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Halloween party🎃🍫🍭 ( Animation Collab with 𝐁𝐥𝐚𝐤𝐞𝐲𝐇𝐞𝐚𝐭🔞 ) First time animating on alight motion #Gachalife #Gachaclub #GachaNsfw #Nsfw

~• Roñia •~ 🔞 Commission CLOSE

7,299 subscribers

81,988 次观看 • 1 年前 •via X (Twitter)

NSFW #Gachalife #Gachaclub #GachaNsfw #Nsfw

Anya Rossi• Live Now

Private livecam show

4 条评论

stiven 的头像

stiven1 年前

@Wulf3acconut @Blake_HeatNSFW Can you make a colab?

shadow 789 的头像

shadow 7891 年前

@Blake_HeatNSFW Cute

my nick name jay 的头像

my nick name jay1 年前

@Blake_HeatNSFW Dm ?

Green Gacha🔞 的头像

Green Gacha🔞1 年前

@Blake_HeatNSFW This is well animated 👌🏻

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I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

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20,181 次观看 • 6 个月前

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22,574 次观看 • 1 个月前

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CSS Tip! 🎠 You can create a responsive infinite marquee animation with container queries and no duplicate items 🤙 li{ animation: slide; } @keyframes slide { to { translate: 0% calc(var(--i) * -100%);}} The trick is animating the items, not the list 😎 More tricks 👇 To get this one working, you need to animate the items and not the list (Watch the video first?). Each item needs to know its row index (--i) in the list and the parent needs to know how many rows are in the list: ul { --count: 12; } li:nth-of-type(1), li:nth-of-type(2) { --i: 0; } li:nth-of-type(3), li:nth-of-type(4) { --i: 1; } Once you have that, translate each item based on its row index in the list li { translate: 0% calc((var(--count) - var(--i)) * 100%); } Now for the animation. The key here is that each row has an animation-delay calculated from its index (--i). That number is offset to make it negative so the animation start is offset ✨ ul { --duration: 10s; } li { --delay: calc((var(--duration) / var(--count)) * (var(--i) - 8)); animation: slide var(--duration) var(--delay) infinite linear; } Make sure to wrap that animation in: @media (prefers-reduced-motion: no-preference) { ... } Lastly, the fun parts! 🤓 To create the "vignette" mask. Use a layered mask on the container 😷 .scene { --buff: 3rem; height: 100%; width: 100%; mask: linear-gradient(transparent, white var(--buff) calc(100% - var(--buff)), transparent), linear-gradient(90deg, transparent, white var(--buff) calc(100% - var(--buff)), transparent); mask-composite: intersect; } To create the 3D skewed effect, use a chained transform (Try toggling it in the demo ⚡️): .grid { transform: rotateX(20deg) rotateZ(-20deg) skewX(20deg); } As for the responsive part, use container queries! 🔥 article { container-type: inline-size; } When the article (card) is narrower than 400px update the grid and animation settings 🤙 Double the rows means double the duration! @container (width < 400px) { .grid { --count: 12; grid-template-columns: 1fr; } li:nth-of-type(1) { --i: 0; } li:nth-of-type(2) { --i: 1; } li:nth-of-type(3) { --i: 2; } li:nth-of-type(4) { --i: 3; } li { --duration: 20s; } } CSS has the magic to be able to update those animations at runtime based on your custom property values 😎 An added bonus in this demo is that it doesn't require any JavaScript at all, for any of it 🤯 We can use CSS :has() for those toggles that update the styles, even the theme toggle! 🫶 Any questions, let me know! Make sure to check out the video. Will do a walkthrough one to follow-up 🤙 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

542,234 次观看 • 2 年前

I would tell you about the arguments that were made for Karen Read’s parents’ phone records this AM in court, but Attorney Liza Little just mopped the floor with Hank Brennan’s argument like she did a year ago when she called out the fraud perpetrated on the court by ADA Adam Lally about “lab protocols & procedures”. Light work. Isn’t Hank Brennan an Attorney? - At the last motion hearing, Brennan failed to serve all the parties of his Rule 17 Motions seeking William and Janet Read’s Verizon records, thereby requiring another hearing (today) to argue them. - Brennan’s original Rule 17 Motion for Mr. Read’s Verizon records was premised on the fabrication that Karen Read called her father in the middle of the night after dropping John O’Keefe off at Brian and Nicole Albert’s after party. This is a provably false statement as the Verizon records—already in the Commonwealth’s possession—show that the first time Karen Read called her father that morning was at 6:32 AM. Apparently Judge Bev is unbothered when the Commonwealth lies about material facts in court and in court documents. - In addition to being based on a total fabrication, Brennan failed to produce the required accompanying affidavit with factual showing that all four elements of Lampron were met to support his Rule 17 motion. - Notably, Brennan’s Rule 17 Motion for Mr. Read’s records failed to meet its burden, or even a single part of that four prong test. TAKEAWAY? It’s a fishing expedition 🎣. But, Hank Brennan’s a good Attorney I thought? Surely he’s well versed in Rule 17 Motions and their requirements? So the real question is: Why is this seemingly seasoned Attorney filing these obviously erroneous and frivolous motions for duplicative evidence while also failing to properly serve the parties by the intended hearing on it? Given that the defense’s response filings for each of these motions were nearly 30 pages long, and these requests are clearly disingenuous as they’re duplicative and come nowhere close to meeting any burden, one has to wonder if this is a tactic by Brennan and DA Michael Morrissey’s Office to try to bleed Karen Read and her defense team dry of all resources by wasting their time and energy on useless motions? What say you? What’s the game plan here exactly? #FreeKarenRead #KarenReadTrial

I would tell you about the arguments that were made for Karen Read’s parents’ phone records this AM in court, but Attorney Liza Little just mopped the floor with Hank Brennan’s argument like she did a year ago when she called out the fraud perpetrated on the court by ADA Adam Lally about “lab protocols & procedures”. Light work. Isn’t Hank Brennan an Attorney? - At the last motion hearing, Brennan failed to serve all the parties of his Rule 17 Motions seeking William and Janet Read’s Verizon records, thereby requiring another hearing (today) to argue them. - Brennan’s original Rule 17 Motion for Mr. Read’s Verizon records was premised on the fabrication that Karen Read called her father in the middle of the night after dropping John O’Keefe off at Brian and Nicole Albert’s after party. This is a provably false statement as the Verizon records—already in the Commonwealth’s possession—show that the first time Karen Read called her father that morning was at 6:32 AM. Apparently Judge Bev is unbothered when the Commonwealth lies about material facts in court and in court documents. - In addition to being based on a total fabrication, Brennan failed to produce the required accompanying affidavit with factual showing that all four elements of Lampron were met to support his Rule 17 motion. - Notably, Brennan’s Rule 17 Motion for Mr. Read’s records failed to meet its burden, or even a single part of that four prong test. TAKEAWAY? It’s a fishing expedition 🎣. But, Hank Brennan’s a good Attorney I thought? Surely he’s well versed in Rule 17 Motions and their requirements? So the real question is: Why is this seemingly seasoned Attorney filing these obviously erroneous and frivolous motions for duplicative evidence while also failing to properly serve the parties by the intended hearing on it? Given that the defense’s response filings for each of these motions were nearly 30 pages long, and these requests are clearly disingenuous as they’re duplicative and come nowhere close to meeting any burden, one has to wonder if this is a tactic by Brennan and DA Michael Morrissey’s Office to try to bleed Karen Read and her defense team dry of all resources by wasting their time and energy on useless motions? What say you? What’s the game plan here exactly? #FreeKarenRead #KarenReadTrial

Olivia

65,809 次观看 • 1 年前

Really excited sharing the first look at our modular clothing items for #Earth2 🌍✌️ (will be gone in #3hrs) From concept art, to 3D sculpting, high poly, low poly, baking, rigging, skinning, animating + other steps in the pipeline. Only 3,000 will ever be available, #congrats to those who grabbed some! In the future #LimitedEdition drops will be less frequent, especially after #E2V1 releases as we will then move more to randomised time limited drops without limited supply. For example, less limited supply drops and more unlimited drops with items being available X times a month, or year etc. The #LimitedSupply drops we release leading up to #E2V1 are more for those who want something that was an early edition and might be a bit rarer long term. Remember they are only for #aesthetic & #collectible purposes. The modular clothing system we're building means you can own any one of these items and interchange them on a variety of avatars. So it's not like buying a set skin, but items you can mix & match. Perhaps not in #Chapter1, but long term there will be gameplay that allows you to apply clothing alterations such as fabrics, colours and so forth, drastically changing to look of your clothes. Some #Players may even offer tailor services for those who don't have time to alter themselves. I also want to build a system where the #community can submit designs, vote on them & if our design + 3D team approve we can do joint collab releases from time to time. This would be something in the future though, we have other higher priorities to focus on now. Anyway, I just wanted to share a little more insight for those interested & if you want to learn more about how the #blueprint system will work, or just to refresh your memory, be sure to check out: Christmas rolled in here now, just went midnight, so hope you guys have a safe and #MerryChristmas with family and loved ones🙏 #Earth2 #Metaverse #Collectibles #Avatar #Modular

Shane Isaac 🌍2️⃣

16,447 次观看 • 2 年前

READ & KEARNEY LEGAL TEAMS USE INFORMATION FROM A KNOWN LIAR & FRAUDSTER TO FILE INFLAMMATORY MOTIONS: KEARNEY ADMITS HE KNEW IT WAS ALL LIES On March 28th, Read’s legal team filed a confounding motion for discovery requesting, among other things, any witnesses reluctant to testify, any witness who had been given an inducement, and any witness who would be changing their testimony. The motion was allowed with no objection by the Commonwealth, but that didn’t stop the confusion the motion had caused. Who didn’t want to testify? Who had been “induced”? Who had threatened to change testimony? And where was the Defense getting information that any of these things occurred? Things became a bit clearer on April 26th, when during his live show, Aidan Kearney went on a rant about a person with the initials “JD” regarding information this person had been supplying to Read’s team, specifically David Yannetti as well as his own attorneys. At the time, Kearney railed that he knew “everything about that” and that the information was “conspiratorial bullshit”. Further, Kearney threatened “JD” aka Jean from Dorchester aka Jean Colantonio, that she “better come through” or “shut the fuck up”. Two days later, on 04/28, Kearney’s legal team, led by Timothy J. Bradl, P.C. and Bederow Law, filed a motion to compel discovery with an affidavit from a redacted individual, the aforementioned “JD” from his rant, that contained wild claims such as the CW was paying Kate Peter $1500 a month via cash app, Jennifer McCabe had bribed Peter with a couch purchase, Lally admitted to jury tampering in the first trial during a lunch with Peter, among other fantastical claims, none of which were supported by any kind of documented evidence. Interestingly, neither Bradl nor Bederow penned the affidavit for JD. That job was left to the paralegal, Courtney Healy. Kearney proudly advertised the motion and affidavit on his blog and presented the claims as credible along with other smears directed towards Peter. He followed this up with tweet that included a picture of the affiant’s door covered in papers claiming the affiant was being harassed at her residence by Peter. The apartment “JD” lived in just happened to be located in the same apartment building Peter resides in. Strangely, the picture of “JD” that had been posted on her door with the word “RAT” written over her face was that of her driver’s license, something only “JD” would possess. In leaked texts this week, Kearney admitted he knew “JD” was lying, but a “sworn affidavit means something” which when paired with Kearney’s threats to “JD” on his live show, begins to give the appearance of coercion to suborn perjury. What’s worse, Kearney has allowed his legal team to this day to continue on with this farce including using information in the affidavit in other filings and oral arguments. And as bad as it looks at this point, there are also additional allegations of text messages which show Timothy Bradl was heavily involved in obtaining this information from “JD” and helping her retain counsel to clear open warrants she had. It is also alleged that a hotel room was paid for by a third party for “JD” and Bradl personally thanked the party for doing so. So what did Timothy J. Bradl, P.C. , Bederow Law, David Yannetti, and Alan Jackson know about “JD” when they supplied information to the court from this person? Did either of these legal teams do a cursory search of her background? I may be “just a random housewife with lace curtains” but even I was able to see within 30 minutes this person has a history of fraud. Why would either team take the risk of filing under oath motions that either contained suspect information or that may have been based on highly suspect information from an unreliable source with a history of lying? And finally, why did Bradl procure legal services and housing for the affiant? Were they in exchange for her sworn affidavit? We are all ears if any of them wish to answer or correct the record

READ & KEARNEY LEGAL TEAMS USE INFORMATION FROM A KNOWN LIAR & FRAUDSTER TO FILE INFLAMMATORY MOTIONS: KEARNEY ADMITS HE KNEW IT WAS ALL LIES On March 28th, Read’s legal team filed a confounding motion for discovery requesting, among other things, any witnesses reluctant to testify, any witness who had been given an inducement, and any witness who would be changing their testimony. The motion was allowed with no objection by the Commonwealth, but that didn’t stop the confusion the motion had caused. Who didn’t want to testify? Who had been “induced”? Who had threatened to change testimony? And where was the Defense getting information that any of these things occurred? Things became a bit clearer on April 26th, when during his live show, Aidan Kearney went on a rant about a person with the initials “JD” regarding information this person had been supplying to Read’s team, specifically David Yannetti as well as his own attorneys. At the time, Kearney railed that he knew “everything about that” and that the information was “conspiratorial bullshit”. Further, Kearney threatened “JD” aka Jean from Dorchester aka Jean Colantonio, that she “better come through” or “shut the fuck up”. Two days later, on 04/28, Kearney’s legal team, led by Timothy J. Bradl, P.C. and Bederow Law, filed a motion to compel discovery with an affidavit from a redacted individual, the aforementioned “JD” from his rant, that contained wild claims such as the CW was paying Kate Peter $1500 a month via cash app, Jennifer McCabe had bribed Peter with a couch purchase, Lally admitted to jury tampering in the first trial during a lunch with Peter, among other fantastical claims, none of which were supported by any kind of documented evidence. Interestingly, neither Bradl nor Bederow penned the affidavit for JD. That job was left to the paralegal, Courtney Healy. Kearney proudly advertised the motion and affidavit on his blog and presented the claims as credible along with other smears directed towards Peter. He followed this up with tweet that included a picture of the affiant’s door covered in papers claiming the affiant was being harassed at her residence by Peter. The apartment “JD” lived in just happened to be located in the same apartment building Peter resides in. Strangely, the picture of “JD” that had been posted on her door with the word “RAT” written over her face was that of her driver’s license, something only “JD” would possess. In leaked texts this week, Kearney admitted he knew “JD” was lying, but a “sworn affidavit means something” which when paired with Kearney’s threats to “JD” on his live show, begins to give the appearance of coercion to suborn perjury. What’s worse, Kearney has allowed his legal team to this day to continue on with this farce including using information in the affidavit in other filings and oral arguments. And as bad as it looks at this point, there are also additional allegations of text messages which show Timothy Bradl was heavily involved in obtaining this information from “JD” and helping her retain counsel to clear open warrants she had. It is also alleged that a hotel room was paid for by a third party for “JD” and Bradl personally thanked the party for doing so. So what did Timothy J. Bradl, P.C. , Bederow Law, David Yannetti, and Alan Jackson know about “JD” when they supplied information to the court from this person? Did either of these legal teams do a cursory search of her background? I may be “just a random housewife with lace curtains” but even I was able to see within 30 minutes this person has a history of fraud. Why would either team take the risk of filing under oath motions that either contained suspect information or that may have been based on highly suspect information from an unreliable source with a history of lying? And finally, why did Bradl procure legal services and housing for the affiant? Were they in exchange for her sworn affidavit? We are all ears if any of them wish to answer or correct the record

Julie Carpenter

28,746 次观看 • 8 个月前

My ideas used to stay stuck at the script stage. Writing scenes was easy, but turning them into actual animated shots always felt heavy. Too many tools. Too much technical friction. The story would lose momentum halfway through. That changed when I spent time exploring CineV | 3D-Controlled AI Animation. What clicked for me was how it starts from a story, not a timeline or a blank canvas. You write first, then it builds a storyboard around that idea. From there, you can review shots, regenerate scenes, adjust expressions, tweak camera angles, and refine motion instead of accepting one random output. I found myself thinking more like a director than a prompt engineer. Choosing what shots worked, pacing scenes, and polishing moments without needing to animate everything from scratch. Less friction. Fewer compromises. More control over the final result. What stood out next was the flexibility. There’s a faster text to video flow when speed matters, and a more hands on storyboard and 3D edit mode when you care about camera work and continuity. You decide how deep you want to go. It still feels early and very creator focused, but the full workflow from script to export is already there. CineV feels less like a clip generator and more like a storytelling tool for anime style animation. Worth a look if you work with narrative ideas and want them to actually turn into finished scenes. Try it here:

My ideas used to stay stuck at the script stage. Writing scenes was easy, but turning them into actual animated shots always felt heavy. Too many tools. Too much technical friction. The story would lose momentum halfway through. That changed when I spent time exploring CineV | 3D-Controlled AI Animation. What clicked for me was how it starts from a story, not a timeline or a blank canvas. You write first, then it builds a storyboard around that idea. From there, you can review shots, regenerate scenes, adjust expressions, tweak camera angles, and refine motion instead of accepting one random output. I found myself thinking more like a director than a prompt engineer. Choosing what shots worked, pacing scenes, and polishing moments without needing to animate everything from scratch. Less friction. Fewer compromises. More control over the final result. What stood out next was the flexibility. There’s a faster text to video flow when speed matters, and a more hands on storyboard and 3D edit mode when you care about camera work and continuity. You decide how deep you want to go. It still feels early and very creator focused, but the full workflow from script to export is already there. CineV feels less like a clip generator and more like a storytelling tool for anime style animation. Worth a look if you work with narrative ideas and want them to actually turn into finished scenes. Try it here:

FELIX

122,203 次观看 • 6 个月前

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

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

Kingnet AI

45,966 次观看 • 1 年前

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎

John Animates

101,550 次观看 • 3 年前

1994. Parliament Lobby. Kampala. The Constituent Assembly was debating the shape of a new Uganda when a young army captain, Noble Mayombo, rose to move a motion. It was a small thing, on paper: Change the name of the national army. But Mayombo understood that names carry power. The Name and the Man: Mayombo's Motion for the UPDF - 1994 "This is no longer the army of a resistance," he told his fellow delegates. "It must be the defence force of a people." The motion was simple in phrasing but profound in meaning: That the National Resistance Army, born of the bush war, be renamed the Uganda People's Defence Forces. Mayombo reminded the Assembly that while the NRA had fought valiantly, it belonged to a chapter of struggle. A constitution, he argued, must speak for all citizens, not for a movement. The army's name had to project neutrality, professionalism, and national ownership. Mayombo's words carried weight beyond his years. He had fought in the bush, but he understood that the new constitution was meant to bury the divisions of the past and build a common future. By proposing the name change, he was not merely editing a document; He was redefining the relationship between the soldier and the citizen. The word "People's" was not cosmetic but constitutional, a signal that the guns were now bound by law, accountable to Ugandans rather than to a party. Outside the chamber, in the Parliament lobby, seasoned journalist Bart Kakooza intercepted Mayombo for an interview. Standing tall, the young captain repeated the essence of his argument into Kakooza's microphone. Through radio and newspapers, his vision reached far beyond Kampala. For many Ugandans, that was the first time they heard the phrase Uganda People's Defence Forces. It carried a freshness that suggested rebirth, a shift from partisan struggle to shared nationhood. When the Assembly finally voted and Article 208 enshrined the UPDF in the 1995 Constitution, the moment was sealed. The NRA passed into history, and the UPDF was born in law. For Noble Mayombo, it was more than a legal victory; it was his signature contribution to the republic. The image endures: A young man in Parliament, moving a motion with conviction, then stepping into the lobby to explain to a journalist, and to the nation, why Uganda's army must belong to the people. Mayombo's motion ensured that the army would no longer be the instrument of a movement, but the shield of a nation. It was not just semantics. It was a declaration that Uganda had moved from revolution to constitution, from the bullet to the ballot. The name change may have been a small clause in a long document, but it was the mark of a mind that understood that the words you choose determine the nation you build. What does it take to stand up in an assembly of elders and veterans and suggest that the revolution's army should be renamed for the people it serves? Noble Mayombo was a young captain when he moved that motion. He understood that constitutions are not just about power, they are about identity, and the names we give our institutions define the country we become. The NRA won the war. The UPDF was built to keep the peace. #UPDF #NRA #Ughistory NRM Party Uganda Peoples' Defence Forces (UPDF) Government of Uganda Bart Kakooza Uganda Media Centre

1994. Parliament Lobby. Kampala. The Constituent Assembly was debating the shape of a new Uganda when a young army captain, Noble Mayombo, rose to move a motion. It was a small thing, on paper: Change the name of the national army. But Mayombo understood that names carry power. The Name and the Man: Mayombo's Motion for the UPDF - 1994 "This is no longer the army of a resistance," he told his fellow delegates. "It must be the defence force of a people." The motion was simple in phrasing but profound in meaning: That the National Resistance Army, born of the bush war, be renamed the Uganda People's Defence Forces. Mayombo reminded the Assembly that while the NRA had fought valiantly, it belonged to a chapter of struggle. A constitution, he argued, must speak for all citizens, not for a movement. The army's name had to project neutrality, professionalism, and national ownership. Mayombo's words carried weight beyond his years. He had fought in the bush, but he understood that the new constitution was meant to bury the divisions of the past and build a common future. By proposing the name change, he was not merely editing a document; He was redefining the relationship between the soldier and the citizen. The word "People's" was not cosmetic but constitutional, a signal that the guns were now bound by law, accountable to Ugandans rather than to a party. Outside the chamber, in the Parliament lobby, seasoned journalist Bart Kakooza intercepted Mayombo for an interview. Standing tall, the young captain repeated the essence of his argument into Kakooza's microphone. Through radio and newspapers, his vision reached far beyond Kampala. For many Ugandans, that was the first time they heard the phrase Uganda People's Defence Forces. It carried a freshness that suggested rebirth, a shift from partisan struggle to shared nationhood. When the Assembly finally voted and Article 208 enshrined the UPDF in the 1995 Constitution, the moment was sealed. The NRA passed into history, and the UPDF was born in law. For Noble Mayombo, it was more than a legal victory; it was his signature contribution to the republic. The image endures: A young man in Parliament, moving a motion with conviction, then stepping into the lobby to explain to a journalist, and to the nation, why Uganda's army must belong to the people. Mayombo's motion ensured that the army would no longer be the instrument of a movement, but the shield of a nation. It was not just semantics. It was a declaration that Uganda had moved from revolution to constitution, from the bullet to the ballot. The name change may have been a small clause in a long document, but it was the mark of a mind that understood that the words you choose determine the nation you build. What does it take to stand up in an assembly of elders and veterans and suggest that the revolution's army should be renamed for the people it serves? Noble Mayombo was a young captain when he moved that motion. He understood that constitutions are not just about power, they are about identity, and the names we give our institutions define the country we become. The NRA won the war. The UPDF was built to keep the peace. #UPDF #NRA #Ughistory NRM Party Uganda Peoples' Defence Forces (UPDF) Government of Uganda Bart Kakooza Uganda Media Centre

UgHistory

12,886 次观看 • 1 个月前