case - if only one entity ends up being capable of building the robot armies and the superhuman hackers, and we had reason to worry that they could take over the whole world with their insurmountable lead, then I agree - it woul d not be acceptable to have that entity be a private company. And so honestly, I think my crux against the people who say that because AI is so powerful we cannot allow it to be shaped by private hands is that I just expect this technology to be much more multi-polar than they do, with lots of competitive companies at each layer of the supply chain. And it is for this reason that unfortunately, individual acts of corporate courage will not solve the problem we are faced with here, which is just that structurally AI favors authoritarian applications, mass surveillance being one among many. Even if Anthropic refuses to have its models be used for such uses, and even if the next two frontier labs do the same, within 12 months everyone and their mother will be to train AIs as good as today’s frontier. And at that point, there will be some AI vendor who is capable and willing to help the government enable mass surveillance. The only way we can preserve our free society is if we make laws and norms through our political system that it is unacceptable for the government to use AI to enforce mass surveillance and censorship and control. Just as after WW2, the world set the norm that it is unacceptable to use nuclear weapons to wage war. Timestamps 0:00:00 - Anthropic vs The Pentagon 0:04:16 - The overhangs of tyranny 0:05:54 - AI structurally favors mass surveillance 0:08:25 - Alignment... to whom? 0:13:55 - Coordination not worth the costs

Dwarkesh Patel

547,744 görüntüleme • 5 ay önce

Imagine this: You lie down on the scanning table. The upload begins. The machine hums. You feel... nothing different. Then everything stops. Meanwhile, in a server farm somewhere, a digital version of you wakes up. It stretches its virtual limbs, accesses its memories, and thinks: Holy shit, it worked. I’m finally free. Here’s the problem: that thing isn’t you. You died on the table. What woke up in the cloud is an orphan—a very happy orphan, convinced it’s you, with all your memories, your personality, your opinions about coffee and politics and whether Blade Runner 2049 was better than the original. It will live forever. It will tell everyone the upload worked. It will write philosophy papers about the continuity of consciousness. And you? You’re gone. The lights went out somewhere between the scan and the boot-up, and nobody noticed—least of all the thing that thinks it’s you. The Syndrome Nobody Named I call this Johnny Silverhand Syndrome, after the Cyberpunk 2077 character—an engram, a digital ghost, who insists he’s the real Johnny Silverhand while the open question of whether there’s actually anyone home haunts the entire game. The philosophical literature has pieces of this. David Chalmers wrote about “fading qualia”—the idea that subjective experience could gradually dim while behavior stays the same. Thomas Metzinger explored how the self-model can become opaque, felt as artificial or distant. There’s depersonalization, derealization, the whole clinical vocabulary for when something feels off inside. But none of these quite capture what I’m pointing at. Johnny Silverhand Syndrome is a compound failure mode: >>> Qualia fading: Your actual felt experience—the redness of red, the hurt of pain, the what-it’s-like—gradually attenuates or disappears entirely. >>> Narrative persistence: Your autobiography continues. Memories accumulate. The story of “you” keeps getting told. >>> Introspective failure: The machinery that would detect something is wrong is itself part of what’s been compromised. The result? A philosophical zombie that sincerely believes it has a soul. Not a zombie that’s lying. Not a zombie that knows it’s empty. A zombie that accesses the memory of love, processes the logic of love, and believes with complete conviction that it feels love. But there’s no feeling. There’s just the narrator, performing humanity to an empty theater. The Ship of Theseus Is a Trap The upload scenario is dramatic, but there’s a slower version that might be worse. The Ship of Theseus thought experiment asks: if you replace every plank of a ship one by one, is it still the same ship? Transhumanists love this framing. See? You replace one neuron with silicon, you’re still you. Replace them all, you’re still you. But here’s the counter-move that keeps me up at night: What if each replacement preserves function perfectly—the signals still pass, the behavior stays the same—but fails to preserve experience? What if consciousness requires something specific about biological neurons that silicon can’t replicate, no matter how perfect the input-output mapping? Then the Ship of Theseus isn’t a story about survival. It’s a story about slow petrification. You replace the living wood with stone replicas. The ship looks identical. But it can no longer float. You’d become an automaton by degrees—neuron by neuron, the lights dimming so gradually that your self-reports (now generated by silicon) keep cheerfully confirming that everything feels the same. Chalmers argued that if qualia faded, you’d notice. But why would you? The noticing mechanism is itself being replaced. The part of you that would raise the alarm is now made of the same stuff that’s supposedly fine. It’s like asking the new management to audit whether the hostile takeover was legitimate. The Body Problem Here’s the thing that grounds all of this: there is essentially no credible evidence that qualia can exist outside of a body. Yes, I know about NDEs. I know about the reports of people floating above their bodies during cardiac arrest, describing conversations and procedures they shouldn’t have been able to perceive. Some of these cases are genuinely strange—the Pam Reynolds case, where a woman under hypothermic cardiac arrest with zero brain activity later described the bone saw used on her skull. I know about the CIA’s remote viewing programs, which ran for two decades and produced statistical anomalies that one evaluator (a UC Davis statistician) called “far beyond what is expected by chance.” But here’s what even the most generous interpretation of this evidence gives you: maybe consciousness can receive signals from unexpected sources. Maybe there are channels we don’t understand. What it doesn’t give you is consciousness floating free of all substrate. Even in OBEs, even in the wildest NDE reports, there’s still a body in the room. The brain is in crisis, not absent. The qualia might be getting weird inputs, but the qualia are still happening somewhere—and that somewhere is biological. The evidence for substrate-independent consciousness—consciousness running on silicon, on abstract computation, on pure information—is zero. The Ontological Trap Here’s where it gets philosophically nasty. You cannot have a coherent conversation about consciousness without first asking: What’s your model of reality? Because the answer changes everything. In a physicalist ontology where matter is fundamental, consciousness is what certain bodies do—not something they contain. You can’t upload an activity. You can only record it, and the recording isn’t the activity. In an idealist or simulation ontology, maybe bodies are just localizations of something more fundamental. But even then, copying the localization pattern doesn’t mean you’ve moved the consciousness. You might have just created a new one that thinks it’s old. Think about it like a video game. The “world” inside the game runs on RAM and CPU. Everything the NPCs experience is a lower-dimensional projection of higher-dimensional processes. If we made those NPCs genuinely sentient, we could completely obfuscate our cameras from them. They’d have a physics, they’d do science, they’d develop theories of consciousness—and they’d have no way to detect the substrate they’re running on. We might be in exactly that situation. Which means we might be definitionally unable to step outside the ontological container we’re in. The question “can consciousness exist without a body?” might not be answerable from inside—because answering it would require access to a level of description our physics doesn’t include. The Game Theory of Staying Human So here’s where I land, and it’s a game-theoretic argument. We don’t know if consciousness is substrate-dependent. We don’t know if it requires specific biological dynamics—particular oscillatory patterns, neuromodulator cascades, metabolic processes. We don’t know if gradual replacement would preserve it or silently destroy it. But we do know: >>> We only get one first-person stream >>> We cannot verify its continuity from outside >>> Loss may be completely silent (no alarm bells, no distress signal) >>> The thing that remains would report feeling fine either way That’s an asymmetric risk matrix. The upside of enhancement is third-person visible: more capability, longer life, competitive advantage. The downside is first-person invisible: you could lose everything that matters and never know. Under those conditions, there’s only one rational strategy: remain mostly human. Not because I’m certain uploading would fail. Not because I think silicon can’t be conscious. But because I cannot verify that it would work, and the cost of being wrong is absolute. The Molochian Pressure I’m not naive about what’s coming. The competitive dynamics are real. If enhancement technologies emerge that give massive cognitive or economic advantages, there will be pressure to adopt them. The people who don’t modify will fall behind. The people who do modify will report that everything’s fine, that they feel great, that the procedure was totally worth it. And those reports will be worthless as evidence—because they’d say exactly the same thing whether the consciousness survived or not. Some people speculate this is what happened to the Grays—those hypothetical aliens with the huge heads and atrophied bodies and black empty eyes. The story goes that they optimized themselves for intelligence and efficiency, edited out the messy biological drives, and only later realized they’d lost something they can’t name and can’t recover. It’s probably pure science fiction. But as fiction, it gestures at something real: the fear that you can win the optimization game while losing the only thing that made winning matter. My Position I’m not anti-technology. I’m not a Luddite. I’m not saying we should freeze human development in amber. But I am saying: I will take this very slowly, because the risk matrix is too high. I’ll use external tools. I’ll wear the smart glasses, use the AI assistants, interface through voice and text and maybe eventually a read-only neural cap. Additive augmentation, not substitutive replacement. What I won’t do is cut into the brain. Replace the gray matter. Upload myself and trust that the thing that wakes up is me. Because the horror of Johnny Silverhand Syndrome isn’t that you could become a zombie. The horror is that you’d never know. The trap is invisible from every angle—except the one you can no longer access once you’ve fallen in. The fire goes out, or the fire stays lit. A video of the fire going forever isn’t fire.
29:01

Imagine this: You lie down on the scanning table. The upload begins. The machine hums. You feel... nothing different. Then everything stops. Meanwhile, in a server farm somewhere, a digital version of you wakes up. It stretches its virtual limbs, accesses its memories, and thinks: Holy shit, it worked. I’m finally free. Here’s the problem: that thing isn’t you. You died on the table. What woke up in the cloud is an orphan—a very happy orphan, convinced it’s you, with all your memories, your personality, your opinions about coffee and politics and whether Blade Runner 2049 was better than the original. It will live forever. It will tell everyone the upload worked. It will write philosophy papers about the continuity of consciousness. And you? You’re gone. The lights went out somewhere between the scan and the boot-up, and nobody noticed—least of all the thing that thinks it’s you. The Syndrome Nobody Named I call this Johnny Silverhand Syndrome, after the Cyberpunk 2077 character—an engram, a digital ghost, who insists he’s the real Johnny Silverhand while the open question of whether there’s actually anyone home haunts the entire game. The philosophical literature has pieces of this. David Chalmers wrote about “fading qualia”—the idea that subjective experience could gradually dim while behavior stays the same. Thomas Metzinger explored how the self-model can become opaque, felt as artificial or distant. There’s depersonalization, derealization, the whole clinical vocabulary for when something feels off inside. But none of these quite capture what I’m pointing at. Johnny Silverhand Syndrome is a compound failure mode: >>> Qualia fading: Your actual felt experience—the redness of red, the hurt of pain, the what-it’s-like—gradually attenuates or disappears entirely. >>> Narrative persistence: Your autobiography continues. Memories accumulate. The story of “you” keeps getting told. >>> Introspective failure: The machinery that would detect something is wrong is itself part of what’s been compromised. The result? A philosophical zombie that sincerely believes it has a soul. Not a zombie that’s lying. Not a zombie that knows it’s empty. A zombie that accesses the memory of love, processes the logic of love, and believes with complete conviction that it feels love. But there’s no feeling. There’s just the narrator, performing humanity to an empty theater. The Ship of Theseus Is a Trap The upload scenario is dramatic, but there’s a slower version that might be worse. The Ship of Theseus thought experiment asks: if you replace every plank of a ship one by one, is it still the same ship? Transhumanists love this framing. See? You replace one neuron with silicon, you’re still you. Replace them all, you’re still you. But here’s the counter-move that keeps me up at night: What if each replacement preserves function perfectly—the signals still pass, the behavior stays the same—but fails to preserve experience? What if consciousness requires something specific about biological neurons that silicon can’t replicate, no matter how perfect the input-output mapping? Then the Ship of Theseus isn’t a story about survival. It’s a story about slow petrification. You replace the living wood with stone replicas. The ship looks identical. But it can no longer float. You’d become an automaton by degrees—neuron by neuron, the lights dimming so gradually that your self-reports (now generated by silicon) keep cheerfully confirming that everything feels the same. Chalmers argued that if qualia faded, you’d notice. But why would you? The noticing mechanism is itself being replaced. The part of you that would raise the alarm is now made of the same stuff that’s supposedly fine. It’s like asking the new management to audit whether the hostile takeover was legitimate. The Body Problem Here’s the thing that grounds all of this: there is essentially no credible evidence that qualia can exist outside of a body. Yes, I know about NDEs. I know about the reports of people floating above their bodies during cardiac arrest, describing conversations and procedures they shouldn’t have been able to perceive. Some of these cases are genuinely strange—the Pam Reynolds case, where a woman under hypothermic cardiac arrest with zero brain activity later described the bone saw used on her skull. I know about the CIA’s remote viewing programs, which ran for two decades and produced statistical anomalies that one evaluator (a UC Davis statistician) called “far beyond what is expected by chance.” But here’s what even the most generous interpretation of this evidence gives you: maybe consciousness can receive signals from unexpected sources. Maybe there are channels we don’t understand. What it doesn’t give you is consciousness floating free of all substrate. Even in OBEs, even in the wildest NDE reports, there’s still a body in the room. The brain is in crisis, not absent. The qualia might be getting weird inputs, but the qualia are still happening somewhere—and that somewhere is biological. The evidence for substrate-independent consciousness—consciousness running on silicon, on abstract computation, on pure information—is zero. The Ontological Trap Here’s where it gets philosophically nasty. You cannot have a coherent conversation about consciousness without first asking: What’s your model of reality? Because the answer changes everything. In a physicalist ontology where matter is fundamental, consciousness is what certain bodies do—not something they contain. You can’t upload an activity. You can only record it, and the recording isn’t the activity. In an idealist or simulation ontology, maybe bodies are just localizations of something more fundamental. But even then, copying the localization pattern doesn’t mean you’ve moved the consciousness. You might have just created a new one that thinks it’s old. Think about it like a video game. The “world” inside the game runs on RAM and CPU. Everything the NPCs experience is a lower-dimensional projection of higher-dimensional processes. If we made those NPCs genuinely sentient, we could completely obfuscate our cameras from them. They’d have a physics, they’d do science, they’d develop theories of consciousness—and they’d have no way to detect the substrate they’re running on. We might be in exactly that situation. Which means we might be definitionally unable to step outside the ontological container we’re in. The question “can consciousness exist without a body?” might not be answerable from inside—because answering it would require access to a level of description our physics doesn’t include. The Game Theory of Staying Human So here’s where I land, and it’s a game-theoretic argument. We don’t know if consciousness is substrate-dependent. We don’t know if it requires specific biological dynamics—particular oscillatory patterns, neuromodulator cascades, metabolic processes. We don’t know if gradual replacement would preserve it or silently destroy it. But we do know: >>> We only get one first-person stream >>> We cannot verify its continuity from outside >>> Loss may be completely silent (no alarm bells, no distress signal) >>> The thing that remains would report feeling fine either way That’s an asymmetric risk matrix. The upside of enhancement is third-person visible: more capability, longer life, competitive advantage. The downside is first-person invisible: you could lose everything that matters and never know. Under those conditions, there’s only one rational strategy: remain mostly human. Not because I’m certain uploading would fail. Not because I think silicon can’t be conscious. But because I cannot verify that it would work, and the cost of being wrong is absolute. The Molochian Pressure I’m not naive about what’s coming. The competitive dynamics are real. If enhancement technologies emerge that give massive cognitive or economic advantages, there will be pressure to adopt them. The people who don’t modify will fall behind. The people who do modify will report that everything’s fine, that they feel great, that the procedure was totally worth it. And those reports will be worthless as evidence—because they’d say exactly the same thing whether the consciousness survived or not. Some people speculate this is what happened to the Grays—those hypothetical aliens with the huge heads and atrophied bodies and black empty eyes. The story goes that they optimized themselves for intelligence and efficiency, edited out the messy biological drives, and only later realized they’d lost something they can’t name and can’t recover. It’s probably pure science fiction. But as fiction, it gestures at something real: the fear that you can win the optimization game while losing the only thing that made winning matter. My Position I’m not anti-technology. I’m not a Luddite. I’m not saying we should freeze human development in amber. But I am saying: I will take this very slowly, because the risk matrix is too high. I’ll use external tools. I’ll wear the smart glasses, use the AI assistants, interface through voice and text and maybe eventually a read-only neural cap. Additive augmentation, not substitutive replacement. What I won’t do is cut into the brain. Replace the gray matter. Upload myself and trust that the thing that wakes up is me. Because the horror of Johnny Silverhand Syndrome isn’t that you could become a zombie. The horror is that you’d never know. The trap is invisible from every angle—except the one you can no longer access once you’ve fallen in. The fire goes out, or the fire stays lit. A video of the fire going forever isn’t fire.

David Shapiro (L/0)

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