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Gorgeous isn't?

Yours Framefully

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34,276 views • 10 months ago •via X (Twitter)

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Do you have any idea how much you can charge for this service? Before I answer that, let me first break down what's happening here and how you can copy this. 1. You're going to start by going to Home Depot and paying way too much for these supplies and materials. 2. You're going to make three of these things in three different sizes. Put them on your front porch, pay a photographer a couple hundred bucks to get some gorgeous pictures and videos of these. 3. Then you're going to join every local mom group, whether you're a mom or not. The more local, the better. 4. You're going to post these pictures and videos and say, what do you guys think? Isn't this so cute? You're not going to sell it. You don't need to. People are going to be buying in the comments. 5. Then you respond to them. You're going to charge between $400 and $800 per porch, depending on the size of the home. You can reuse the products every year, collapse them, put them in storage, put them in the garage. This might be even better than porch pumpkins because these products last forever and they're not as heavy. Materials: - You're going to need wooden dowels from Amazon, resin urn planters from Home Depot, cardboard boxes from Uline, and some wrapping paper. - You're going to spend between $15 and $30 per box to make these. $0.90 and $0.80 of every dollar is going to be pure profit in your pocket.

Do you have any idea how much you can charge for this service? Before I answer that, let me first break down what's happening here and how you can copy this. 1. You're going to start by going to Home Depot and paying way too much for these supplies and materials. 2. You're going to make three of these things in three different sizes. Put them on your front porch, pay a photographer a couple hundred bucks to get some gorgeous pictures and videos of these. 3. Then you're going to join every local mom group, whether you're a mom or not. The more local, the better. 4. You're going to post these pictures and videos and say, what do you guys think? Isn't this so cute? You're not going to sell it. You don't need to. People are going to be buying in the comments. 5. Then you respond to them. You're going to charge between $400 and $800 per porch, depending on the size of the home. You can reuse the products every year, collapse them, put them in storage, put them in the garage. This might be even better than porch pumpkins because these products last forever and they're not as heavy. Materials: - You're going to need wooden dowels from Amazon, resin urn planters from Home Depot, cardboard boxes from Uline, and some wrapping paper. - You're going to spend between $15 and $30 per box to make these. $0.90 and $0.80 of every dollar is going to be pure profit in your pocket.

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William Sharpe, Stanford professor and Nobel economist: "Citadel and Two Sigma live and die by one number: the Sharpe ratio. It's mine. I built it to tell a skilled strategy from a lucky, reckless one." the thread above is about building a portfolio and knowing when to cut a strategy. sharpe gave the world the single number that answers the only question that matters: is this thing actually good, or just lucky and levered? return alone is a trap. a 40% year isn't impressive if you bet the farm for it. sharpe's ratio divides your return by the risk you took to get it, so a calm 15% can beat a wild 40%. it strips luck and leverage out of any track record, and that is exactly why every fund on earth judges itself by it. this is also how a desk decides when to kill a strategy. not "did it make money," but "did it make enough per unit of risk." a falling sharpe is the signal to cut, long before the P&L ever turns red. he published the math in 1964, won the nobel in 1990, and left it in this free lecture. same story i keep telling: the number that runs every trading floor is old, public, and free. here is the blind spot sharpe himself knew. the ratio assumes risk is smooth and symmetric. a strategy that quietly sells insurance shows a gorgeous sharpe for years, then one tail event erases a decade. a high sharpe is not proof you are safe. it is proof you have not met your bad day yet.

William Sharpe, Stanford professor and Nobel economist: "Citadel and Two Sigma live and die by one number: the Sharpe ratio. It's mine. I built it to tell a skilled strategy from a lucky, reckless one." the thread above is about building a portfolio and knowing when to cut a strategy. sharpe gave the world the single number that answers the only question that matters: is this thing actually good, or just lucky and levered? return alone is a trap. a 40% year isn't impressive if you bet the farm for it. sharpe's ratio divides your return by the risk you took to get it, so a calm 15% can beat a wild 40%. it strips luck and leverage out of any track record, and that is exactly why every fund on earth judges itself by it. this is also how a desk decides when to kill a strategy. not "did it make money," but "did it make enough per unit of risk." a falling sharpe is the signal to cut, long before the P&L ever turns red. he published the math in 1964, won the nobel in 1990, and left it in this free lecture. same story i keep telling: the number that runs every trading floor is old, public, and free. here is the blind spot sharpe himself knew. the ratio assumes risk is smooth and symmetric. a strategy that quietly sells insurance shows a gorgeous sharpe for years, then one tail event erases a decade. a high sharpe is not proof you are safe. it is proof you have not met your bad day yet.

Voltex

65,224 views • 15 days ago

But Obama is the bad guy. Yeah. The logical one is the sociopath who superglued gold-plated decorations from Home Depot all over the Oval Office to make it look the gayest it has ever looked. It looks like Temu Liberace decorated it, for fuck's sake. You know, the guy who loves to sing YMCA? That guy. The guy that's talking about men being gorgeous and muscular and strong and powerful...that guy is the alpha male compared to Obama? Your own leaders told you to fear the scary black guy and dude did nothing to you. You were told Obama would take your guns, and he never did. They told you he was born in Kenya, and you believed them...despite the black man releasing his birth certificate to counter a fucking lie, and that still wasn't enough for you. It will never be enough. How can you believe anything your party tells you after a decade of this MAGA shit that was, and still is, a cult based on LIES? You guys were targeted in GamerGate with misogynistic propaganda to foment HATE. Bannon was part of that. Epstein was part of that. Racists were targeted. You guys were created. Christians were targeted. Not by Democrats. By the Republican Party. Obama didn't do shit to you. Your own party has taken more from you than any democratic president ever could. The problem is in your own house, and you've damned the rest of us to suffer the consequences of your horrific decision with you. So get your heads out of each other's asses, and focus on the one who is actually in power right now. The black guy is bad routine just isn't landing like it used to.

But Obama is the bad guy. Yeah. The logical one is the sociopath who superglued gold-plated decorations from Home Depot all over the Oval Office to make it look the gayest it has ever looked. It looks like Temu Liberace decorated it, for fuck's sake. You know, the guy who loves to sing YMCA? That guy. The guy that's talking about men being gorgeous and muscular and strong and powerful...that guy is the alpha male compared to Obama? Your own leaders told you to fear the scary black guy and dude did nothing to you. You were told Obama would take your guns, and he never did. They told you he was born in Kenya, and you believed them...despite the black man releasing his birth certificate to counter a fucking lie, and that still wasn't enough for you. It will never be enough. How can you believe anything your party tells you after a decade of this MAGA shit that was, and still is, a cult based on LIES? You guys were targeted in GamerGate with misogynistic propaganda to foment HATE. Bannon was part of that. Epstein was part of that. Racists were targeted. You guys were created. Christians were targeted. Not by Democrats. By the Republican Party. Obama didn't do shit to you. Your own party has taken more from you than any democratic president ever could. The problem is in your own house, and you've damned the rest of us to suffer the consequences of your horrific decision with you. So get your heads out of each other's asses, and focus on the one who is actually in power right now. The black guy is bad routine just isn't landing like it used to.

Nicole Minét

75,144 views • 1 month ago

Dragon Age: Veilguard | IGN Hands-On Impressions ▪️Was skeptical before playing, but now "I left feeling like these ten long years just might’ve been worth the wait", "much more hopeful that this could be the hit BioWare needs" ▪️"Walked away with excitement and curiosity, but mostly, relief to wave many of my concerns goodbye" ▪️While the game is not open world like Dragon Age: Inquisition, they were "impressed" by "how much exploration can still be done in the various regions", as well as the impact you can have on those regions ▪️Feels like a mix of Dragon Age 2 and Inquisition, with the more streamlined approach of DA2 and the geographical and sociopolitical diversity of Inquisition ▪️There is an "effective and succinct story recap from Varric" at the start of the game ▪️Combat feels like there is a lot of room to create "highly customized builds" of your Rook, companion abilities and combos build team synergy ▪️The "scrappiness" of Rook reminded them a bit of Hawke in DA2 rather than the more 'chosen one' of the Inquisitor ▪️Companions will sometimes drop useful hints during combat ▪️Your attitude and choices in dialogue will be noted and remembered in more detail, for example choosing to be antagonistic with Solas let you know you "traded verbal jabs with Solas", implying possible consequences later ▪️"Became clear that there would consistently be tons of choices in The Veilguard that’ll have lasting results", more than the usual BioWare game ▪️The initial prologue is linear in approach, but the game becomes "much more free" and opens up, tackle quests as you please and unlock more regions ▪️Mix of drastically different regions: Arlathan Forest is "gorgeous and colorful", nugs burrowing into grass, "vast array of nature", while Hossberg Wetlands is full of more "horror inspired" aesthetics, consumed by the Blight ▪️"Those who miss the gore and dark fantasy of Origins will find that too in places where the Blight has spread" ▪️Treviso is a bustling and lively city, "so much to explore that I kept getting sidetracked" ▪️Party banter pauses and picks up again later if you trigger combat, a cutscene, etc that interrupts their dialogue ▪️Customizable difficulty options allows you turn off things like navigation and look for in-game clues in the environment to follow to your goal ▪️BioWare listened to the complaints about "the Hinterlands" in Inquisition and tons of fetch quests, where in Veilguard the scope isn't nearly as bloated and quests point back to the main story, region, faction, or companions ▪️The two Elven god villains Elgar'nan and Ghilan'nain feel much more present throughout the game compared to Corypheus in Inquisition ▪️The Lighthouse (hub) starts to feel more lived in as you play, characters/companions have unique quirks (Emmrich's skeleton assistant Manfred enjoys spending time on the balcony for example, you can play Rock, Paper, Scissors with him) ▪️Solas and his history are very important throughout the game Video ▶️ Article ➡️ #DragonAge

Dragon Age: Veilguard | IGN Hands-On Impressions ▪️Was skeptical before playing, but now "I left feeling like these ten long years just might’ve been worth the wait", "much more hopeful that this could be the hit BioWare needs" ▪️"Walked away with excitement and curiosity, but mostly, relief to wave many of my concerns goodbye" ▪️While the game is not open world like Dragon Age: Inquisition, they were "impressed" by "how much exploration can still be done in the various regions", as well as the impact you can have on those regions ▪️Feels like a mix of Dragon Age 2 and Inquisition, with the more streamlined approach of DA2 and the geographical and sociopolitical diversity of Inquisition ▪️There is an "effective and succinct story recap from Varric" at the start of the game ▪️Combat feels like there is a lot of room to create "highly customized builds" of your Rook, companion abilities and combos build team synergy ▪️The "scrappiness" of Rook reminded them a bit of Hawke in DA2 rather than the more 'chosen one' of the Inquisitor ▪️Companions will sometimes drop useful hints during combat ▪️Your attitude and choices in dialogue will be noted and remembered in more detail, for example choosing to be antagonistic with Solas let you know you "traded verbal jabs with Solas", implying possible consequences later ▪️"Became clear that there would consistently be tons of choices in The Veilguard that’ll have lasting results", more than the usual BioWare game ▪️The initial prologue is linear in approach, but the game becomes "much more free" and opens up, tackle quests as you please and unlock more regions ▪️Mix of drastically different regions: Arlathan Forest is "gorgeous and colorful", nugs burrowing into grass, "vast array of nature", while Hossberg Wetlands is full of more "horror inspired" aesthetics, consumed by the Blight ▪️"Those who miss the gore and dark fantasy of Origins will find that too in places where the Blight has spread" ▪️Treviso is a bustling and lively city, "so much to explore that I kept getting sidetracked" ▪️Party banter pauses and picks up again later if you trigger combat, a cutscene, etc that interrupts their dialogue ▪️Customizable difficulty options allows you turn off things like navigation and look for in-game clues in the environment to follow to your goal ▪️BioWare listened to the complaints about "the Hinterlands" in Inquisition and tons of fetch quests, where in Veilguard the scope isn't nearly as bloated and quests point back to the main story, region, faction, or companions ▪️The two Elven god villains Elgar'nan and Ghilan'nain feel much more present throughout the game compared to Corypheus in Inquisition ▪️The Lighthouse (hub) starts to feel more lived in as you play, characters/companions have unique quirks (Emmrich's skeleton assistant Manfred enjoys spending time on the balcony for example, you can play Rock, Paper, Scissors with him) ▪️Solas and his history are very important throughout the game Video ▶️ Article ➡️ #DragonAge

Shinobi602

610,675 views • 1 year ago

On Zero 10 at Art Basel 2026 When I heard Zero 10 was coming to Art Basel, the first thing I felt wasn't curiosity about the art. It was the chance to finally stand in a room with people I'd only ever known through a screen and talk about where our space actually is right now. I went in wearing two hats and trying to keep both on at once. One was the curious visitor: how does digital art even get communicated inside an institution like this? The other I can't take off. Someone who comes from the underground core of this scene. I made myself a promise on the way in. No "fuck this, it's all cringe." Neutral. Open. Give it everything before I judge anything. And for a while, it earned that. The first thing Zero 10 gets right is that it doesn't feel like a side fair, even though that's exactly what it is. Visually it holds the moment. Without saying it out loud, it tells you Art Basel is serious about this now. Not dabbling, not hedging its bets. The first works I saw were John Gerrard's triptych of flags, and they set the tone instantly. They're gorgeous. Someone walking in cold might not even clock them as simulations. They might think they're looking at a live feed. That's the point. The room opens by declaring, in the most aesthetic way possible: *this is the zeitgeist of digital art.* Hold onto that sentence. I'll come back to it. Walking through, I slowly understood what Eli Scheinman and Trevor Paglen were actually doing. This wasn't Miami, where every phone in the room was pointed at Beeple's robot dogs and the whole thing tipped into spectacle, which, to be fair, worked exactly as intended. Basel was something else. Didactic in the good sense. A guided walk through the history of digital art, screens and physical works, old and new, woven together until the seams disappeared. For someone like me, who has been pushing back on the flattening, the lazy reflex that files Autoglyphs and Fidenza in the same drawer as 10k flip projects, this was genuinely moving to see. Someone built a room that takes this work seriously enough to give it a lineage. That matters. I don't want to undersell how much it matters. Then I hit Avery Singer's *Shit Coin Maxi*, hung by Hauser & Wirth, and that's the exact moment something turned. It's a good title, or it was. That's almost the problem. "Shit coin" is already dead vocabulary. That word had its currency back in Cobie's peak era, and nobody current talks like that anymore. So a painting made in 2025 reaching for it reads less like the present than like nostalgia for a moment that already passed. I'm not mad at the work. I'm noting what it represents. A blue-chip painter borrowing a word that signaled "now" a couple of cycles ago, hung in the room that's claiming to show us the actual now. The strongest culture of the last few years got made by people with no institutional cover, and what makes it onto a blue-chip wall is the part already legible to the institution, smoothed down into something sellable. So the present wasn't absent from the room. It was here, absorbed, translated into a dialect the fair already understands. Which made me start looking for the other version of it. The one that hasn't been translated yet. The thing that's still hot to the touch. It wasn't there. Not a single artist or movement in the room represented the current moment on its own terms. Someone will say that's just my perspective, and fine. But let's be real. The wildest movement of the last cycle happened on Solana, through meme coins, and out of that chaos came an NFT scene with its own dynamic and a handful of genuinely outstanding artists building a language that deserves a place in the canon. Avant NFTs, Gay NFTs, tongue-licking-the-flame NFTs, whatever you want to call them. That language isn't a footnote. Read properly, it throws new light backward. It's what finally lets the 2021 work and everything before it be seen as something other than cartoon monkeys. The current scene is the key to the historical one. Leave it out and the history you're telling is missing the part that shows the conversation has moved past 2021 bag holders praying for the mass adoption where the world wakes up and decides Tyler Hobbs is sexier than Ida Ekblad. And before anyone reads this as an NFT guy asking for more NFTs: that's the reduction, and the reduction is the whole problem. What's missing isn't a market category. It's a way of working. Artists using the blockchain like a studio, not to mint jpegs but to build whole worlds, weaving AI, physical objects, writing, and community into one continuous practice instead of separate outputs. That is digital art. That is AI art. The two things this show says it's about. Which is what makes the omission strange. Zero 10 sorts everything into clean bins, AI over here, generative over there, a physical piece on the wall, exactly when the work that's most alive is the work dissolving those bins. The filing system is the tell. It organizes the present with the categories of the past. Which brings me back to that opening declaration. *This is the zeitgeist of digital art.* Except those flags weren't new. *Western Flag* dates to 2017. The newest of the three is 2023. The works chosen to announce the present were themselves already the past. Fellowship framed the triptych as a nine-year body of work, the oldest piece nearly a decade old. A zeitgeist on a delay. None of this makes the work bad, but digital culture doesn't run on museum time, and work that felt current when it was made can read as historical by the time it's framed as the now. Is it even one, then? I mean that as a real question, not a gotcha. A zeitgeist is the spirit of a time, and a spirit can only belong to the people living inside it. So what happens when the previous generation is the one interpreting what the current generation's culture looks like? Does it stay a zeitgeist, or quietly become a retrospective wearing the zeitgeist's clothes? You named the whole platform after Malevich's *0,10*, the show where Suprematism reduced everything to zero and started over. You set your own bar at rupture. And the one thing the room didn't show me was the rupture happening outside its walls. This isn't sentiment, either. The last Art Basel and UBS survey put it plainly: Millennials and Gen Z now make up roughly three-quarters of high-net-worth collectors, and more than half of those collectors bought a digital work in the past year. The new generation isn't the future of this market. It's the present tense. Defining their culture for them, from above, doesn't just feel off. It misreads the room it's standing in. So let me end where my excitement actually lives. For years, the part of Art Basel I loved most wasn't the main fair. It was Liste. The young galleries, the disruptive positions, the work that hadn't been sorted or priced or canonized yet. That's where you went to feel something. Zero 10 could be that. It has the bones to become the room that hits you awake before the main halls lull you back to sleep. The cold water before the warm bath. The place you walk through first, get rattled, feel your pulse, and only then go get comfortable. That's the highest thing I can imagine for it, and it's within reach. The frame is right. The seriousness is right. What's missing is the nerve to let the people making the present define what it looks like. Get that part right, and Zero 10 won't be showing us the zeitgeist. It'll be where the zeitgeist is.

On Zero 10 at Art Basel 2026 When I heard Zero 10 was coming to Art Basel, the first thing I felt wasn't curiosity about the art. It was the chance to finally stand in a room with people I'd only ever known through a screen and talk about where our space actually is right now. I went in wearing two hats and trying to keep both on at once. One was the curious visitor: how does digital art even get communicated inside an institution like this? The other I can't take off. Someone who comes from the underground core of this scene. I made myself a promise on the way in. No "fuck this, it's all cringe." Neutral. Open. Give it everything before I judge anything. And for a while, it earned that. The first thing Zero 10 gets right is that it doesn't feel like a side fair, even though that's exactly what it is. Visually it holds the moment. Without saying it out loud, it tells you Art Basel is serious about this now. Not dabbling, not hedging its bets. The first works I saw were John Gerrard's triptych of flags, and they set the tone instantly. They're gorgeous. Someone walking in cold might not even clock them as simulations. They might think they're looking at a live feed. That's the point. The room opens by declaring, in the most aesthetic way possible: this is the zeitgeist of digital art. Hold onto that sentence. I'll come back to it. Walking through, I slowly understood what Eli Scheinman and Trevor Paglen were actually doing. This wasn't Miami, where every phone in the room was pointed at Beeple's robot dogs and the whole thing tipped into spectacle, which, to be fair, worked exactly as intended. Basel was something else. Didactic in the good sense. A guided walk through the history of digital art, screens and physical works, old and new, woven together until the seams disappeared. For someone like me, who has been pushing back on the flattening, the lazy reflex that files Autoglyphs and Fidenza in the same drawer as 10k flip projects, this was genuinely moving to see. Someone built a room that takes this work seriously enough to give it a lineage. That matters. I don't want to undersell how much it matters. Then I hit Avery Singer's Shit Coin Maxi, hung by Hauser & Wirth, and that's the exact moment something turned. It's a good title, or it was. That's almost the problem. "Shit coin" is already dead vocabulary. That word had its currency back in Cobie's peak era, and nobody current talks like that anymore. So a painting made in 2025 reaching for it reads less like the present than like nostalgia for a moment that already passed. I'm not mad at the work. I'm noting what it represents. A blue-chip painter borrowing a word that signaled "now" a couple of cycles ago, hung in the room that's claiming to show us the actual now. The strongest culture of the last few years got made by people with no institutional cover, and what makes it onto a blue-chip wall is the part already legible to the institution, smoothed down into something sellable. So the present wasn't absent from the room. It was here, absorbed, translated into a dialect the fair already understands. Which made me start looking for the other version of it. The one that hasn't been translated yet. The thing that's still hot to the touch. It wasn't there. Not a single artist or movement in the room represented the current moment on its own terms. Someone will say that's just my perspective, and fine. But let's be real. The wildest movement of the last cycle happened on Solana, through meme coins, and out of that chaos came an NFT scene with its own dynamic and a handful of genuinely outstanding artists building a language that deserves a place in the canon. Avant NFTs, Gay NFTs, tongue-licking-the-flame NFTs, whatever you want to call them. That language isn't a footnote. Read properly, it throws new light backward. It's what finally lets the 2021 work and everything before it be seen as something other than cartoon monkeys. The current scene is the key to the historical one. Leave it out and the history you're telling is missing the part that shows the conversation has moved past 2021 bag holders praying for the mass adoption where the world wakes up and decides Tyler Hobbs is sexier than Ida Ekblad. And before anyone reads this as an NFT guy asking for more NFTs: that's the reduction, and the reduction is the whole problem. What's missing isn't a market category. It's a way of working. Artists using the blockchain like a studio, not to mint jpegs but to build whole worlds, weaving AI, physical objects, writing, and community into one continuous practice instead of separate outputs. That is digital art. That is AI art. The two things this show says it's about. Which is what makes the omission strange. Zero 10 sorts everything into clean bins, AI over here, generative over there, a physical piece on the wall, exactly when the work that's most alive is the work dissolving those bins. The filing system is the tell. It organizes the present with the categories of the past. Which brings me back to that opening declaration. This is the zeitgeist of digital art. Except those flags weren't new. Western Flag dates to 2017. The newest of the three is 2023. The works chosen to announce the present were themselves already the past. Fellowship framed the triptych as a nine-year body of work, the oldest piece nearly a decade old. A zeitgeist on a delay. None of this makes the work bad, but digital culture doesn't run on museum time, and work that felt current when it was made can read as historical by the time it's framed as the now. Is it even one, then? I mean that as a real question, not a gotcha. A zeitgeist is the spirit of a time, and a spirit can only belong to the people living inside it. So what happens when the previous generation is the one interpreting what the current generation's culture looks like? Does it stay a zeitgeist, or quietly become a retrospective wearing the zeitgeist's clothes? You named the whole platform after Malevich's 0,10, the show where Suprematism reduced everything to zero and started over. You set your own bar at rupture. And the one thing the room didn't show me was the rupture happening outside its walls. This isn't sentiment, either. The last Art Basel and UBS survey put it plainly: Millennials and Gen Z now make up roughly three-quarters of high-net-worth collectors, and more than half of those collectors bought a digital work in the past year. The new generation isn't the future of this market. It's the present tense. Defining their culture for them, from above, doesn't just feel off. It misreads the room it's standing in. So let me end where my excitement actually lives. For years, the part of Art Basel I loved most wasn't the main fair. It was Liste. The young galleries, the disruptive positions, the work that hadn't been sorted or priced or canonized yet. That's where you went to feel something. Zero 10 could be that. It has the bones to become the room that hits you awake before the main halls lull you back to sleep. The cold water before the warm bath. The place you walk through first, get rattled, feel your pulse, and only then go get comfortable. That's the highest thing I can imagine for it, and it's within reach. The frame is right. The seriousness is right. What's missing is the nerve to let the people making the present define what it looks like. Get that part right, and Zero 10 won't be showing us the zeitgeist. It'll be where the zeitgeist is.

VVV.SO

13,573 views • 1 month ago

Westerners Flocking to Play Stunning New Chinese Video Game—and Skipping ‘Spyware’ Warnings . CHINESE DESIGNERS JUST LAUNCHED another video game which is a hit worldwide. Where Winds Meet has some spectacular battle scenes on screen -- but the conflicts off-stage (west-east culture wars, psyops, business battles) are just as interesting. People in the game industry in the west are concerned—for several good reasons. Before we get there, take 20 seconds to check out the great-looking visuals, which come from the same studio that created Black Myth Wukong, a globally popular game launched in August 2024, based on the story of the Monkey King. Where Winds Meet also celebrates classic Chinese culture. It is set in the city of Kaifeng in 10th century China – and is filled with gorgeous images of that place. . CULTURAL DEPTH It has cultural depth, too. For example, everyone knows fireworks are an ancient Chinese art, but the game features molten metal spark showers, a popular art form pretty unknown outside China. In one scene you can see the flying apsaras, those Indian-influenced airborne women whose images adorn the ancient Dunhuang Caves on the silk road. Where Winds Meet is already among the favorites on Steam, the world’s biggest online game center. It includes many battles, of course. But there are related conflicts off line, in real life, too. . NUMBER ONE: CULTURE WARS. In many games released in the west, it is considered wrong to give players the choice of having a male or female character, because it implies there are just two sexes, which is a big no-no in the west. In Where the Winds Meet, players who opt for English language follow the western model, and are given the choice of Body Type I or Body Type II, no mention of forbidden words “male” and “female”. But players who opt for the Chinese version are given the choice of male or female. Trying to keep everyone happy! . NUMBER 2. HYBRID WARS, OR PSYOPS. From the moment the game came out, mysterious persons “revealed” that the game was made by Chinese people so it was a security threat, riddled with spyware. You can imagine them thinking that their gameplay information was being transmitted straight to Xi Jinping’s office! “Hmm. This incel sitting in a basement in his mother’s house prefers body type 2! Write that down, comrades.” But here’s the twist. Everybody ignored the warnings. By the end of the first day, people had played the game two million times, and that’s just the new version, the non-Chinese one. . NUMBER THREE: THE BUSINESS BATTLE The US groups which normally dominate the field, like Ubisoft, have repeatedly reported disappointing results recently. And some of the biggest recent hits have been from outside America. Black Myth Wukong was from China’s NetEase, Expedition 33 was from France, and this new game, Where Winds Meet, is also from NetEase. A popular video game reviewer called Hypnotic lamented the poor quality of games from the west—with the players blaming the designers and the designers blaming the players. “The east ends up releasing video games that end up blowing the doors down whenever they release,” he said. “And then you end up getting developers from the west that'll make up all kinds of excuses as to why these games are successful. They'll call it slop. They'll call it Chinese spyware. They'll call it whatever they want. But at the end of the day, at least somebody is trying to put out video games that players actually want, that isn't just indie developers.” . FIELD IS OPEN Now this does NOT mean that games from the east are uniformly taking over the global game industry. The west is still putting out some great games, with Expedition 33 being a good example. What it does mean is that China is catching up fast. We’ve seen this happening in many sectors. And as long as there’s a level playing field, it ultimately means that people get more choice. . A FAIRER, SAFER WORLD But more importantly than that, it gives people around the world a different image of China. The western mainstream media tends to create an image of China as an evil tech dystopia, sometimes literally describing it as a giant gulag. Games like this one show it to be community of creative people, producing fun products, and a place with a rich culture and an amazing history. The result, we hope, will be a fairer world – and a fairer world is a safer world.

Westerners Flocking to Play Stunning New Chinese Video Game—and Skipping ‘Spyware’ Warnings . CHINESE DESIGNERS JUST LAUNCHED another video game which is a hit worldwide. Where Winds Meet has some spectacular battle scenes on screen -- but the conflicts off-stage (west-east culture wars, psyops, business battles) are just as interesting. People in the game industry in the west are concerned—for several good reasons. Before we get there, take 20 seconds to check out the great-looking visuals, which come from the same studio that created Black Myth Wukong, a globally popular game launched in August 2024, based on the story of the Monkey King. Where Winds Meet also celebrates classic Chinese culture. It is set in the city of Kaifeng in 10th century China – and is filled with gorgeous images of that place. . CULTURAL DEPTH It has cultural depth, too. For example, everyone knows fireworks are an ancient Chinese art, but the game features molten metal spark showers, a popular art form pretty unknown outside China. In one scene you can see the flying apsaras, those Indian-influenced airborne women whose images adorn the ancient Dunhuang Caves on the silk road. Where Winds Meet is already among the favorites on Steam, the world’s biggest online game center. It includes many battles, of course. But there are related conflicts off line, in real life, too. . NUMBER ONE: CULTURE WARS. In many games released in the west, it is considered wrong to give players the choice of having a male or female character, because it implies there are just two sexes, which is a big no-no in the west. In Where the Winds Meet, players who opt for English language follow the western model, and are given the choice of Body Type I or Body Type II, no mention of forbidden words “male” and “female”. But players who opt for the Chinese version are given the choice of male or female. Trying to keep everyone happy! . NUMBER 2. HYBRID WARS, OR PSYOPS. From the moment the game came out, mysterious persons “revealed” that the game was made by Chinese people so it was a security threat, riddled with spyware. You can imagine them thinking that their gameplay information was being transmitted straight to Xi Jinping’s office! “Hmm. This incel sitting in a basement in his mother’s house prefers body type 2! Write that down, comrades.” But here’s the twist. Everybody ignored the warnings. By the end of the first day, people had played the game two million times, and that’s just the new version, the non-Chinese one. . NUMBER THREE: THE BUSINESS BATTLE The US groups which normally dominate the field, like Ubisoft, have repeatedly reported disappointing results recently. And some of the biggest recent hits have been from outside America. Black Myth Wukong was from China’s NetEase, Expedition 33 was from France, and this new game, Where Winds Meet, is also from NetEase. A popular video game reviewer called Hypnotic lamented the poor quality of games from the west—with the players blaming the designers and the designers blaming the players. “The east ends up releasing video games that end up blowing the doors down whenever they release,” he said. “And then you end up getting developers from the west that'll make up all kinds of excuses as to why these games are successful. They'll call it slop. They'll call it Chinese spyware. They'll call it whatever they want. But at the end of the day, at least somebody is trying to put out video games that players actually want, that isn't just indie developers.” . FIELD IS OPEN Now this does NOT mean that games from the east are uniformly taking over the global game industry. The west is still putting out some great games, with Expedition 33 being a good example. What it does mean is that China is catching up fast. We’ve seen this happening in many sectors. And as long as there’s a level playing field, it ultimately means that people get more choice. . A FAIRER, SAFER WORLD But more importantly than that, it gives people around the world a different image of China. The western mainstream media tends to create an image of China as an evil tech dystopia, sometimes literally describing it as a giant gulag. Games like this one show it to be community of creative people, producing fun products, and a place with a rich culture and an amazing history. The result, we hope, will be a fairer world – and a fairer world is a safer world.

Nury Vittachi

49,389 views • 8 months ago