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"Blending 2D hand-drawn madness with 3D real-time rendering like it's nothing Spider-Verse motion smears meet LoL cinematic polish in this Unreal Engine 5 masterpiece by Redhill Games & Pedro Borges. Mind = blown. #Stylized #UnrealEngine5

VFX Therapy

11,140 subscribers

76,362 просмотров • 6 месяцев назад •via X (Twitter)

Искусство Наука и технологии #Stylized #UnrealEngine5

Anya Rossi• Live Now

Private livecam show

Комментарии: 9

Фото профиля yassinerahal

yassinerahal6 месяцев назад

@peteborks I love this !! I would love to learn how he did it !!

Фото профиля Johan zhu

Johan zhu6 месяцев назад

@peteborks OMG

Фото профиля Rodeen

Rodeen6 месяцев назад

@peteborks this is great

Фото профиля Pedro Borges

Pedro Borges6 месяцев назад

thank you for the shout out! <3

Фото профиля Asfieldi

Asfieldi6 месяцев назад

@peteborks holy nice one

Фото профиля MrBaiKing

MrBaiKing6 месяцев назад

@peteborks cool!!

Фото профиля steviemacfx

steviemacfx6 месяцев назад

@peteborks My man @peteborks!!

Фото профиля Tony Salto

Tony Salto6 месяцев назад

@peteborks SICK Pete !

Фото профиля DianeCls

DianeCls6 месяцев назад

@peteborks It’s so nice and stylish Bravo @peteborks

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The Redhill Games team has blended 2D-like hand-drawn effects with 3D rendering into one Unreal Engine-made animation. Final animation and shader breakdown: #unrealengine #unrealengine5 #ue5 #3danimation #animation #blender3d #b3d #blender #handdrawn

The Redhill Games team has blended 2D-like hand-drawn effects with 3D rendering into one Unreal Engine-made animation. Final animation and shader breakdown: #unrealengine #unrealengine5 #ue5 #3danimation #animation #blender3d #b3d #blender #handdrawn

80 LEVEL

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This guy just built a full procedural world generator with real time Unreal Engine rendering using Fable 5 in literally a couple of hours. Not some basic demo, proper landscapes, lighting, and details that look straight out of a AAA game.I can't even imagine how many tokens he burned through, probably enough to power a small country for a day This is straight up insane. One guy with a strong model doing what used to take big teams months or years. We're actually watching the game industry get completely flipped upside down in real time. Mind officially blown.

This guy just built a full procedural world generator with real time Unreal Engine rendering using Fable 5 in literally a couple of hours. Not some basic demo, proper landscapes, lighting, and details that look straight out of a AAA game.I can't even imagine how many tokens he burned through, probably enough to power a small country for a day This is straight up insane. One guy with a strong model doing what used to take big teams months or years. We're actually watching the game industry get completely flipped upside down in real time. Mind officially blown.

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🔥 Unreal Engine 5 is wild. Such a powerful tool for cinematic storytelling! 😻 📺 Made this short video entirely entirely in-engine with marketplace 3D assets, and a sprinkle of GPT for scripting assistance. Hope you enjoyed my voice acting too 😂 🤯 Doing this the “good old fashioned” way — hopping between 3D tools like Maya, then compositing tools like After Effects, then editorial tools like Premiere would have taken *so* much longer. Amazing to be able do it all in one real-time playground! ⚙️ Next, I want to utilize synthetic AI voices, and take on a more ambitious narrative 🎥 Drop me your ideas on what you’d like to see!

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713,915 просмотров • 3 лет назад

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Shore Lyn

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3D scanning and rendering is moving so fast - got my splats up and running and I'm mind blown getting ~100fps for this complex 3D scene ⬇️ 🤯 1. WAY faster than NeRF: For comparison, NeRFs would takes around 10 seconds per frame (!) Instead I'm zipping around with FPV controls without breaking a sweat - though I do crash a few times towards the end of the video lol 2. Old Meets New: Gaussian Splatting is cool in that it fuses classical graphics and deep learning techniques. Like NeRFs, this is still a radiance field - just without the slower (ne)ural rendering part. 3. Explicit Representation: Instead you represent a 3D scene as a collection of ellipsoidal "splats" called gaussians. Each gaussian has a position, size, and color. Rendering in real-time is done by projecting into the image plane and alpha blending. 4. Photorealistic Effects: Gaussian splatting use spherical harmonics to represent the view-dependent effects and lighting - allowing surfaces to change color when viewed from different angles, enabling greater photorealism. It doesn't use a neural network, but the training loop is similar to deep learning. 5. Enables Direct Editing: But it's not just speed - with Gaussian Splatting you also get 3D editing support! So you can select, move, and delete stuff, even relight stuff. This type of editing has been more tedious to do with NeRFs and their implicit black box representations. 📲 More tests cooking! Much more to unpack here including simpler explanations. If you enjoyed this post, you might enjoy my feed: Bilawal Sidhu

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Delete Unreal Engine immediately. The $200 billion gaming industry was permanently destroyed today. OpenAI just officially dropped GPT-6 Astra, and it is generating two completely different interactive 3D AAA games live on screen: 1. Top screen: A hyper-speed sci-fi racer hitting 1,300 km/h with dynamic neon physics and real-time obstacle rendering. 2. Bottom screen: A fully playable FPS shooter with line-of-sight AI bots, weapon recoil, and complex urban geometry. 3. 0 developers involved. 0 lines of C++ code written. 50,000+ 3D assets generated on the fly at 120 FPS. 4. What used to cost Sony and Ubisoft $300,000,000 and 5 years of labor now takes a single text prompt and 2 seconds. 5. In 12 months, 90% of current game studios will either adapt to AI prompt engines or go bankrupt. If you are still ignoring AI in 2026, your skills are officially obsolete. Save this before it gets scrubbed from the internet.

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I ditched Unreal for AI. Kaiju Engine is a completely AI written replacement. To prove it was ready for production, I tested it by recreating and porting my old game, Firefall, into Kaiju, purely from the Steam download, no source. And it worked. Real game code is messy, full of difficult details and compromises. If our engine could handle a commercially released game, it proves you can ship a game with it. We're developing 2 orders of magnitude faster (93x) by lines of code and features. We have fewer bugs, and iteration is super fast. Build times have gone from 30 mins (Unreal) to 36 seconds. Feature rate is through the roof, days instead of months. Our original engine for Firefall took 2-3 years and cost over 5M to build (adjusted). Our new engine was written in 5 months for a couple grand. We built only what we needed, with none of the Unreal bloat. And we added some features: - Modern meshlet based rendering with PBR. - Vis Buffer/Forward+ with clustered lighting. - Id Tech 5 style megatexture streaming. - Planetary sized renderer (entire solar systems possible). - Seamless flight from ground to orbit and space. - No loading screens. - Procedural planet generation with plate simulation. - Client/Server at all times. - Ozz for animation. Jolt for Physics. - Companion Blender plug-in for AI directed asset exports. - 140fps currently, 200-300 projected after optimizations. You can see Firefall's assets and levels ported over into our engine in the video. Texture resolution and pop-in are limitations of the original game (high rez CDN based textures were lost when game went offline, fog hid the original's pop-in). Our meshlet renderer will be able to do much better with LOD and already supports high rez textures. I used Grok/Codex/Claude to tag team the code. This is not just a boon for indie games, it's a real game changer for game preservation. The reaction to seeing this 10 year old discontinued game revived is very emotional for Firefall fans. But we're not just preserving Firefall, we're going beyond, creating an original game that is the spiritual successor, Em-8ER. Gliding, jumpjets... it's all coming back. Moving past Unreal let us move much faster, without the bloat, and with better performance. If you want to signup to follow news on the game, sign up is free at

Grummz

357,432 просмотров • 1 месяц назад

It's not often that you see a game crossing over from one genre into another. Ultima went from classic turn-based RPG to real-time first-person 3D view action/adventure RPG. And it worked! Ultima Underworld II: Labyrinth of Worlds was developed by Looking Glass Technologies and published by Origin Systems in 1993. Gameplay is non-linear, letting you roam freely through huge, multi-level environments, solve puzzles, fight in real time, and interact with NPCs. For its time, it was highly innovative. It featured a fully explorable 3D world (no grid-snapping like older dungeon crawlers). The physics and object interactions were next level: you could pick up, drop, throw, stack, or combine almost anything. Want to build a staircase out of crates? Go for it. Pile junk to reach a high ledge? Sure thing. Knock over a table during a fight? It all worked. This level of interactivity was unheard of in 1993 - at least nothing close comes to mind. As an old-time Ultima fan, I was skeptical when I heard about an action RPG spin-off that diverged so much from the original concept. But boy, was I wrong; it was a blast!

It's not often that you see a game crossing over from one genre into another. Ultima went from classic turn-based RPG to real-time first-person 3D view action/adventure RPG. And it worked! Ultima Underworld II: Labyrinth of Worlds was developed by Looking Glass Technologies and published by Origin Systems in 1993. Gameplay is non-linear, letting you roam freely through huge, multi-level environments, solve puzzles, fight in real time, and interact with NPCs. For its time, it was highly innovative. It featured a fully explorable 3D world (no grid-snapping like older dungeon crawlers). The physics and object interactions were next level: you could pick up, drop, throw, stack, or combine almost anything. Want to build a staircase out of crates? Go for it. Pile junk to reach a high ledge? Sure thing. Knock over a table during a fight? It all worked. This level of interactivity was unheard of in 1993 - at least nothing close comes to mind. As an old-time Ultima fan, I was skeptical when I heard about an action RPG spin-off that diverged so much from the original concept. But boy, was I wrong; it was a blast!

exQUIZitely 🕹️

17,270 просмотров • 4 месяцев назад

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THE WAY YOU LOOK AT AI GAME DEVELOPMENT WILL CHANGE AFTER YOU WATCH THIS VIDEO "The AI Slop is Coming for Games." That's right. Introducing... Slopet League Everything you see here was built by Opus 5 and GPT 5.6 Sol in _____🤫. This is not an html page, it is a functional game with a fair bit of polish working inside a real game engine. This has to be some kind of trick. NO. It downloaded a map. NO. Imported assets. Only the Octane meshes, I have other cars that were generated that look just as good. The balls, the map, the effects, the physics, animations, etc were all generated from scratch by Opus 5. GPT 5.6 Sol handled the car meshes. This is only the beginning. I made this in about a day and a half, and most of that time I was waiting on Opus to finish generation. Maybe 25 prompts. I will share my process, and many photos, proofs, evidence of this as we go. This is just a taste, I'm extremely busy this week and working on real life stuff so I'm not going to put any more time into this until next week, but believe me I'm gonna polish this into something beautiful. If you're interested, please share, bookmark, follow, and comment below. I want the world to see just how powerful the language models are TODAY. It's only going to get better from here. Buckle up folks. Oh, and What a save!

am.will

131,731 просмотров • 2 месяцев назад

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

38,221 просмотров • 1 год назад

DIGITAL TWIN UPDATE: The Unreal Engine digital twin project is CANCELLED! WE ARE OPEN SOURCING THE WORK!!!!!!! Instead, I'm building an end-to-end land management platform I'm calling Mazzap because it's an app and it's a map and also I'm Mr. Mazza. I'm also not calling a digital twin anymore; I'm calling it a V.E.I.L. which stands for Virtually Embodied Intelligent Land which serves the dual purpose of sounding way cooler and also conveys the long-term aims of the prject way better. With Mazzap anyone can easily generate a veil with nothing but publicly available data (and some photogrammetry objects if you so choose). Everything is perfectly georefrenced and you can right-click anywhere on your veil to get coordinates you can plug into google maps yourself. The next step for this is going to be building a survey companion mobile app so you can get field data yourself complete with attribute tables to drop in to get even HIGHER fidelity data than USGS. My stretch goal is using something like SAM 3D (but better) to generate georefrenced 3d tree assets based on the real trees on your land (which will eventually lead to growth and fruiting simulators based on your soil and hydrology data). Then again maybe that's not the next step; maybe the next step is plumbing in IoT devices so you can view assets in real time on your land. GPS trackers on the sheep, or maybe data from your solar controller. Or maybe it's up to you, because it's completely open source and it has an agents markdown file ready for your own coding agent to read and adapt for your purposes (did I mention this is vibecloded slop? sowwyyyy) Watch demo below and see how you can go from zero to beautifully rendered 3d map of your property in less than 15 minutes! If you're coming in cold to all this, below in the QT is a nested thread of reverse chronological tweets of my work on this (in unreal) so far.

DIGITAL TWIN UPDATE: The Unreal Engine digital twin project is CANCELLED! WE ARE OPEN SOURCING THE WORK!!!!!!! Instead, I'm building an end-to-end land management platform I'm calling Mazzap because it's an app and it's a map and also I'm Mr. Mazza. I'm also not calling a digital twin anymore; I'm calling it a V.E.I.L. which stands for Virtually Embodied Intelligent Land which serves the dual purpose of sounding way cooler and also conveys the long-term aims of the prject way better. With Mazzap anyone can easily generate a veil with nothing but publicly available data (and some photogrammetry objects if you so choose). Everything is perfectly georefrenced and you can right-click anywhere on your veil to get coordinates you can plug into google maps yourself. The next step for this is going to be building a survey companion mobile app so you can get field data yourself complete with attribute tables to drop in to get even HIGHER fidelity data than USGS. My stretch goal is using something like SAM 3D (but better) to generate georefrenced 3d tree assets based on the real trees on your land (which will eventually lead to growth and fruiting simulators based on your soil and hydrology data). Then again maybe that's not the next step; maybe the next step is plumbing in IoT devices so you can view assets in real time on your land. GPS trackers on the sheep, or maybe data from your solar controller. Or maybe it's up to you, because it's completely open source and it has an agents markdown file ready for your own coding agent to read and adapt for your purposes (did I mention this is vibecloded slop? sowwyyyy) Watch demo below and see how you can go from zero to beautifully rendered 3d map of your property in less than 15 minutes! If you're coming in cold to all this, below in the QT is a nested thread of reverse chronological tweets of my work on this (in unreal) so far.

Zy

57,146 просмотров • 7 месяцев назад

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 просмотров • 7 месяцев назад

This is how ALOHA's "teleoperation" system works - a fancy word for "remote control". Training robots will be more and more like playing games in the physical world. A human operates a "joystick++" to perform tasks and collect data, or intervene if there's any safety concern. There's actually a learning curve to master the controller, much like practicing gaming skills. Teleoperation can be done in many different ways. ALOHA is an impressive custom-built system with very low cost. Here're a few alternatives: (1) Motion Capture (MoCap): apply the MoCap systems used for Hollywood movies to capture the fine-grained motions of hand joints. There would be no "embodiment gap" if the robot hand has 5 fingers. For instance, a demonstrator can wear a CyberGlove ( and manipulate the objects. CyberGlove will capture the motion signals & haptic feedback in real-time, which can be re-targeted onto the humanoid. (2) Wearing gloves & markers can be clumsy. An alternative way to do MoCap is through computer vision. DexPilot from NVIDIA enables marker-less and glove-free data collection. The human operator simply uses their bare hands to perform the tasks. 4 Intel RealSense depth cameras and 2 NVIDIA Titan XP GPUs (yeah, 2019 work) translate the pixels to precise motion signals for robot learning. (3) VR Headset: turn the training room into a VR game and "role play" the robot. This has the advantage of scalable remote data collection - annotators from around the world can contribute without coming onsite. VR demonstration technique appeared in research projects like the iGibson home robot simulator, an initiative that I participated in at Stanford: Behind-the-scene video by Litian Liang

This is how ALOHA's "teleoperation" system works - a fancy word for "remote control". Training robots will be more and more like playing games in the physical world. A human operates a "joystick++" to perform tasks and collect data, or intervene if there's any safety concern. There's actually a learning curve to master the controller, much like practicing gaming skills. Teleoperation can be done in many different ways. ALOHA is an impressive custom-built system with very low cost. Here're a few alternatives: (1) Motion Capture (MoCap): apply the MoCap systems used for Hollywood movies to capture the fine-grained motions of hand joints. There would be no "embodiment gap" if the robot hand has 5 fingers. For instance, a demonstrator can wear a CyberGlove ( and manipulate the objects. CyberGlove will capture the motion signals & haptic feedback in real-time, which can be re-targeted onto the humanoid. (2) Wearing gloves & markers can be clumsy. An alternative way to do MoCap is through computer vision. DexPilot from NVIDIA enables marker-less and glove-free data collection. The human operator simply uses their bare hands to perform the tasks. 4 Intel RealSense depth cameras and 2 NVIDIA Titan XP GPUs (yeah, 2019 work) translate the pixels to precise motion signals for robot learning. (3) VR Headset: turn the training room into a VR game and "role play" the robot. This has the advantage of scalable remote data collection - annotators from around the world can contribute without coming onsite. VR demonstration technique appeared in research projects like the iGibson home robot simulator, an initiative that I participated in at Stanford: Behind-the-scene video by Litian Liang

Jim Fan

124,783 просмотров • 2 лет назад

A normal football moment turned into a futuristic legend. ⚽⚡🔥 From a dream shot to a cyber-powered goal AI brought this cinematic football universe to life. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI Prompt: Scene 1 (0–2s) – Stadium Establishing Shot A packed football stadium at night under brilliant floodlights. The crowd roars as the camera slowly pushes toward the pitch. Flags wave, atmospheric particles float through the air, and the stadium feels massive and alive. Ultra-realistic sports broadcast quality. Scene 2 (2–4s) – Perfect Cross An original football athlete wearing a sleek futuristic white-and-neon football kit tracks a perfect aerial cross. The camera follows the ball before smoothly transitioning to the athlete's focused expression. Dramatic anticipation builds with cinematic slow motion. Scene 3 (4–7s) – The Leap The athlete explodes into an incredible bicycle volley. The camera switches between low-angle tracking shots, slow-motion close-ups, and dynamic aerial perspectives. Flying grass, dust, and motion blur enhance the realism. Scene 4 (7–10s) – Time Freeze At the exact instant before the foot touches the ball, time completely freezes. Every particle hangs motionless. The camera performs a slow cinematic orbit around the athlete while the stadium remains perfectly frozen. Scene 5 (10–13s) – Cyber Transformation Mechanical armor assembles over the athlete's body piece by piece. Blue and orange energy lines ignite, the visor activates, mechanical wings unfold, and the football transforms into a glowing plasma sphere surrounded by electricity, fire, sparks, and floating energy fragments. Scene 6 (13–15s) – Cliffhanger The transformation completes. The cyber athlete remains frozen inches away from striking the glowing plasma ball. End with a dramatic close-up, intense lens flare, floating energy particles, and a seamless cliffhanger ready for Part 2. Style: Original fictional character only. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, premium VFX, volumetric lighting, HDR, cinematic sports commercial, smooth camera movement, 1080p detail, blockbuster visuals. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no text, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no low quality, no camera shake, no glitches. Part 2 Scene 1 (15–17s) – Action Resumes Time suddenly resumes from the frozen frame. The cyber athlete unleashes a devastating bicycle volley. The instant the foot strikes the plasma football, a massive burst of blue electricity, orange fire, sparks, plasma energy, and shockwaves explodes outward. Capture the impact with ultra slow motion and dramatic close-ups. Scene 2 (17–20s) – Plasma Ball Flight The plasma football rockets toward the goal at incredible speed, leaving behind blazing fire trails, blue lightning, glowing plasma particles, and motion streaks. The camera alternates between tracking shots, side views, and behind-the-ball perspectives while the crowd becomes a cinematic blur. Scene 3 (20–22s) – Goal Impact The glowing plasma football smashes into the top corner of the goal. The net ripples violently as a gigantic energy explosion erupts. Sparks, debris, plasma waves, and holographic shockwaves spread throughout the stadium with blockbuster visual effects. Scene 4 (22–25s) – Stadium Celebration The stadium erupts with fireworks, holographic lights, smoke, confetti, waving flags, and roaring fans. Bright floodlights illuminate the entire arena while glowing energy particles drift through the air. Epic cinematic drone shots reveal the celebration. Scene 5 (25–28s) – Hero Landing The cyber athlete lands powerfully on the pitch. Mechanical wings slowly fold back into the armor while blue energy lines gradually fade. Floating sparks and glowing fragments surround the athlete as the camera circles dramatically. Scene 6 (28–30s) – Epic Finale The athlete stands in a victorious heroic pose facing the roaring stadium. The camera slowly pushes in while cinematic lens flares, volumetric lighting, drifting smoke, and holographic particles fill the scene. End on a premium blockbuster frame with an unforgettable cinematic finish. Style: Original fictional football athlete only. Do not resemble or recreate any real football player, club, team, logo, jersey, or copyrighted content. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, HDR, volumetric lighting, premium VFX, smooth cinematic camera movement, ultra-detailed 1080p, realistic physics, blockbuster sports commercial. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no glitches, no low quality, no camera shake. #PolloAI #PolloCup

Stonic AI

30,576 просмотров • 2 месяцев назад

⚡ My first advanced simulation with Grok 3! Finally your OS windows act like REAL windows 🤣 As you know, I've spent more than 2 years sharing all kinds of simulations and mini-games made with Claude, ChatGPT (o3-mini-high), etc. It’s been ages since I last wrote a single line of code. But pretty often, once you hit over 1,000 lines, it turns into a debate against the LLM and you frequently get stuck in a loop that’s hard to break out of. Everyone was raving about Grok 3’s ability to generate code, but until now, I hadn’t really put it to the test. So I decided to challenge it with a prompt that both ChatGPT and Claude were seriously struggling with (debate loop). The initial prompt was: "Use Python and a 2D physics library to create a world where I can generate different static objects like squares, triangles, circles and rectangles. I should be able to move them with the mouse, rotate, scale, and delete them. The cool part is that we’ll see this world through 1 to N operating system windows. In other words, the windows will be like real windows! When one of these windows is active and I hit the spacebar, balls affected by physics should appear and interact with the static objects. You can start with placeholders, but later I'll send you a series of PNG images so they all become beautiful sprites." After a few iterations, I got the result you see in the video. Insane, right? 🤯 Now, with Grok, we have the power to create anything that pops into our mind with just a couple of prompts. It’s mind blowing. Ever since I was 9 and messing around with BASIC on my MSX, I've been hooked on visual simulations... And now I can create them using nothing but natural language. It's f***** amazing that we're living in this historic moment!

⚡ My first advanced simulation with Grok 3! Finally your OS windows act like REAL windows 🤣 As you know, I've spent more than 2 years sharing all kinds of simulations and mini-games made with Claude, ChatGPT (o3-mini-high), etc. It’s been ages since I last wrote a single line of code. But pretty often, once you hit over 1,000 lines, it turns into a debate against the LLM and you frequently get stuck in a loop that’s hard to break out of. Everyone was raving about Grok 3’s ability to generate code, but until now, I hadn’t really put it to the test. So I decided to challenge it with a prompt that both ChatGPT and Claude were seriously struggling with (debate loop). The initial prompt was: "Use Python and a 2D physics library to create a world where I can generate different static objects like squares, triangles, circles and rectangles. I should be able to move them with the mouse, rotate, scale, and delete them. The cool part is that we’ll see this world through 1 to N operating system windows. In other words, the windows will be like real windows! When one of these windows is active and I hit the spacebar, balls affected by physics should appear and interact with the static objects. You can start with placeholders, but later I'll send you a series of PNG images so they all become beautiful sprites." After a few iterations, I got the result you see in the video. Insane, right? 🤯 Now, with Grok, we have the power to create anything that pops into our mind with just a couple of prompts. It’s mind blowing. Ever since I was 9 and messing around with BASIC on my MSX, I've been hooked on visual simulations... And now I can create them using nothing but natural language. It's f***** amazing that we're living in this historic moment!

Javi Lopez ⛩️

209,470 просмотров • 1 год назад