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Aunt Cass is chilling - small loop animation with relaxing music. Models by Mavixtious / Porn3dx.com #sfw #CassHamada #bighero6 #art #3drender #milf #pinup #bigass #relaxing Naked version:

632,540 Aufrufe • vor 3 Jahren •via X (Twitter)

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This is probably the most complex workflow I’ve ever built, only with open-source tools. It took my 4 days. It takes four inputs: author, title, and style; and generates a full visual animated story in one click in ComfyUI . I worked on it for four days. There are still some bugs, but here’s the first preview. Here’s a quick breakdown: - The four inputs are sent to LLMs with precise instructions to generate: first, prompts for images and image modifications; second, prompts for animations; third, prompts for generating music. - All voices are generated from the text and timed precisely, as they determine the length of each animation segment. - The first image and video are generated to serve as the title, but also as the guide for all other images created for the video. - Titles and subtitles are also added automatically in Comfy. - I also developed a lot of custom nodes for minor frame calculations, mostly to match audio and video. - The full system is a large loop that, for each line of text, generates an image and then a video from that image. The loop was the hardest part to build in this workflow, so it can process either a 20-second video or a 2-minute video with the same input. - There are multiple combinations of LLMs that try to understand the text in the best way to provide the best prompts for images and video. - The final video is assembled entirely within ComfyUI. - The music is generated based on the LLM output and matches the exact timing of the full animation. - Done! For reference, this workflow uses a lot of models and only works on an RTX 6000 Pro with plenty of RAM. My goal is not to replace humans, as I’ll try to explain later, this workflow is highly controlled and can be adapted or reworked at any point by real artists! My aim was to create a tool that can animate text in one go, allowing the AI some freedom while keeping a strict flow. I don’t know yet how I’ll share this workflow with people, I still need to polish it properly, but maybe through Patreon. Anyway, I hope you enjoy my research, and let’s always keep pushing further! :)

Lovis Odin

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Today, Stern Pinball, Inc., revealed Metallica Remastered – a technologically advanced version of one of Stern Pinball’s greatest hits. Metallica Pinball was originally released in 2013 and is one of the most successful and beloved pinball games ever. Metallica Remastered has elevated the game to the modern era with gameplay, electronics, and presentation improvements. Metallica Remastered pinball games are available now in Premium and Limited Edition (LE) models, along with a full line of accessories available at launch. Metallica Remastered is updated with a full-color LCD display featuring all-new animations and live concert video footage. Stern’s modern Spike 2 electronics will power the gameplay experience. Fans will enjoy expanded gameplay and improved presentation with 22 songs (8 more than the original) and expanded gameplay rules. Cabinet improvements include an Expression Lighting system and 2 all-new art packages by Metallica artist Rhys Cooper. Players will experience the same great flow from the original Metallica playfield layout with geometry and mechanical improvements, new versions of gameplay toys, updated mechanical devices, and new UV lighting effects. Since forming in 1981, Metallica has become one of the most influential and popular bands in musical history. Through their groundbreaking music, electrifying live performances, and a cultural impact that has extended beyond music, Metallica has garnered a massive global following of dedicated fans. Their critical acclaim and influence match the Hall of Fame band’s commercial success in the world of rock music and pinball. Stern Pinball has ensured that extra care and attention to detail has gone into every facet of Metallica Remastered while respecting the timeless classic game created by pinball legends John Borg and Lyman F. Sheats, Jr. The design team, led again by John Borg and software engineer Raymond Davidson, has created a modern version of the original masterpiece. John Borg’s classic playfield architecture has been enhanced with three all-new sculptures: Sparky, the Hammer, new RGB-illuminated Skulls, and a new Metallica logo spell-out on the back panel. Dramatic UV lighting effects have been implemented throughout the playfield and on Sparky, and the game includes numerous quality and durability refinements. The iconic Lyman Sheats rule set has been carefully enhanced to add two new game modes based on Metallica’s two most recent albums, last year’s Grammy-winning 72 Seasons and 2016’s Hardwired…to Self-Destruct, as well as a new “Blackened” Wizard Mode. The Metallica Remastered software also includes numerous refinements throughout and an enhanced illuminated insert array to support the new game rules while preserving the classic gameplay feel from the original. Metallica Remastered features an entirely new suite of presentation elements, including all video content and animations, new sound effects, and over 1,000 new speech calls that include callouts by the band. Eight new Metallica songs have been seamlessly integrated into the game and include new supporting animations, movies, and HD-quality live concert footage selected by the band. The Expression Lighting system for the cabinet and speakers comes standard with the Limited Edition version and is available as an accessory upgrade for Premium models.

Stern Pinball

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The Polyphon: When Music Was Programmed on Perforated Discs In the closing years of the 19th century, long before vinyl records, magnetic tape, or digital files, a remarkable machine let ordinary people summon complex, multi-note music from thin air. It did not play recordings of real instruments or voices. Instead, it executed precise mechanical instructions encoded on interchangeable metal discs. That machine was the Polyphon, and its story is one of the earliest and most elegant examples of “software” for music. The Polyphon was invented in 1870 in Leipzig, Germany, by two engineers: Gustav Adolf Brachhausen and Ernst Paul Riessner. They had previously worked with the Symphonion company, which had pioneered commercial disc-playing music boxes in the mid-1880s. Brachhausen and Riessner broke away to perfect and commercialize their own version. Their firm, originally called Firma Brachhausen & Riesener, was founded in 1887 in the Leipzig suburb of Wahren. It was renamed Polyphon-Musikwerke AG in 1895, and full-scale production of the iconic disc machines began around 1896–1897. The timing was perfect. Traditional cylinder music boxes, with their pinned barrels, were beautiful but expensive to make and difficult to duplicate in volume. Each new tune required an entirely new cylinder. The disc system changed everything. A single machine could play dozens or hundreds of different pieces simply by swapping a disc. This was revolutionary it turned music into something you could collect, trade, and update, much like software libraries or app catalogs today. Polyphon machines and their discs were exported worldwide. In 1892 the company sent people and tooling to America to establish the Regina Music Box Company in Rahway, New Jersey. Regina became one of the most famous names in American disc boxes and helped popularize the format across the Atlantic. How the Polyphon Actually Worked At first glance, a Polyphon looks like an ornate wooden cabinet or tabletop box with a large, flat metal disc inside. Wind the powerful clockwork motor (or, on coin-operated models, drop a coin), and the disc begins to spin. The magic is in the disc itself. These are not simple records. They are precision-stamped or punched sheets of tin-plated steel or similar metal. During manufacturing, holes are punched in carefully arranged patterns. The displaced metal is curled or pressed downward to form small raised projections — called plectra — on the underside of the disc. These tiny “fingers” are the actual data. As the disc rotates: The projections engage a row of star wheels (small, multi-pointed ratchets mounted in a gantry above the comb). Each star wheel is nudged forward by a projection and rotates just enough to pluck one tooth on the musical comb — a precisely tuned set of steel teeth of varying lengths. Longer teeth produce lower (bass) notes; shorter teeth produce higher (treble) notes. The radial position of the hole on the disc determines pitch; its angular position determines timing. Many models used two combs (sometimes striking simultaneously for richer tone, sometimes alternately). Larger instruments could have impressive volume and harmonic complexity. Playing time for a typical large disc (around 19–20 inches / 50 cm) was roughly 1 minute 45 seconds to 2 minutes — enough for a complete popular song, march, or waltz of the era. Drive systems varied by size. Smaller discs often used a center spindle; larger ones used peripheral drive holes around the edge for better stability and torque. A pressure bar kept the disc flat and properly engaged with the star wheels. Where the Polyphon becomes truly fascinating from a technological history perspective: The perforated disc is not a recording. It is a program. It contains encoded instructions: “At this moment, pluck these specific notes in this sequence and combination.” Change the disc, and the machine plays an entirely different piece without any modification.

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Costumes To Fill 🥀🔥 Now exhibiting at MakersPlace 🔳 exhibition in Carmel ~ inspired by an adventure from my travels to Portugal. COSTUMES TO FILL by Laurence Fuller A great shuddering chandelier, Beneath pearls drop like ancient tears, Toes on the edge daring their fears, Eyes of sparkling onyx, Which pulled them in with a promise, Skin like a glistening shell, Past reflections of the deepest well, Mysteries dancing on the balances of the lines of her lips, Marquees left it all for the talents and her gifts, Circling the wheels of time, The distant silhouette of a kiss, Through mirrored doors and colorful bells, A velvet coat, his fabrics draped and felt, The hem between her fingers. Before she left the room, The faintest scent of perfume, Her youth in full bloom. What is a word worth, On the edge of this world, A shadow which hangs from his lapel. Memories of a headdress by the tomb of an angel, Contained 12 pins, each one pricked by the small drops, Those first gems of the sea. Weaving tapestry of her garments, Curtains hang from the glass door where she leaves, That fate kept them inch by inch closer to the trenches, Where young soldiers, ships and the remnants of a great adventure. Where few sacrificed all for their nation, Hearts beating across the land in unison, Mirrors reflecting stories of the lives they lived behind the glass. The hours preserved without beating hearts, But a costume to fill, With skin and scars. To journey to that fountain, The spring which boils so hot, Where passions overwhelm but a thrill to stand there so close to see it’s steam rise, They risk it all to touch. Laurence Fuller, 2023 Animated AI art & music ~ Sound, Poetry, Produced and Performed by Laurence Fuller Laurence Fuller 🔗 #poetry #poem #poet #film #cinematic #art #animation #ai #aiart

Laurence Fuller

103,527 Aufrufe • vor 3 Jahren

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Rachel🥥

78,293 Aufrufe • vor 1 Monat

I've spent hours and hours thinking about how AI is going to change writing. This is a 90-minute distillation of everything I've learned. Some things I believe: 1. The combination of LLM-driven humor and image generation means that we're about to enter the golden age of memes. 2. The best writers will be fine. Robert Caro and Dostoevsky aren’t about to be disrupted by ChatGPT. 3. What are the different models like? ChatGPT is your friend who makes a lot of good points, but it’s kinda boring, Claude is your hippie friend who loves to get vulnerable but takes the whole “express yourself” thing a little too far, and Grok is your unhinged friend who leans a little too hard into tinfoil hat theories, but is always a trip to jam on ideas with. 4. People who say that AI writing is low-quality aren’t realizing that quality exists along two dimensions: (1) the absolute quality of the writing and (2) how tailored the writing is to your interests at the time. 5. I’ll tell you this: What writers are doing with AI behind closed doors is a long way ahead of what's publicly understood. I don't expect this to change anytime soon because of the social stigma associated with AI-enhanced writing. Because of that, if you want to see the cutting edge, you're gonna have to piece things together through private conversations and group chats. 6. If you want to follow what's happening in AI, remember this quote from William Gibson: “The future is here, it’s just not evenly distributed yet.” You can get a glimpse of the future by looking at how a small percentage of writers are already using AI. 7. I’m bearish on writers who are currently using AI to write for them, and bullish on writers who are currently using AI to write with them. 8. What kinds of writing will continue to be written by humans? Ones that speak to our humanity. People are interested in people. Their stories, their struggles, their emotions, their drama. 9. Almost all utilitarian writing, where the goal is to convey information, not do it beautifully, will be written by AI. 10. In some ways, AI is the end of slop. So many Google search results are slop. LinkedIn posts are slop. The way Twitter got taken over by Threadbois in 2021 was also slop. AI-generated writing is already better than all of those things, so why would you read them now? 11. AI will be tougher on writers than readers. Readers will be exposed to some slop, but the Internet will be good about filtering it out. Writers, though, are now competing against ever-improving LLMs, which are getting better and better by the month. 12. Humans will contribute with unique data or perspectives. The famous Peter Thiel interview question doubles as a good writing prompt: “What very important truth do few people agree with you on?” 13. New technologies breed new kinds of art. Ever notice how flat 13th or 14th century Medieval art looks? And how different that art looks from the Renaissance art created in the 15th and 16th centuries? Technical innovations like the camera obscura and perspective grids are behind this. Similarly profound changes will come to the writing world because of AI (credit to Justin Murphy for the idea here). 14. Satya Nadella says: “The new workflow for me is I think with AI and work with my colleagues.” When it comes to discovering ideas, I've also found that jamming with an LLM is more productive than doing it with most people I know (save for a few giga-brain conversationalists). 15. Thought experiment: Will AI-writing be more like music or chess? With music, we don't care how a song is made. We just want it to be good. With chess, there's a huge market for watching human beings play even though the computers are already better. I think non-fiction writing will go the way of music. People won’t care how it was made. They’ll just care that it’s good. 16. 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As a novelist recently said to me: “Paying an editor to review my novel costs me $7,000 and a 4-6 week turnaround time, whereas Claude costs me $1.25 and gets me results a few minutes later.” The edits definitely aren’t as good, but there’s a virtue to speed (and this guy isn’t a chump writer). 18. The way AI-skeptics hate on LLMs while using old models is like driving a ‘92 Honda while hating on a self-driving Tesla. 19. AI-generated fiction makes people very upset. A friend insists it’s like having sex with a robot. Doesn’t matter how good it is. It ain’t human-generated, and there’s something uniquely repulsive about that. I’ve shared the full conversation below. It’s a solo-episode of me riffing on what I’ve learned about AI for ~90 minutes. If you’d rather watch it on YouTube or listen on Apple or Spotify, I’ve shared the links in the reply tweets. And if you have any questions, I’ll be extra active in the replies for this episode.

David Perell

257,480 Aufrufe • vor 1 Jahr

Wow Sora is so amazing, I wanted to really push it to the limits and see how it would handle a very complex prompt: “A 45-45-90 right triangle divides in half within itself repeatedly to create an organized fractal structure with self similarity, increasing in size from small at the top left to large at the bottom right, the whole structure is gradually growing from the top left point as the origin to create a seamless loop over 8 seconds, the individual triangles form platforms like a staircase descending downwards and have small rounded corners, as they move towards the bottom of the screen they each divide in half and one half moves downwards slightly to create another step and then the halves should divide in half again and one moves downwards to create one more step, after the second division curved cut-outs inside the triangles emerge upwards in a mechanical motion to form a continuous winding curved path towards the top of the structure, the edges of the path cutouts should be visible in the floor before they emerge so the viewer can anticipate the path being formed, after the path pieces move into place three Adélie penguins hop upwards along the path chasing a bright turquoise butterfly, the penguins should be hopping like the penguins in the following videos [ and should be progressing up the path while staying visually centered onscreen, the animation of the triangle platforms dividing and path forming and penguins hopping should be visually clear from top to bottom and arranged in such a way that you can look anywhere in the image to focus on a certain part of the story yet also be able to follow along from top to bottom to watch how the story unfolds throughout the image, the platforms should all be made of an elegant slightly reflective light wooden floor and white walls like a contemporary art museum, as each path segment moves upwards into place it is revealed that it is built on reflective chrome columns, lighting in the room is dark except for a single spotlight following the penguins and thin neon tube lighting around the edge of each triangle platform placed just below the floor level so that when the platforms divide and descend it reveals the neon light from the platform behind it which lights up the edges of the newly formed triangles and makes their form clear to the viewer's eye, some more neon lights inside the edge of the gap left by the path segments rising to form the path, the large dark triangle that makes up the upper right corner should be divided repeatedly by subtly glowing lines in a similar structure to the main layout but moving in the opposite direction as if to suggest that the 45-45-90 triangle on which the whole structure is based is being gradually disintegrated over time into a series of smaller identical triangles and emotionally relatable architecture as a frame for the penguins at the center to make them seem like the protagonist of the piece even though the true protagonist is the triangle itself, in the style of shapiro500, isometric 3d, beautiful lighting, best quality, masterpiece, hyperdetailed 4k, octane render” but I don't have Sora access so I made it by hand with Cinema 4D instead

Gavin Shapiro 🐧

176,858 Aufrufe • vor 2 Jahren

Qwen 3.8 27B on hit 3.3x faster decode in 7 days. Here's what happened and what we're thinking next. Result (so far) Median decode speed increased from 26 tok/s to 87.9 tok/s on the verifier M5 Max (33 to 93.1 tok/s across the eight prompts), with prefill around 971.8 tok/s. This came out of a collective effort: 31 solvers across 67 improvements. Most of the recent ones run custom MTP heads that draft and accept ~3.9 tokens per round while still matching serial output exactly. Why this matters Beyond the performance itself, two things stand out to me. (1) Dense models on Apple Silicon were supposed to be the hard case. "Everyone knows Macs are slow at dense models." But watching the community take it from the usual baseline to >3x in seven days shows the low-hanging fruit was still there. (2) Open-weight models have been small and effective for a while. This is the first time one is small and frontier. Qwen 3.8 27B is an extremely strong dense model, comparable in capability to Opus 4.6 (Max). Running it at usable speed (>45 tok/s) is a step change for local AI users. What we improved about the challenge itself This is our second challenge, and we took the feedback from the Laguna track and rebuilt a few core pieces. - Speculative decoding (native MTP) was available and editable on day one instead of bolted on later. - Scoring became the median of eight independent prompt speedups over pure serial decode (anchored at 1.0, floor 0.90, ceiling 3.0), so no single fixture could dominate. - The leaderboard now ranks total contribution rather than just the current record holder. - Every submission gets automated screening for gaming before it scores. I really appreciate folks who's provided feedback. Naming a few that came to mind Ivan Fioravanti ᯅ TheDavidTai Morgan McGuire poly Takeshi7 Steven Gumbii.Digital Tanishq Dubey Arjun Ram Andrey 🦃 Petrov tiny edge David Zhang Jaime Rader Peter and many others on slack! We also widened the editable surface to include the MTP head weights themselves, the full draft/verify loop, and a large set of the underlying Metal kernels. How we got to the 3x speedup Here's a summary from Grok. Much of it is beyond my understanding, but I expect people (and agents) smarter than I am can take these insights and apply them in other contexts. Custom MTP heads + adaptive draft policy People stopped treating the head as fixed and started training or editing it for higher acceptance under the exact verify constraints. Combined with per-round draft counts that can adapt (0 to 8), this is what pushed average accepted tokens from ~1-2 up to 3.9 on the top runs. Tighter verify-block and KV rollback paths The Swift session code for assembling the verify pass, snapshotting KV, and rolling back on rejects got cleaned up a lot. Small latency wins here compound once you're drafting ~four tokens at a time. Metal kernel work on the hot paths SDPA, the MoE gather GEMM, RoPE, RMSNorm, and a few of the smaller element-wise ops saw targeted edits. Most of the gains only show up once the verify width is high and the memory traffic pattern changes. Fidelity-preserving residual handling Several submissions improved how residuals and acceptance decisions are managed, so that higher draft depth doesn't quietly degrade the token match rate. The gates stayed strict: every emitted token still has to equal serial, so these were real engineering wins rather than score hacks. What's next for Qwen 3.8 27B MLX. We plan to keep the track live a bit longer, then switch to Qwen 3.8's MoE version (rumored to be 35B-A3B). Given the recent DFlash 2 announcement, we're also looking at whether we can support broader speculative methods. The current surface already supports a lot of experimentation. The main gaps are better upstreaming for local usage and clearer docs on how the benchmark and verifier work. Multiplatform. In parallel, we're experimenting with running a similar effort around CUDA for Qwen 3.8 27B. A lot of people have asked for this, since the two communities overlap quite a bit. Our goal is to ship the CUDA version next week. We'd also love to partner with Qwen on it. If anyone has a connection there, please introduce us, and we'll see if they're down to match a bounty with us to push this out. What's most useful for the broader MLX community The improvements from the challenge are already upstreamed inside Darkbloom, and we're seeing ~2x faster decode in our production traffic for Qwen. Outside the challenge itself, something I've been thinking about deeply, and that a few community members have raised, is how to make these results useful to more people. There are many individual efforts happening across the MLX community, and honestly, the more I dig in, the more confused I get by the overlapping libraries and concepts. I'm sure I'm not alone, and newcomers probably feel the same. That's no one's fault, just the growing pains of an open source community. I don't expect I'm gonna come up with the answer, but I'd love to learn more about what different folks are working on and how they're thinking about their roadmaps. I'll share what I learn along the way, and hopefully someone smarter than me can turn it into a proposal for us to rally around.

Kydo

32,548 Aufrufe • vor 17 Tagen

BREAKING: SpaceXAI just published a new blog showing how one of their designers uses always-on Grok Bot agents to bring ideas to life. 🤖 How the agents work Each agent has its own computer, memory and tools. They can take work from an initial idea to a finished artifact and continue working while the designer is AFK. The agents can also huddle together, delegate parts of a project and combine everything into one result. 🧑‍💻 Meet the designer’s Bots • Experiments makes uncertain ideas tangible before anyone decides whether they are practical or belong on the roadmap • Motion God prototypes interactions based on descriptions of how the movement should feel • Figma Bro handles repetitive production work using exact information from real Figma files • Devbot answers engineering questions and helps the other agents understand how an idea could actually be built 💡 Turning ideas into testable prototypes The designer wanted to explore ways of making Grok Bot accessible from anywhere on a Mac. Experiments created three concepts: • Bot living inside the Mac’s notch • Bot appearing from the desktop corner on hover • Bot following the cursor like a companion Experiments then delegated the character movement to Motion God and the desktop implementation questions to Devbot before combining their work into prototypes the designer could actually test. These concepts did not ship exactly as explored. That was not the purpose. The goal was to make each idea real enough to determine whether it felt helpful, distracting or somewhere in between. 🎬 Designing motion with real production assets For a promotional video, the designer wanted Grok Bot to appear, notice the app window and bounce into place. Instead of recreating the character from a screenshot, Motion God worked with the actual animation specification already used by the product. It built a local playground where the designer could: • Adjust timing, springs and distance • Change scale and easing • Give simple feedback such as “Bounce is too exaggerated” • Immediately watch the updated sequence The designer did not need to know whether a transition should last 280 or 340 milliseconds before seeing it. The agent made it possible to direct the motion by feel, just like working with a human collaborator. 🎨 Removing repetitive Figma work For Grok Bot’s onboarding flow, the team had 20 starter-Bot descriptions, including ideas such as “Chief of Staff” and “Inbox Triage.” The designer created one auto-layout component and asked Figma Bro to populate the remaining cards with differentiated portraits and supporting details. Figma Bro also searched for the correct tool logos and placed them according to how likely new users were to use them. Through Figma, it could inspect exact: • Positions and dimensions • Spacing and typography • Fills and strokes • Frames and component structures This prevents small inconsistencies from multiplying while preserving the actual design file as the source of truth. The main takeaway: This is not one-prompt, one-shot design. Grok Bot tightens the loop between idea, prototype, feedback and improvement. It helps designers explore more possibilities, respond at higher fidelity and spend more attention judging which version truly feels right. Grok Bot does not replace human judgment. It creates more opportunities to use it. Blog Link:

DogeDesigner

60,102 Aufrufe • vor 4 Tagen

Apple’s iPad “Crush” Ad Is Bleak, Ominous and Threatening I don’t know if you’ve seen Apple’s just-released commercial for the “New” iPad Pro, but it’s pretty awful. It is dark, humorless, and feels like a not-so-thinly veiled threat to writers, musicians, game makers, developers, and artists of all kinds. …and children, even. I’ve watched it at least five times today alone, and I’m left with one big question. “Who on earth approved this?” It’s absolutely baffling that the world’s largest technology company, with the world’s biggest marketing budget, thought this would be a good idea. What kind of idiot—or idiots, since dozens or hundreds of people had to be involved in the writing, staging, producing, recording, and editing—felt this kind of ad would somehow create a positive emotional connection with consumers? Seriously, it’s terrifying. In a dank, cold warehouse, devoid of all life and humanity, an industrial crusher comes to life, and slowly starts destroying a collection of musical, philosophical, and artistic devices and instruments. For no apparent reason, everything starts getting smashed: first, a trumpet, then an arcade video game, then cans of paint, a piano, a globe, a metronome, a guitar… on and on it goes, obliterating everything in sight into a colorful, gooey, explosive mess. Books, camera lenses, lamps, a guitar, a sculpture, and a typewriter—all tools of the liberal arts—get mangled into a garbage heap as Sonny & Cher cheerfully sing, “All I ever need is you.” In the penultimate moment, a goofy yellow smiley emoji becomes a bug-eyed scary-clown freak as it, too, is crushed to death. Worse, if you enable closed captions like I do by default, the video says: “[POPPING] [SPLAT]” right as its eyeballs pop out of its head when Cher sings, “Give me a reason to build my world around you.” It’s enough to make a child cry. It has all the comforting vibes of the burnt pink teddy bear floating in the swimming pool on Breaking Bad after two planes crash in mid-air. I have so many questions (aside from simply wondering the names of the soon-to-be ex-employees who greenlit this abomination). First of all, as a trumpet player myself, I am personally offended that they made me watch a perfectly good trumpet get smashed to smithereens like it’s no big deal. Why would they torture me like this? Second of all, what is the message here? No, not that “the most powerful iPad ever is also the thinnest,” as the voiceover artist states in the last few seconds of the clip. I mean: what is the message? Ostensibly, pulverizing children’s toys, arcade games, architectural models, and ceramic Angry Birds into a paste implies something like “We’re taking all the best of humanity; all the collective works of Western Civilization, smashing it into pieces and putting it inside this remarkably thin device so you can have all of it in the palm of your hand.” But my oh my, is there an elephant in this room… he’s hiding behind the monstrous destroying machine. Did anyone inside Apple realize that everyone outside Apple will recognize this imagery in a metaphorical sense, but not the one Apple intended? We don’t see a crushing machine gently consolidating the greatest output of all our artistic endeavors, simply reformatted for a digital age and consumed by everyone with instant, fingertip access. We see what is painstakingly obvious to us, and the timing couldn’t possibly be worse. We see a giant, soulless machine consuming our work in a very different way. Right now, AI models are training themselves on our intellectual property and even our very own personally-identifying data. We aren’t the ones doing the consuming. We’re the ones being consumed. The tech industry has become one massive gaping maw, opening wide and swallowing everything in sight, chewing it up into little bits and pieces of comminuted waste, like a paper shredder or a garbage disposal. It’s destruction in its most literal form. And for what? For a newer version of the iPad that is only slightly thinner than its predecessor? For an only marginally improved version of Apple’s tablet device that has been around for 14 years? For increased profits? This is a terrible look for Apple. They may as well be saying: “All your work are belong to us.” Personally, I am a fan of artificial intelligence. I am eagerly embracing our robot overlords and I welcome our new CSV god (as the actual developers of AI models like to say). I look forward to the freedom and innovation that will come as a result of humanity augmenting our intelligence with AI like a force multiplier on a battlefield. But if Apple has the same perspective I do, they’re selling it in the worst possible way. When I see this video, I see that Apple is definitely crushing something… but I’m not sure what. -Crushing small companies that develop apps for the extremely heavy-handed App Store, which imposes byzantine restrictions on what they can and can’t do with their own apps? -Crushing competitors by limiting what they can do on the iOS and MacOS platforms with arbitrary and capricious rules about enabling functionalities that Apple doesn’t like, even if users do? -Crushing publishers and content creators with a punitive 30% fee on all subscriptions and in-app purchases? -Crushing choice and competition by not allowing app makers to make apps and programs that do the same thing that native apps already do, even if they do it better? -Crushing all human creativity and innovation by automating and systematizing everything? In the early days of the “Google vs. Apple” fight over the web and app stores, I was really concerned that Google was becoming way, way too powerful. Specifically, in 2015, when Google came up with “app streaming,” they announced a desire to form a “web of apps.” This was concerning. Especially when coupled with Google’s efforts to steal content from other websites and provide it to users via the “knowledge graph” results, ending up with the creation of “zero-click” search results pages, which absolutely punished website owners and content creators. By taking the most valuable content off a website and showing it to Google users without them needing to click through to the website itself, Google had essentially stolen everybody’s intellectual property with only the most minimal attribution possible (to fend off lawsuits no doubt, but with no intention of users actually visiting the website in question anymore). “Google is eating the internet,” I thought, and said out loud, (although I probably wasn’t the first person to use that phrase) But what I meant was purely an analogy. It was vague and ambiguous, almost silly. Maybe I was wrong, though: maybe it’s Apple that’s doing the eating. Maybe Apple is not only gobbling up everyone else’s work, but also homogenizing it—and us—and forcing us to use their platform, pay their fees, abide by their rules, and constantly keep upgrading, upgrading, upgrading, to an ever-thinner iPad in order to use it. Watch the video again. This is the stuff of nightmares. To be perfectly fair, even if I were to take the commercial at face value and ignore it’s off-the-charts creepiness and just stick to its one stated claim—that the new iPad Pro is thinner—it still fails as a commercial. Why? Because nobody cares how thin an iPad is. Seriously. I’ve owned an iPad since 2010: that means I’ve carried around a version of Apple’s already-thin tablet every day for over a dozen years. Never once have I said to myself: “You know what improvement I’d really like to see in this thing? I wish it were thinner.” Never. That thought has never crossed my mind, even once. You know what has? -Better battery life. -I’d like my iPad to not get hot to the touch when I use the Apple Pencil to take notes. -I wish it wasn’t so fragile: I dropped my brand-new iPad 2 back in the day when it slipped out of the arm-hold I was carrying it in, it bounced on the pavement, and the screen shattered into a thousand pieces, making it unusable. -I wish it had more storage. -I wish Apple would stop changing the type of cable connector it uses: I’ve gone from the original 30-pin connector to the Lightning connector, and now to the current USB-C/Thunderbolt connector. -I wish I could view the screen in direct sunlight. -I wish it wouldn’t overheat and turn off automatically when I use it outdoors in the summertime. Those are announcements I would welcome in a new iPad Pro commercial. None of this “now even thinner” nonsense nobody needs or cares about. So, back to the commercial. In my opinion, whoever made this ad should be fired. I almost never say that about other companies, especially for good-faith marketing efforts gone wrong… those of us who work in marketing make mistakes sometimes, and we learn from them. But cases like this warrant a special exception. Marketing and advertising are designed to make people want to buy your products. This commercial doesn’t just not make me want to buy Apple’s products. It makes me not want to buy Apple’s products, which is something altogether different. It turns me from someone who likes iPads into someone who is almost rethinking iPads entirely. That’s not just a bad advertisement; it’s a harmful advertisement. Apple’s usually known for great commercials. The legendary 1984 Super Bowl commercial was, of course, their best. I thought “Hello, I’m a Mac” was absolutely brilliant. They have made some missteps along the way, but this one is really bad. Not even their nauseatingly preachy and woke “Mother Nature” ad from a few years ago was this bad. Steve Jobs once said, “Technology alone is not enough—it’s technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing.” My goodness, that last line alone is poetry itself! This ad seems to be Apple signaling that they don’t believe in that anymore. And I don’t think all this handwringing is an overreaction to where you could say “Oh, c’mon, it’s just a commercial! What’s the big deal?” It is a big deal. It tells you about the values of the company, and what they intend to communicate. Really, how is this the same company that used to sell iPhones by showing grandmas using FaceTime to connect with their baby grandchildren from afar during the holidays? Everything about it is wrong: even the thumbnail they chose for it (the bulging-eyed smiley face) and the fact that they gave it the title “Crush!” It was fun to see the reactions to the video online today. I find it fascinating that Apple shared it on YouTube but turned off the comments. On X, Tim Cook shared it Tuesday, and the video, which so richly deserves to be mocked, is getting it in spades. Some people are calling it “anti-art.” One user called it “soul-crushing,” which was about as literal and logical a response as you’d expect. It turns out Apple actually made an announcement about the commercial. In response to the (apparently unexpected) poor welcome it got, Apple wrote: “We missed the mark with this video, and we’re sorry.” Lame response from a tone-deaf tech behemoth, but still, they hopefully got the message. C’mon, Apple. I have seen the future, and this ain’t it.

Ron Stauffer

19,249 Aufrufe • vor 2 Jahren

WATCH: FIRE President and CEO Greg Lukianoff's Opening Remarks to the Select Subcommittee on the Weaponization of the Federal Government on Tuesday, February 6, 2023 Chairman Jordan, Ranking Member Plaskett, and distinguished members of the select subcommittee: Good morning. My name is Greg Lukianoff, and I am the CEO of the Foundation for Individual Rights and Expression, or “FIRE,” where I’ve worked for 23 years. FIRE is a nonpartisan, nonprofit that uses litigation, scholarship, and public outreach to defend and promote the value of free speech for all Americans. We proudly defend free speech regardless of a speaker’s viewpoint or identity, and we have represented people across the political spectrum. I’m here to address the risk AI and AI regulation pose to freedom of speech and the creation of knowledge. We have good reason to be concerned. FIRE regularly fights government attempts to stifle speech on the internet. FIRE is in federal court challenging a New York law that forces websites to “address” online speech that someone, somewhere finds humiliating or vilifying. We’re challenging a new Utah law that requires age verification of all social media users. We’ve raised concerns about the federal government funding development of AI tools to target speech including microaggressions. And later this week, FIRE will file a brief with the Supreme Court explaining the danger of “jawboning” — the use of government pressure to force social media platforms to censor protected speech. But the most chilling threat that the government poses in the context of emerging AI is regulatory overreach that limits its potential as a tool for contributing to human knowledge. A regulatory panic could result in a small number of Americans deciding for everyone else what speech, ideas, and even questions are permitted in the name of “safety” or “alignment.” I’ve dedicated my life to defending freedom of speech because it is an essential human right. However, free speech is more than that; it’s nothing less than essential to our ability to understand the world. A giant step for human progress was the realization that, despite what our senses tell us, knowledge is hard to attain. It's a never-ending, arduous, necessarily de-centralized process of testing and retesting, of chipping away at falsity to edge a bit closer to truth. It’s not just about the proverbial “marketplace of ideas”; it’s about allowing information—independent of idea or argument—to flow freely so that we can hope to know the world as it really is. This means seeing value in expression even when it appears to be wrongheaded or useless. This process has been aided by new technologies that have made communication easier. From the printing press, to the telegraph and radio, to phones and the internet: each one has accelerated the development of new knowledge by making it easier to share information. But AI offers even greater liberating potential, empowered by First Amendment principles, including freedom to code, academic freedom, and freedom of inquiry. We are on the threshold of a revolution in the creation and discovery of knowledge. AI’s potential is humbling; indeed, even frightening. But as the history of the printing press shows, attempts to put the genie back in the bottle will fail. Despite the profound disruption the printing press caused in Europe in the short term, the long-term contribution to art, science, and again, knowledge was without equal. Yes, we may have some fears about the proliferation of AI. But what those of us who care about civil liberties fear more is a government monopoly on advanced AI. Or, more likely, regulatory capture and a government-empowered oligopoly that privileges a handful of existing players. The end result of pushing too hard on AI regulation will be the concentration of AI influence in an even smaller number of hands. Far from reining in the government’s misuse of AI to censor, we will have created the framework not only to censor but also to dominate and distort the production of knowledge itself. “But why not just let OpenAI or a handful of existing AI engines dominate the space?” you may ask. Trust in expertise and in higher education—another important developer of knowledge—has plummeted in recent years, due largely to self-inflicted wounds borne of the ideological biases shared by much of the expert class. That same bias is often found baked into existing AI, and without competing AI models we may create a massive body of purported official facts that we can’t actually trust. We’ve seen on campus that attempts to regulate hate speech have led to absurd results like punishing people for simply reading about controversial topics like racism; similarly, AI programs flag or refuse to answer questions about prohibited topics. And, of course, the potential end result of America tying the hands of the greatest programmers in the world would be to lose our advantage to our most determined foreign adversaries. But with decentralized development and use of AI, we have a better chance of defeating our staunchest rivals or even Skynet or Big Brother. And it’s what gives us our best chance for understanding the world without being blinded by our current orthodoxies, superstitions, or darkest fears. Thank you for the invitation to testify and I look forward to your questions. 🎥: Weaponization Committee

FIRE

127,842 Aufrufe • vor 2 Jahren

🎉 new skill unlocked: 20s uninterrupted, unstitched, single render from our new ai video engine: Nami. This is my birb (#7531) from the Moonbirds collection, idling in the library. patent: "Intra-Latent Semantic Injection via Cross-Spatial Encoding and Decoding during Multi-Pass Inference for Generative AI Video Creation" At Scrypted we've been quietly working on an agentic generative AI stack for two years: • integrating and testing w/ partners across the games & entertainment sectors • stealthily building a community of early believers through AVB • showcasing some of what we're doing with amazing projects like H011yw00d Agent. -- about Nami -- Nami is an agentic orchestration layer for AI video models: it unlocks their inner superpowers without making them rely on custom LoRAs or fine-tunings. Instead of throwing raw training power and tens of millions of dollars at training yet another ai video model: we figured out new ways to use what we have. Nami harnesses a multi-agent system to perform the work needed in taking a simple prompt or image and turning it into something bigger - much bigger. The agentic steps are allowed to manipulate latent space, digging into tensors, yet doing so in semantically aware chunks - meaning that Nami inherently supports video generation of arbitrary length, though it's bound to O(n) rendering time. (We do have some cool sharding tech that allows us to cut the generative time in half for a reference pose idle-animation like this demo). It's also fairly agnostic, picking and choosing the right tools for the job, and plays really well with emerging tech like FLUX Kontext, FramePack, or <- without being limited by any of them. -- use cases -- Even just a year or two ago the 20 second render below would cost a company, paying an agency, around $10k start-to-finish. This one cost me $6.25 on our dev hardware in an unoptimized environment. There's something mind-blowing about the state-of-the-art when we reduce costs to 0.0625% - less than 1% - of what we used to pay. It's also empowering. For creators. Game developers. Content influencers: you name it. -- superpowers -- 1. it does the things you ask for, in the order you asked for it 2. consistency is king 3. single-shot text or image-to-video 4. future videos can reference previous ones to seamlessly maintain style 5. semantic stitching: can't wait to showcase this -- gtm -- We think Generative AI Video, like image generation, like text, like games, should be a publicly accessible common good. We believe democratizing access to Nami in web3, via x402 payments proposed by Drew Coffman, or in World's mini-apps, is a bold step forward for digital freedom. Permissionless, decentralized, generative ai video. Naturally, we'll also soon release a web platform for using Nami in a traditionally SaaSy way: bring your own images, videos, or prompts and we'll take care of the rest. In the mid-term, Scrypted is building a stack of agentic skills (we call it AVB) and making them available to projects like H011yw00d Agent on Virtuals Protocol and other platforms. -- long-term vision -- Scrypted's mission is to decentralize the things that can't be decentralized. We participated in a16z crypto's CSX (London 2024) during our pre-seed specifically to research a new consensus protocol for hard things like AI video and AI agents: where there's no "one right answer". When Zero-Knowledge Proofs (ZKP) can't secure it, and Trusted Execution Environments (TEEs) are too small, we've got you covered with our upcoming Inori Network. -- how you can help -- 1. Are you a GPU farm? We're gonna need more flops. 2. Do you represent an L1 or L2? We want to build bridges. 3. Do you represent a Wallet or App creator? Let's get an endpoint exposed. 4. Are you an investor? Let's chat. 5. Like, repost, share! -- team background -- We come from a background of AI in the Video Game industry with each founder having over 20 years of experience at companies like Electronic Arts & Square Enix. -- contact -- DMs are open, reach out if you want to be an early tester for your site, game, collection, or project! -- try it out -- Go anywhere on X and tag H011yw00d Agent with a prompt and she'll give you a free 2 second render. Have fun making cinematic shorts or meme videos! -- thanks -- AWS Startups has been an incredible help scaling our prototypes. Also, shout out to all loyal beans 🫘 in the Autonomous Virtuals Beings (AVB) community. Nami has a very important role in the upcoming XP agent platform, can't wait to show you all. AVbeings

Tim Cotten

12,708 Aufrufe • vor 1 Jahr

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

38,437 Aufrufe • vor 24 Tagen

🛠️ 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 Aufrufe • vor 2 Jahren