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I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and...

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mert

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13,849 görüntüleme • 1 ay önce •via X (Twitter)

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I just turned 37 today and started this journey when I was 30. After years of building the engine with 💕 and optimizing it, this is the final gameplay running on #webgl with #threejs After converting Jamir from WebGL to WebGPU, I hope to release the X3JS, built on top of Jamir's game engine, in 2025, initially for creating FPP and TPP games, and make it available for everyone. New version will be upcoming in a few days, btw! 🥳 #gamedev #gamedevelopment
9:27

I just turned 37 today and started this journey when I was 30. After years of building the engine with 💕 and optimizing it, this is the final gameplay running on #webgl with #threejs After converting Jamir from WebGL to WebGPU, I hope to release the X3JS, built on top of Jamir's game engine, in 2025, initially for creating FPP and TPP games, and make it available for everyone. New version will be upcoming in a few days, btw! 🥳 #gamedev #gamedevelopment

mert

31,651 görüntüleme • 1 yıl önce

I still can't believe we are building this quality game that runs on my Mac. Day 18 of building my own GTA 6 with a loop of AI agents. Today's progress: - the shadows and car reflections look real now, not like a cheap game anymore. - spent over a day on performance, so it runs smooth. By the way this is a Mac, not a gaming PC, so a lot of the rendering and lighting is not gonna be the same as the NVIDIA GPU. We are almost there. right now i'm debugging the driving so it feels smooth. quick question, what do you all want to see in the demo?
0:26

I still can't believe we are building this quality game that runs on my Mac. Day 18 of building my own GTA 6 with a loop of AI agents. Today's progress: - the shadows and car reflections look real now, not like a cheap game anymore. - spent over a day on performance, so it runs smooth. By the way this is a Mac, not a gaming PC, so a lot of the rendering and lighting is not gonna be the same as the NVIDIA GPU. We are almost there. right now i'm debugging the driving so it feels smooth. quick question, what do you all want to see in the demo?

Ziwen

122,977 görüntüleme • 2 ay önce

I wanted to see how far you can take the idea of “just describe a game.” So I gave Gear Zero a game concept in plain English and watched it go from an idea to a playable game in the browser. No game engine. No coding. No project files. No setup. Gear’s AI handles the planning, code, visuals, and level building and the first version can come together in around 20 minutes. But that’s not even the part I find most interesting. You can keep talking to it, ask for changes, refine the gameplay, and keep building on the same game instead of starting over every time. And because it’s designed for collaboration, other people can join the conversation and help shape the game too. That makes Gear Zero feel less like a one-click AI game generator and more like an AI-powered game-building workspace. If you’ve ever had a game idea but never opened a game engine, this is worth trying: Gear Zero
0:28

I wanted to see how far you can take the idea of “just describe a game.” So I gave Gear Zero a game concept in plain English and watched it go from an idea to a playable game in the browser. No game engine. No coding. No project files. No setup. Gear’s AI handles the planning, code, visuals, and level building and the first version can come together in around 20 minutes. But that’s not even the part I find most interesting. You can keep talking to it, ask for changes, refine the gameplay, and keep building on the same game instead of starting over every time. And because it’s designed for collaboration, other people can join the conversation and help shape the game too. That makes Gear Zero feel less like a one-click AI game generator and more like an AI-powered game-building workspace. If you’ve ever had a game idea but never opened a game engine, this is worth trying: Gear Zero

Md Riyazuddin

43,480 görüntüleme • 27 gün önce

Ellen Burstyn compares a funny story about filming 1974’s 'Alice Doesn’t Live Here Anymore' with Martin Scorsese to the current state of the U.S. at the #VeniceFilmFestival. "When I was working on 'Alice Doesn't Live Here Anymore,' there was a scene in which I was driving up a mountain at nighttime. There was a big drop off in the cliff on the right side of the car. I had Martin Scorsese, the cinematographer and the camera operator on the hood of my car and I couldn’t see the side of the road. I could go off and kill all of us," she said. "But then I noticed, this is a two-way road. There’s a white line in the middle of the road, and I can see that. So, all I have to do is look up to the left, and follow the white line. And that’s how I managed to not kill Martin Scorsese." She added: "I wanted to close out saying how deeply appreciative I am of this Golden Lion and I pray that my own country will, very soon, find its own white line."
2:30

Ellen Burstyn compares a funny story about filming 1974’s 'Alice Doesn’t Live Here Anymore' with Martin Scorsese to the current state of the U.S. at the #VeniceFilmFestival. "When I was working on 'Alice Doesn't Live Here Anymore,' there was a scene in which I was driving up a mountain at nighttime. There was a big drop off in the cliff on the right side of the car. I had Martin Scorsese, the cinematographer and the camera operator on the hood of my car and I couldn’t see the side of the road. I could go off and kill all of us," she said. "But then I noticed, this is a two-way road. There’s a white line in the middle of the road, and I can see that. So, all I have to do is look up to the left, and follow the white line. And that’s how I managed to not kill Martin Scorsese." She added: "I wanted to close out saying how deeply appreciative I am of this Golden Lion and I pray that my own country will, very soon, find its own white line."

Deadline

26,570 görüntüleme • 16 gün önce

Kimi K3 dropped 3 days ago and i already used it to build my own PUBG the model that just took the number one coding spot on earth and it runs on a free tier no team no engine i just fed it free open models and assets that are already public and told it what i wanted it built the entire game itself the shooting the recoil the hit detection all of it came straight out of the model i barely wrote a line what youre watching here is the deathmatch mode and its already live battle royale is next im deep in it and the graphics get reworked right after i know it looks raw right now i wont pretend otherwise but the endgame is a build that runs perfect on phones and the moment its on mobile you drop ads in and it earns on its own the part that still gets me is my whole cost for this was a single subscription
0:22

Kimi K3 dropped 3 days ago and i already used it to build my own PUBG the model that just took the number one coding spot on earth and it runs on a free tier no team no engine i just fed it free open models and assets that are already public and told it what i wanted it built the entire game itself the shooting the recoil the hit detection all of it came straight out of the model i barely wrote a line what youre watching here is the deathmatch mode and its already live battle royale is next im deep in it and the graphics get reworked right after i know it looks raw right now i wont pretend otherwise but the endgame is a build that runs perfect on phones and the moment its on mobile you drop ads in and it earns on its own the part that still gets me is my whole cost for this was a single subscription

savip.

68,984 görüntüleme • 2 ay önce

There's so much focus on "how can AI do my work for me?" I think the more important question is "what work can I now do with AI that I would have never attempted before?" Earlier this year I wrote freestiler, a vector tiling engine for R and Python, with the help of Claude and Codex. I knew what the ideal engine looked like and how it would work at a high level. I didn't know how to put it together, and I don't know Rust, the language I wanted under the hood. Previously I would never have attempted this project as the ROI wasn't there. It would have taken me a year or more to learn the internals of a vector tiling engine and enough Rust to implement one. With Opus-level models, I could take it on. freestiler now powers all my vector tiling pipelines, including the map below rendering 143 million jobs from LODES, and it has 114 GitHub stars. Building this way has required a different set of skills. I don't review the code line by line. I set up adversarial agents to do that and write the test suites. What I review is the architecture, the behavior, and the results. Agent teams surface findings and explain their reasoning; I evaluate and critique. My job isn't to stress over code formatting, but instead to focus on questions like whether the engine is designed right, whether the output is correct, and if the UX makes sense. This means that I haven't "replaced my work." I've taken on entirely new work, with the help of agents, that I would have never done otherwise. It has taken some getting used to shipping code I haven't personally typed. In the old way of working, I built understanding through writing that code. Now I build understanding through managing the project - writing a spec, reviewing structure, evaluating UX. And that's helped me think a whole lot bigger in terms of what I can now do.
1:00

There's so much focus on "how can AI do my work for me?" I think the more important question is "what work can I now do with AI that I would have never attempted before?" Earlier this year I wrote freestiler, a vector tiling engine for R and Python, with the help of Claude and Codex. I knew what the ideal engine looked like and how it would work at a high level. I didn't know how to put it together, and I don't know Rust, the language I wanted under the hood. Previously I would never have attempted this project as the ROI wasn't there. It would have taken me a year or more to learn the internals of a vector tiling engine and enough Rust to implement one. With Opus-level models, I could take it on. freestiler now powers all my vector tiling pipelines, including the map below rendering 143 million jobs from LODES, and it has 114 GitHub stars. Building this way has required a different set of skills. I don't review the code line by line. I set up adversarial agents to do that and write the test suites. What I review is the architecture, the behavior, and the results. Agent teams surface findings and explain their reasoning; I evaluate and critique. My job isn't to stress over code formatting, but instead to focus on questions like whether the engine is designed right, whether the output is correct, and if the UX makes sense. This means that I haven't "replaced my work." I've taken on entirely new work, with the help of agents, that I would have never done otherwise. It has taken some getting used to shipping code I haven't personally typed. In the old way of working, I built understanding through writing that code. Now I build understanding through managing the project - writing a spec, reviewing structure, evaluating UX. And that's helped me think a whole lot bigger in terms of what I can now do.

Kyle Walker

13,867 görüntüleme • 2 ay önce

Seedance 2.0 - Advanced Workflows Series 12. Cinematics with Unreal Engine and Claude Fable 5 Fable 5 is an absolute beast model that can take control of Unreal Engine and create videogames. We can build scenes as a little video game with physics and assets and configure a playable character to create a cinematic scene. In this example I created a scene of an astronaut lost in space floating between asteroids. I created a zero gravity environment and made assets like cubes and spheres representing asteroids interact in this environment. I recorded the gameplay and later place a camera to build the cinematic. Workflow + Prompts 👇
0:21

Seedance 2.0 - Advanced Workflows Series 12. Cinematics with Unreal Engine and Claude Fable 5 Fable 5 is an absolute beast model that can take control of Unreal Engine and create videogames. We can build scenes as a little video game with physics and assets and configure a playable character to create a cinematic scene. In this example I created a scene of an astronaut lost in space floating between asteroids. I created a zero gravity environment and made assets like cubes and spheres representing asteroids interact in this environment. I recorded the gameplay and later place a camera to build the cinematic. Workflow + Prompts 👇

VoxelPlot

24,277 görüntüleme • 2 ay önce

THE MAINSTREAM NARRATIVE ON 9/11 WAS A LIE! THE TRUTH IS THERE! COURTESY OF AMERICANDREAM09 🇺🇸 Jack Media ~DREAM AND 17PLUS WORLDWIDE TRUTH NETWORK AT The only other thing that was found was the engine on Murray Street, and the engine on Murray Street is has been identified as either a CFM 56, CFM stands for Sinekma, and or the CF. which was a 76 engine, a 767 engine, which was developed out of the CFM 56. But whichever one it was, the CF6 or the CFM56, it had to be General Electric. And unfortunately, or fortunately, United Airlines use strictly Pratt and Whitney, so that engine that you see flying off, and that engine they say is from 175, isn't from 175. Did they get because the guys whose job was to dump it off there dumped off the wrong engine? My name is Tom Sullivan. I work for Control Demolition Incorporated (CDI) the top-rated explosive demolition firm in the world, owned by the Luwazo family during the years surrounding 9/11, and I worked for them as an explosives loader for two and a half years. As an explosive loader, my job was to place explosives in the buildings to prepare them for demolition. There are many steps that you need to take. First off, you have to weaken the building. To weaken the building, that means the staircase, all the staircases have to be cut at intervals. The firewalls have to be removed. The elevator shafts have to be cut. I look down to my right, and the elevators exploded. Some kind of like a Bruce Willis dialog movie. People just come running out of the out of the elevators on fire, fireball. I mean, it was like, what is going on here? There's something's up here. I mean, the plane's up there, not just flying it down here. Then you have to move to the support columns on the particular load floors, and those are cut by a torch for two reasons: first, to weaken them and also to allow for charges to be placed onto the structure, onto the columns themselves, and that essentially reduces their strength by about 20 percent. And even with all of that work being done to weaken this building, it still remains safely standing, so we can work, continue to work in it. The story that just a few columns can cause a synchronized global collapse, an implosion, is well. That's just a .... MORE 9/11 TRUTH AT THE WORLD'S CONNECTION TO UNSTOPPABLE TRUTH AT 17PLUS WORLDWIDE TRUTH NETWORK AT
2:53

THE MAINSTREAM NARRATIVE ON 9/11 WAS A LIE! THE TRUTH IS THERE! COURTESY OF AMERICANDREAM09 🇺🇸 Jack Media ~DREAM AND 17PLUS WORLDWIDE TRUTH NETWORK AT The only other thing that was found was the engine on Murray Street, and the engine on Murray Street is has been identified as either a CFM 56, CFM stands for Sinekma, and or the CF. which was a 76 engine, a 767 engine, which was developed out of the CFM 56. But whichever one it was, the CF6 or the CFM56, it had to be General Electric. And unfortunately, or fortunately, United Airlines use strictly Pratt and Whitney, so that engine that you see flying off, and that engine they say is from 175, isn't from 175. Did they get because the guys whose job was to dump it off there dumped off the wrong engine? My name is Tom Sullivan. I work for Control Demolition Incorporated (CDI) the top-rated explosive demolition firm in the world, owned by the Luwazo family during the years surrounding 9/11, and I worked for them as an explosives loader for two and a half years. As an explosive loader, my job was to place explosives in the buildings to prepare them for demolition. There are many steps that you need to take. First off, you have to weaken the building. To weaken the building, that means the staircase, all the staircases have to be cut at intervals. The firewalls have to be removed. The elevator shafts have to be cut. I look down to my right, and the elevators exploded. Some kind of like a Bruce Willis dialog movie. People just come running out of the out of the elevators on fire, fireball. I mean, it was like, what is going on here? There's something's up here. I mean, the plane's up there, not just flying it down here. Then you have to move to the support columns on the particular load floors, and those are cut by a torch for two reasons: first, to weaken them and also to allow for charges to be placed onto the structure, onto the columns themselves, and that essentially reduces their strength by about 20 percent. And even with all of that work being done to weaken this building, it still remains safely standing, so we can work, continue to work in it. The story that just a few columns can cause a synchronized global collapse, an implosion, is well. That's just a .... MORE 9/11 TRUTH AT THE WORLD'S CONNECTION TO UNSTOPPABLE TRUTH AT 17PLUS WORLDWIDE TRUTH NETWORK AT

AMERICANDREAM09 🇺🇸 Jack Media ~DREAM

50,031 görüntüleme • 23 gün önce

Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."
2:14

Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."

Gangster Cinema Central

41,610 görüntüleme • 7 ay önce

Queen Rouge said she mistakenly poop on a male performer while shooting a scene because her stomach was hurting "In the middle of the scene, he put my leg like all the way to my neck, and then boy... my stomach was hurting so bad" "My stomach was killing me and then..." "We stopped right there in the scene so I had to go take a shower, but then I was so embarrassed that I didn't even want to finish the scene" "A lot of people like that"
0:36

Queen Rouge said she mistakenly poop on a male performer while shooting a scene because her stomach was hurting "In the middle of the scene, he put my leg like all the way to my neck, and then boy... my stomach was hurting so bad" "My stomach was killing me and then..." "We stopped right there in the scene so I had to go take a shower, but then I was so embarrassed that I didn't even want to finish the scene" "A lot of people like that"

Riddler

44,256 görüntüleme • 1 ay önce

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."
2:26

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."

MTS

10,699 görüntüleme • 1 ay önce

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!
1:19

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!

NeuralAI

24,349 görüntüleme • 1 yıl önce

Assassin's Creed Black Flag Resynced SPOILER alert. Was this post credit scene in the OG game? From the looks of it and how Edward's daughter is shown with her own personality, I feel like we are bound to get a game on her and see her part of the story through. I hope they bring her story in the form of video games. And there are so many good characters coming out of this game that a reuse of these characters in her own game would do wonders for the game. This would also link up AC3 and Black flag really well!
0:28

Assassin's Creed Black Flag Resynced SPOILER alert. Was this post credit scene in the OG game? From the looks of it and how Edward's daughter is shown with her own personality, I feel like we are bound to get a game on her and see her part of the story through. I hope they bring her story in the form of video games. And there are so many good characters coming out of this game that a reuse of these characters in her own game would do wonders for the game. This would also link up AC3 and Black flag really well!

SpawnYaard 🎮

158,589 görüntüleme • 2 ay önce

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"
6:17

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"

Gangster Cinema Central

52,284 görüntüleme • 6 ay önce

The 6174 test! Grok wins! I have 1000s of unique tests I use for AI that few in AI use. I will open source this one. Prompt this and stand back (it burns GPUs something fierce): Prompt: “Explain in detail the 6174 system where you pick 4 numbers arrange them from highest to lowest than on another line from lowest to highest than you subtract, use that result and do the same system again, and by the 4th iteration you will always have the number 6174. Please explain why it works” Few AI platforms can handle this prompt and get it right. I have some variations that will still produce errors on the best AI platforms and cause a loop (it crashed a well known AI platform a few months back, I got a call!). This is not the most complex test I have. I feel strongly that passing the known benchmarks as a measure of an AI’s power is only a small part of if an AI is “better”. Thus I must thank Elon Musk and the entire xAI team for doing the absolute best and astonishing output. Grok it:
2:34

The 6174 test! Grok wins! I have 1000s of unique tests I use for AI that few in AI use. I will open source this one. Prompt this and stand back (it burns GPUs something fierce): Prompt: “Explain in detail the 6174 system where you pick 4 numbers arrange them from highest to lowest than on another line from lowest to highest than you subtract, use that result and do the same system again, and by the 4th iteration you will always have the number 6174. Please explain why it works” Few AI platforms can handle this prompt and get it right. I have some variations that will still produce errors on the best AI platforms and cause a loop (it crashed a well known AI platform a few months back, I got a call!). This is not the most complex test I have. I feel strongly that passing the known benchmarks as a measure of an AI’s power is only a small part of if an AI is “better”. Thus I must thank Elon Musk and the entire xAI team for doing the absolute best and astonishing output. Grok it:

Brian Roemmele

63,704 görüntüleme • 1 yıl önce

I have something very special to share today! This is a hardware capture of maximqad's port of the Xash3D engine--which is compatible with the Half-Life engine--running on the Sega Dreamcast... ONLINE! Keep in mind this is EXTREMELY early in the days of the port, with no DC-specific graphics optimizations or hardware accelerated math routines yet, so performance still has a lot of room to drastically improve. Audio was literally just barely moved to the SPU for the first time just the other day too, so this is still all very incredibly new... ...but here it is! The engine that wouldn't even run without being on an emulator that also needed to emulate the extended 32MB RAM modification... now running on a stock Sega Dreamcast with online multiplayer connectivity and mouse and keyboard support! Fantastic work from maximqad! I really believe as this engine matures, it will be an incredibly powerful tool for Dreamcast developers and will potentially bring a lot of new software to the platform in the form of Half-Life engine mods!
1:43

I have something very special to share today! This is a hardware capture of maximqad's port of the Xash3D engine--which is compatible with the Half-Life engine--running on the Sega Dreamcast... ONLINE! Keep in mind this is EXTREMELY early in the days of the port, with no DC-specific graphics optimizations or hardware accelerated math routines yet, so performance still has a lot of room to drastically improve. Audio was literally just barely moved to the SPU for the first time just the other day too, so this is still all very incredibly new... ...but here it is! The engine that wouldn't even run without being on an emulator that also needed to emulate the extended 32MB RAM modification... now running on a stock Sega Dreamcast with online multiplayer connectivity and mouse and keyboard support! Fantastic work from maximqad! I really believe as this engine matures, it will be an incredibly powerful tool for Dreamcast developers and will potentially bring a lot of new software to the platform in the form of Half-Life engine mods!

Falco Girgis

17,371 görüntüleme • 1 yıl önce

Everyone's talking about vibe coding without looking at code. I was skeptical. I decided to give it a shot on a challenging problem and was blown away by what I could accomplish in 8 hours. I'm not skeptical anymore, but I also do NOT think it kills SaaS Notes: - I tried to replicate some of my favorite features from the Solve-It platform as a jupyter extension - I've tried this many times before, and it didn't work. - I gave my agent specific testing tools that I packaged as skills. I used AI to write the skills. I found the right testing workflow for this Jupyter extension by having AI peruse lots of other extensions and the Jupyter source code. - I had the AI write and maintain a large suite of tests the whole time. I think this was important in keeping the AI on track. - I watched the diffs and the thinking traces as they streamed by. From time to time, I would see something very suspicious like " try ... except: pass" And would stop the AI and tell it to stop this behavior. Then trigger a comprehensive code review using AI. - Most importantly, I don't think this kills SasS at all. Even if I can create software that replicates some of my favorite features, there is an insanely long tail of paper cuts and features I don't want to manage. The models and capabilities are improving so fast that I don't want to constantly tune everything. So I would rather leave that up to people who are focused on that daily and have good taste, with the knowledge that it has been battle tested against many users.
12:26

Everyone's talking about vibe coding without looking at code. I was skeptical. I decided to give it a shot on a challenging problem and was blown away by what I could accomplish in 8 hours. I'm not skeptical anymore, but I also do NOT think it kills SaaS Notes: - I tried to replicate some of my favorite features from the Solve-It platform as a jupyter extension - I've tried this many times before, and it didn't work. - I gave my agent specific testing tools that I packaged as skills. I used AI to write the skills. I found the right testing workflow for this Jupyter extension by having AI peruse lots of other extensions and the Jupyter source code. - I had the AI write and maintain a large suite of tests the whole time. I think this was important in keeping the AI on track. - I watched the diffs and the thinking traces as they streamed by. From time to time, I would see something very suspicious like " try ... except: pass" And would stop the AI and tell it to stop this behavior. Then trigger a comprehensive code review using AI. - Most importantly, I don't think this kills SasS at all. Even if I can create software that replicates some of my favorite features, there is an insanely long tail of paper cuts and features I don't want to manage. The models and capabilities are improving so fast that I don't want to constantly tune everything. So I would rather leave that up to people who are focused on that daily and have good taste, with the knowledge that it has been battle tested against many users.

Hamel Husain

49,108 görüntüleme • 8 ay önce

I've been working on web projects with Three.js more and more lately — 2D, 3D, XR — and the one thing I've noticed is the lack of tools compared to game engines. That's why I decided to start building on the side a library of 3D assets that are actually little programs, AI-native, and fully customizable. I called this @polyfork_ , and it's already being used by dozens of people that have an AI centric workflow, since the website can be fully understood and used by agents. Assets are being built each day, at a rate of 100+ a week, and I'm planning to make it the biggest programmatic-3D library on the internet. Almost half of the models are free, and I opened slots for "founding" members, who can make a one-time payment for lifetime access, with access to all current models and kits, plus everything built from now on. Get one before they run out.
0:29

I've been working on web projects with Three.js more and more lately — 2D, 3D, XR — and the one thing I've noticed is the lack of tools compared to game engines. That's why I decided to start building on the side a library of 3D assets that are actually little programs, AI-native, and fully customizable. I called this @polyfork_ , and it's already being used by dozens of people that have an AI centric workflow, since the website can be fully understood and used by agents. Assets are being built each day, at a rate of 100+ a week, and I'm planning to make it the biggest programmatic-3D library on the internet. Almost half of the models are free, and I opened slots for "founding" members, who can make a one-time payment for lifetime access, with access to all current models and kits, plus everything built from now on. Get one before they run out.

Lucas Martinic

35,382 görüntüleme • 1 ay önce

For the last 15 years, I've been building tools for Maya. About 12 years ago, I started rethinking Maya from the ground up and wrote a plan to reinvent every tool. The original dream was a single, all-in-one product that would change everything, and I spent years working toward exactly that. But a product that ambitious was always years away. So rather than make you wait, or just release small products, I decided to release it the way it should have been all along: as a series of focused tools, each one reinventing a different part of Maya. This is the first: a sculpting toolset that brings powerful, GPU-based modern sculpting right inside Maya, no round-tripping to another app, no breaking your workflow. And this is just the beginning!
2:46

For the last 15 years, I've been building tools for Maya. About 12 years ago, I started rethinking Maya from the ground up and wrote a plan to reinvent every tool. The original dream was a single, all-in-one product that would change everything, and I spent years working toward exactly that. But a product that ambitious was always years away. So rather than make you wait, or just release small products, I decided to release it the way it should have been all along: as a series of focused tools, each one reinventing a different part of Maya. This is the first: a sculpting toolset that brings powerful, GPU-based modern sculpting right inside Maya, no round-tripping to another app, no breaking your workflow. And this is just the beginning!

Morteza Ahmadi

285,702 görüntüleme • 9 gün önce