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Kana Animation! || OCTOBER ANIMATION Thank you for supporting these projects!! ▼ Available for SIMP Tier (and higher tiers) 📷ART: Me 🔊SFX: Raptoraudiosfx(open commissions) 🎤VA: 𝓨𝓾𝓶𝓮 || 18+ VA/ASMRTIST 🎥ANIMATOR: Kuroi_Lumi || VGen OPEN COMM #patreon #animated #animation #arimakana #KanaArima #OshiNoKo

Juanpi AMVs (COMMISSION OPEN ✨)

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117,546 views • 1 year ago •via X (Twitter)

NSFW #patreon #animated #animation #arimakana #KanaArima #OshiNoKo

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My Animated Channel Opening Is Here! Full Video: After 5 years of trying to get this made Its finally hear many setbacks its finally done this trailer is a representation of my channel for the almost 8 years, I've been creating content it features some of my original designs for characters also my OC Eschalot and also features the OCs of the two people I worked with the most and longest in my career. SSJ9K/SSJCarter and my brother ⚡️SLICK⚡️ I showed Reggie the progress long before he passed and after he was gone it was even more important to me to add more shots of Slick in honor of him. I couldn't have made this wonderful animation without the help of many talented people who worked hard on it over the years the animation team did wonderful on many parts of this process. (Animation Staff Credits) @franfuentesart Dindakai.jpg Sebs_8a 2Dolfin Studio Spider Albert2d YordiBlu ArtiMari rega1505(OPEN COMISSION) And I can't thank the music team of Bladevings and Gladius who made this amazing music theme thank you guys so much! And thank you fans for gracing me and supporting this journey of mine let this project be message to your dreams no matter how many setbacks are things that happen if you keep working at it any dream can become reality bless you and as my brother would say make moves.

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Prince Vegeta

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In my career, I've spent over $100,000 commissioning artists and animators. I held a fundraiser for animators in Japan. I've given graphic tablets to artists in need. I promote young animators that I think are talented without asking for anything in return. I created an original series (Demon Rush), with 15 manga chapters and 2 animated promo episodes- all original art and animation. Spent 4 years on it, but was not recognized for doing it the true hard way. In my latest video, I hired 3 animators and paid them well for their cuts. People on X are upset that I used AI to speed up the process in the fan animation, even though in the 4 update videos leading up to it, I was completely open about how I was using it. The same people who complained about Saitama vs Cosmic Garou having too many impact frames for their liking. I don't care about these people. They complain about literally everything. I make these for fun, not to impress anyone. Even if I spent 10 years making the best episode possible, 100% hand done, these guys would still complain. I did that before with Demon Rush. In any case, this was my last animated video. I am retiring from anime and moving onto other things, so you won't have to worry about me.

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Miller Ross

58,943 views • 3 months ago

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!

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!

Startracker 🔺

20,181 views • 6 months ago

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 1ST MERCH DROP!!! StarlightDaryl 🎵✨🔭 🔜 Found Futures 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 1ST MERCH DROP!!! StarlightDaryl 🎵✨🔭 🔜 Found Futures 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

WUNDER RiKU 🎵🪽 Songwriter | WONDERLaND ELATION💿

38,394 views • 5 months ago

$How I created these landing pages with Gemini 3 from start to finish First, I start with the hero section. It includes the nav bar, eyebrow, headline, subheadline, cta, social proof and visual. I spend 50% of the time here because it sets the colors, typography, spacing, which AI uses for the rest of the site consistently. “Create the hero section for my {app} called {name} in the style of {reference_site}”. Pro tip: use a screenshot and you’ll get way better results. Let’s get into the details. For icons, I prompt: “Use Iconify {icon set name}”. Most people use Lucide, but there are hundreds of open-source sets on Iconify like Solar, HeroIcons, Iconoir, Phosphor, etc. Just need to mention in the prompt. Same for custom fonts. For the animation, I prompt: “Animate fade in, slide in, blur in, element by element. Use 'both' instead of 'forwards'. Don't use opacity 0.”. This creates a subtle intro animation the first time users land on your page. Gemini 3 is an excellent animator. For example, I created the beam animation with this prompt: “Add noodles that connect and beam animate into the right circle. Add subtle details to the right beam animation circle with sonar and decorations.” For background animation, I use Unicorn Studio. Remix one of their templates and watch people click on your cover like crazy. What can I say, people love lasers. In the hero or right below it, social proof is super important. You can put ratings or logos, or both. For logos, you can prompt: “Animate the logos with marquee animation looping infinitely using duplicated items and alpha mask.”. Now the CTA. AI always creates basic buttons, which is fine 99% of the time. But Gemini 3 now sets a high bar for baseline design, so you will need to stand out. That’s why I put the extra human touch on animations and lickable buttons. I suggest browsing UIVerse and Codepen for buttons and reference the code in your prompt: “Change main button {code} and secondary button {code}. Add a 1px border beam animation around the pill-shaped main button on hover.”. Once you’re happy with the hero, you’ll want to craft new sections based on your business. Features, action plan, pricing, testimonials, FAQ, CTA and footer are the popular ones. Insert a screenshot and prompt “Adapt a new section, change texts, names and numbers”. Gemini 3 is very smart. It reads your existing styles and site concept and will tastefully mold new designs to fit perfectly into your current site. Finally, repeat the same prompts for icons, buttons and animations. Use midjourney images and remix using Nano Banana Pro. Ask ChatGPT to come up with better headlines, features, ctas, etc. Don’t skip the human part, this is where you’re irreplaceable. Start prompting top-tier landing pages and watch your numbers grow.$

How I created these landing pages with Gemini 3 from start to finish First, I start with the hero section. It includes the nav bar, eyebrow, headline, subheadline, cta, social proof and visual. I spend 50% of the time here because it sets the colors, typography, spacing, which AI uses for the rest of the site consistently. “Create the hero section for my {app} called {name} in the style of {reference_site}”. Pro tip: use a screenshot and you’ll get way better results. Let’s get into the details. For icons, I prompt: “Use Iconify {icon set name}”. Most people use Lucide, but there are hundreds of open-source sets on Iconify like Solar, HeroIcons, Iconoir, Phosphor, etc. Just need to mention in the prompt. Same for custom fonts. For the animation, I prompt: “Animate fade in, slide in, blur in, element by element. Use 'both' instead of 'forwards'. Don't use opacity 0.”. This creates a subtle intro animation the first time users land on your page. Gemini 3 is an excellent animator. For example, I created the beam animation with this prompt: “Add noodles that connect and beam animate into the right circle. Add subtle details to the right beam animation circle with sonar and decorations.” For background animation, I use Unicorn Studio. Remix one of their templates and watch people click on your cover like crazy. What can I say, people love lasers. In the hero or right below it, social proof is super important. You can put ratings or logos, or both. For logos, you can prompt: “Animate the logos with marquee animation looping infinitely using duplicated items and alpha mask.”. Now the CTA. AI always creates basic buttons, which is fine 99% of the time. But Gemini 3 now sets a high bar for baseline design, so you will need to stand out. That’s why I put the extra human touch on animations and lickable buttons. I suggest browsing UIVerse and Codepen for buttons and reference the code in your prompt: “Change main button {code} and secondary button {code}. Add a 1px border beam animation around the pill-shaped main button on hover.”. Once you’re happy with the hero, you’ll want to craft new sections based on your business. Features, action plan, pricing, testimonials, FAQ, CTA and footer are the popular ones. Insert a screenshot and prompt “Adapt a new section, change texts, names and numbers”. Gemini 3 is very smart. It reads your existing styles and site concept and will tastefully mold new designs to fit perfectly into your current site. Finally, repeat the same prompts for icons, buttons and animations. Use midjourney images and remix using Nano Banana Pro. Ask ChatGPT to come up with better headlines, features, ctas, etc. Don’t skip the human part, this is where you’re irreplaceable. Start prompting top-tier landing pages and watch your numbers grow.

Meng To

287,300 views • 7 months ago

Mint Update The last few hours have been absolutely insane, and the biggest takeaway for me is this: I have the best group of people supporting me. There were some missteps in execution, a bit of market volatility, and maybe some over-the-top expectations, but this launch is in no way a failure, because failure only happens when you stop, and we have no plans of stopping the journey on this lonely road! Instead were going to bring focus back to the reason for this mint, the art, the experience and the chance to discover where this road has been going Here’s how the launch will continue: Travellers Mint Opens today at 22:00 CET and runs for 12 hours until 10:00 CET Oct 18th For any Travellers still waiting for their turn, and all the friend communities who made the effort to be part of this , thank you. Your support means everything. Dedicated Mint Opens at 11:00 CET running for 24 hours until 11:00 CET Oct 19th A discounted mint for the 100 most dedicated Breezers Ongoing Mint After these stages at 12:00 CET Oct 19th the mint will open indefinitely at a fixed price of 0.096 ETH At this point, the claim for burned Breeze will begin Trading will also open at this stage The Reveal will happen shortly after We’ll keep wandering the Lonely Road. Fragments will stay permanently open for any collector who wants to experience this world and its art in the most cutting edge animated format to ever grace NFT's And as for the months ahead… I’ve got at least one more activation cooking that I think many of you will really appreciate Stay breezy, Stay bullish

Mint Update The last few hours have been absolutely insane, and the biggest takeaway for me is this: I have the best group of people supporting me. There were some missteps in execution, a bit of market volatility, and maybe some over-the-top expectations, but this launch is in no way a failure, because failure only happens when you stop, and we have no plans of stopping the journey on this lonely road! Instead were going to bring focus back to the reason for this mint, the art, the experience and the chance to discover where this road has been going Here’s how the launch will continue: Travellers Mint Opens today at 22:00 CET and runs for 12 hours until 10:00 CET Oct 18th For any Travellers still waiting for their turn, and all the friend communities who made the effort to be part of this , thank you. Your support means everything. Dedicated Mint Opens at 11:00 CET running for 24 hours until 11:00 CET Oct 19th A discounted mint for the 100 most dedicated Breezers Ongoing Mint After these stages at 12:00 CET Oct 19th the mint will open indefinitely at a fixed price of 0.096 ETH At this point, the claim for burned Breeze will begin Trading will also open at this stage The Reveal will happen shortly after We’ll keep wandering the Lonely Road. Fragments will stay permanently open for any collector who wants to experience this world and its art in the most cutting edge animated format to ever grace NFT's And as for the months ahead… I’ve got at least one more activation cooking that I think many of you will really appreciate Stay breezy, Stay bullish

Dutchtide.eth

13,354 views • 9 months ago

God, just look at that view! 😍 I really don’t understand the extreme hate this game gets. #HorizonForbiddenWest Just because I’m pointing out the beautiful art direction and open-world design, and saying it’s one of the best-looking games this generation, doesn’t mean there is no gameplay there. My page shows all sorts, from the smallest environmental details to actual gameplay moments, and personally, I love the story and gameplay too. But story is subjective. Combat feel is subjective. Not every game is going to land the same for every player. The hate this game gets in the comments is so forced, man. I’m not talking about actual criticism. Fair criticism is fine. I’m talking about the toxic BS where people act like the game has zero value just because it isn’t for them. If you don’t like it, fair play. Move on. But trying to drag everyone else for enjoying it is just dumb. And IMO what isn’t really up for debate, though, is the effort poured into this world. The density, lighting, environments, machine design, animation work, sound, ambience, and overall presentation are genuinely top-tier. As a piece of game art, it’s a masterpiece. Simple as that. That’s what draws me in. And for the people saying graphics mean nothing, I just don’t agree. Yes, a game can look rough and still be incredible. Gameplay will always matter. But visuals, art direction, lighting, atmosphere, and world detail absolutely can pull you deeper into a game. They add emotion, immersion, and a stronger sense of place. For some games, graphics are not just “pretty visuals”, they are part of the experience. It’s games like this that make me want to see what more studios could do with PlayStation’s in-house Decima engine. Honestly, if Decima was public, it would be a serious rival to Unreal Engine 5’s position in the market.

God, just look at that view! 😍 I really don’t understand the extreme hate this game gets. #HorizonForbiddenWest Just because I’m pointing out the beautiful art direction and open-world design, and saying it’s one of the best-looking games this generation, doesn’t mean there is no gameplay there. My page shows all sorts, from the smallest environmental details to actual gameplay moments, and personally, I love the story and gameplay too. But story is subjective. Combat feel is subjective. Not every game is going to land the same for every player. The hate this game gets in the comments is so forced, man. I’m not talking about actual criticism. Fair criticism is fine. I’m talking about the toxic BS where people act like the game has zero value just because it isn’t for them. If you don’t like it, fair play. Move on. But trying to drag everyone else for enjoying it is just dumb. And IMO what isn’t really up for debate, though, is the effort poured into this world. The density, lighting, environments, machine design, animation work, sound, ambience, and overall presentation are genuinely top-tier. As a piece of game art, it’s a masterpiece. Simple as that. That’s what draws me in. And for the people saying graphics mean nothing, I just don’t agree. Yes, a game can look rough and still be incredible. Gameplay will always matter. But visuals, art direction, lighting, atmosphere, and world detail absolutely can pull you deeper into a game. They add emotion, immersion, and a stronger sense of place. For some games, graphics are not just “pretty visuals”, they are part of the experience. It’s games like this that make me want to see what more studios could do with PlayStation’s in-house Decima engine. Honestly, if Decima was public, it would be a serious rival to Unreal Engine 5’s position in the market.

Video Game Details

18,968 views • 1 month ago

"Falling for Festive Fails" is HERE!!🎄 – Wagner tries to save Scarlett’s Christmas for a romantic holiday with her husband Alliard. Will it work? Thank you EVERYONE who helped with this project! A fun example of what to expect with our episodes! -- 🎄WATCH: ⭐️Narration bay 🪷 👉🏻 Brick City Baby ! 🧱🌉 🎅Main Cast -Scarlett: 🎙Tiger Sexton • VA -Wagner: Luca "H'opa" Xavier 🪶 -Alliard: James Takahashi -Damien: Shaun Mendum - Actor/VA/Creator -Jackie: Joey Sourlis 🪶 Thunder Heart -Drake: Troy JK ⭐️Supporting Cast -Reginald: Kiran Kumar • Voice Actor -Ken: Danny Spiller 🍉 (FIND ME ELSEWHERE) -Nate: @DanPyxel -Greg: Daniel Murphy VO -Desiree: @crash_tako -Bevvy: Liv Smith 🏳️‍⚧️🇮🇪 -August: 🎙Aidan Mecchi 🎙🏳️‍🌈 -Father Gabriel: Ray O'Hare 🎙 (rayohare on 🦋) -Flower-Chan: Isabella Tugman - Voice Actor 🎙 -Kids: All Ages of Geek⚔️🎲 -Super Flower-Chan: Alp Phe Celestial 🎅Extras: Kiba Walker 🍉 Kokoro Hana🐼🌸 | SAKURA PANDA〖VPOWER〗〖VSES〗 🎙Juan🌌 | Voice Actor ✝️Homikulus✝️ - COMMS OPEN! 📒Seer of Spring Seedlings🎙 SweetKickz101🔜PKMN WORLDS masterjade__studios Ian Ionescu Tony Ellis 🎲 🎙️ Mach Dent Will Horner ⭐️Singers: Caitlin Rowe Kiran Kumar • Voice Actor Patrick Hurt | Home Studio/Source Connect Logan Fletcher - Voice Actor & Writer 🎶Zalow Music🎶 Lexie Dreamstate 💫 Tiffany Witcher -Vtuber Anniversary Subathon 7/9 Beth Pierce | UPWARDS RAIN IS OUT! 💌 Lexa 🐝 🎙Aidan Mecchi 🎙🏳️‍🌈 Patti Knox 🎙️🏳️‍🌈 (she/her) StefonTV1 🎅Music: Ryan X. Messcher All Ages of Geek⚔️🎲 Antonia Marquee, Randy Pringle, Larry Bankson ⭐️Art: Bumbleflap (COMMISSIONS OPEN)

"Falling for Festive Fails" is HERE!!🎄 – Wagner tries to save Scarlett’s Christmas for a romantic holiday with her husband Alliard. Will it work? Thank you EVERYONE who helped with this project! A fun example of what to expect with our episodes! -- 🎄WATCH: ⭐️Narration bay 🪷 👉🏻 Brick City Baby ! 🧱🌉 🎅Main Cast -Scarlett: 🎙Tiger Sexton • VA -Wagner: Luca "H'opa" Xavier 🪶 -Alliard: James Takahashi -Damien: Shaun Mendum - Actor/VA/Creator -Jackie: Joey Sourlis 🪶 Thunder Heart -Drake: Troy JK ⭐️Supporting Cast -Reginald: Kiran Kumar • Voice Actor -Ken: Danny Spiller 🍉 (FIND ME ELSEWHERE) -Nate: @DanPyxel -Greg: Daniel Murphy VO -Desiree: @crash_tako -Bevvy: Liv Smith 🏳️‍⚧️🇮🇪 -August: 🎙Aidan Mecchi 🎙🏳️‍🌈 -Father Gabriel: Ray O'Hare 🎙 (rayohare on 🦋) -Flower-Chan: Isabella Tugman - Voice Actor 🎙 -Kids: All Ages of Geek⚔️🎲 -Super Flower-Chan: Alp Phe Celestial 🎅Extras: Kiba Walker 🍉 Kokoro Hana🐼🌸 | SAKURA PANDA〖VPOWER〗〖VSES〗 🎙Juan🌌 | Voice Actor ✝️Homikulus✝️ - COMMS OPEN! 📒Seer of Spring Seedlings🎙 SweetKickz101🔜PKMN WORLDS masterjade__studios Ian Ionescu Tony Ellis 🎲 🎙️ Mach Dent Will Horner ⭐️Singers: Caitlin Rowe Kiran Kumar • Voice Actor Patrick Hurt | Home Studio/Source Connect Logan Fletcher - Voice Actor & Writer 🎶Zalow Music🎶 Lexie Dreamstate 💫 Tiffany Witcher -Vtuber Anniversary Subathon 7/9 Beth Pierce | UPWARDS RAIN IS OUT! 💌 Lexa 🐝 🎙Aidan Mecchi 🎙🏳️‍🌈 Patti Knox 🎙️🏳️‍🌈 (she/her) StefonTV1 🎅Music: Ryan X. Messcher All Ages of Geek⚔️🎲 Antonia Marquee, Randy Pringle, Larry Bankson ⭐️Art: Bumbleflap (COMMISSIONS OPEN)

I Married a Monster on a Hill💜

19,688 views • 1 year ago

This launch is one of the most exciting and important decisions we have ever made. In the traditional gaming industry, KingNet ( company , is well-known as the developer of the game 《The Legend of MIR 》, Over the past decade, KingNet has supported its operations through a three-pronged business model of research and development, publishing, and investment + IP, launching 100+ high-quality games to date. Web3's building has been ongoing for nearly two years. We have established a brand-new game studio SmileCobra Studio , and establish long-term cooperative relationships with some big guys like TON 💎 BNB Chain Solana Scroll Delphinus Lab ($ZKWASM) Cocos Studio and others. However, after speaking with many developers, we found that before a real user consumption scenario is formed, one of the main challenges many teams face is how to reduce game development costs. So it's best time to learn about Xingyi AI model : the first AI industrialization pipeline, making game production truly "automated". Check here: What problem we want to solve? 1. High Production Costs: Traditional animation design and refinement can cost anywhere from several thousand to tens of thousands of dollars, making it difficult for small startup teams to afford. 2. Long Development Cycles: The fluidity and consistency of animations have always been one of the most time-consuming aspects of development. Designers often spend weeks to achieve a satisfactory result. With Xingyi, it only takes a few steps and minutes to generate the desired animation. 3. Inefficient Collaboration: In the past, game development was usually divided into multiple stages, each managed by independent teams responsible for art, planning, programming, and other roles. The smooth transition between stages relied on high levels of team collaboration and communication. The Xingyi toolchain breaks the traditional division of labor, promoting automation and collaboration across various stages. 4. Automated but Not Passive: Outside of the automated processes, developers are the true creators of the game. Xingyi makes prototype validation and adjustments more scientific and efficient. We will gradually open source the underlying model of Xingyi and make it available to interested collaboration developers (DM is open). We have already made various agent material generation available, and you can try it now: Finally, we would like to discuss a point that many people are concerned about, why was there a launch at @pumpdotfun and it was abandoned? The most important reason is that we lacked experience in the first launch and were affected by snipers and the market. We conducted wallet statistics and found that, excluding bots, a total of 25 addresses suffered a loss of approximately 17 sol. We will use the trading fee of Launch Coin on Believe to airdrop these accounts and apologize again for our mistake. Also, thank you to Launch Coin on Believe for the smooth launch and long-term creative sharing with the builders, only $KNET CA is : CfVs3waH2Z9TM397qSkaipTDhA9wWgtt8UchZKfwkYiu $KNET not representing any equity interests of the parent company , $KNET is a meme, but at the same time, it’s not just a meme. $KNET will play a key role in the consumption scenarios of the KingnetAI ecosystem—imagine having to continuously spend $KNET each time you generate the game modules you want. Gamefi is died？ NO, AI-Gaming just begain here .

Kingnet AI

187,843 views • 1 year ago

Our First Year Festival November 15th, 2025 | 8 AM PST / 11 AM EST Today, I finally get to share something that means the world to me. On November 15th, we’ll celebrate one full year of IRIAM US 🇺🇸｜Virtual Streaming App incredible journey - and my own anniversary, as well as of 365 consecutive days of streaming. What began as a small dream has become a living community powered by connection, creativity, and love. This event is a celebration of every streamer, every viewer, and every shared moment that made this first year unforgettable. The "Our First Year Festival" is proudly sponsored by IRIAM, and supported in part by my own funds, to give back to the platform and people who made this year possible. We’ve gathered over 90 incredible VTubers from across IRIAM and beyond to perform, connect, and celebrate together in one unforgettable day. I want to thank the IRIAM Team for believing in this event, for the support they’ve shown every creator who calls this platform home, and for helping make this dream a reality. And a special thank you to izumi teeny 泉ティーニー 🌧🐎 【VIVARIA】 for the stunning announcement visuals and assets - your work brought this vision to life beautifully. Also to Harisun Studios (OPEN COMMISSION) and Akusha【AoMA】| 💫Heimin | Vgen Comms for other art assets to help support the event! We’re a little behind schedule today, and I’m sorry for that. I wanted to make sure this announcement was worthy of what it represents - all of you. 🎧 Event Details 📅 November 15th, 2025 ⏰ 8:00 AM PST / 11:00 AM EST 📍Watch live on Purple site & Red site 🎤 Event Lineup Opening Performance: mono monet 💭🎨『V4Mirai』 Cohosts: Celes Aurion🔜NYAN NIGHTS🐾🎧 & Otoharu Riyo 🎤🦐 音晴リヨ Half-Time Performances: Kōri-Oujo🍧🦝【HEIRS】🔜SUMMER SPLASH CONCERT & StarlightDaryl 🎵✨🔭 🔜 Found Futures Closing DJ Set: Celes Aurion Featuring Performances By: Belkis Kamino 🐐💄🍷 • Riko Siempre, RN 🫶🩺 【IRIAM US】🔜 AX 2026 • Jeanne T. Apprenant 🎓⌛ • Kyudee Pai 【IRIAM US】 • Noriboshi Arielle 🎼🎀 IRIAM US | OffKai Grind Arc • Guyuk - IRIAM Early Access • ⛓️🎲Castalico🎲⛓️ • Anjellica Meduzoa 🪐🪼【IRIAM US】 • Anu Ochre⚖️⚰️【bondliveEN】 • Browntul 🐢🌟【IRIAM US】 • Vatsun Kabuki (IRIAM US FS | ???) • Veronia (Roni) Vvinter 🐧⛏️ • nana !!! hachikyuu 【IRIAM EAS】 • Ivyra Violette 🍇🌿 【IRIAM FS】 • @VTMomokaSakurai • KirinaVT VA❤️‍🔥 • 🍭🎠Kyume Dulcenube 💌🧸 IRIAM FS • Miyu 🦥 Indefinite Hiatus • Lillie 🌱🌷 花薬リリー Apothecary Idol VTuber • Akira Inuka 🐺⛓️‍💥 【 IRIAM US 】 • Rina Lunette🦉🌙 SVP • Vylia Jester 🎩🃏bondEN | @IRIAM US • 🐾Evie Askal☕️ 【Witch Dog】 🐾 • @katonymously • Tatakae • @yuki_san98 • Star Kitagawa IRIAM US • Shirokawa Fuu 🌻📸【IRIAM US】 • Domino Muryo 🐮☕@ IRIAM US 【UNDER RENOVATION】 • Trixxie ♥♠ 🔜 Offkai '26 • Rinaza Thorn 👑🌹【IRIAM US | Elysian Tower】 • Paichi 🍄 🐯【DropOuts】 🔜 Offkai • continued > #OFYFestival #IRIAMUS #IRIAM #Vtuber

Our First Year Festival November 15th, 2025 | 8 AM PST / 11 AM EST Today, I finally get to share something that means the world to me. On November 15th, we’ll celebrate one full year of IRIAM US 🇺🇸｜Virtual Streaming App incredible journey - and my own anniversary, as well as of 365 consecutive days of streaming. What began as a small dream has become a living community powered by connection, creativity, and love. This event is a celebration of every streamer, every viewer, and every shared moment that made this first year unforgettable. The "Our First Year Festival" is proudly sponsored by IRIAM, and supported in part by my own funds, to give back to the platform and people who made this year possible. We’ve gathered over 90 incredible VTubers from across IRIAM and beyond to perform, connect, and celebrate together in one unforgettable day. I want to thank the IRIAM Team for believing in this event, for the support they’ve shown every creator who calls this platform home, and for helping make this dream a reality. And a special thank you to izumi teeny 泉ティーニー 🌧🐎 【VIVARIA】 for the stunning announcement visuals and assets - your work brought this vision to life beautifully. Also to Harisun Studios (OPEN COMMISSION) and Akusha【AoMA】| 💫Heimin | Vgen Comms for other art assets to help support the event! We’re a little behind schedule today, and I’m sorry for that. I wanted to make sure this announcement was worthy of what it represents - all of you. 🎧 Event Details 📅 November 15th, 2025 ⏰ 8:00 AM PST / 11:00 AM EST 📍Watch live on Purple site & Red site 🎤 Event Lineup Opening Performance: mono monet 💭🎨『V4Mirai』 Cohosts: Celes Aurion🔜NYAN NIGHTS🐾🎧 & Otoharu Riyo 🎤🦐 音晴リヨ Half-Time Performances: Kōri-Oujo🍧🦝【HEIRS】🔜SUMMER SPLASH CONCERT & StarlightDaryl 🎵✨🔭 🔜 Found Futures Closing DJ Set: Celes Aurion Featuring Performances By: Belkis Kamino 🐐💄🍷 • Riko Siempre, RN 🫶🩺 【IRIAM US】🔜 AX 2026 • Jeanne T. Apprenant 🎓⌛ • Kyudee Pai 【IRIAM US】 • Noriboshi Arielle 🎼🎀 IRIAM US | OffKai Grind Arc • Guyuk - IRIAM Early Access • ⛓️🎲Castalico🎲⛓️ • Anjellica Meduzoa 🪐🪼【IRIAM US】 • Anu Ochre⚖️⚰️【bondliveEN】 • Browntul 🐢🌟【IRIAM US】 • Vatsun Kabuki (IRIAM US FS | ???) • Veronia (Roni) Vvinter 🐧⛏️ • nana !!! hachikyuu 【IRIAM EAS】 • Ivyra Violette 🍇🌿 【IRIAM FS】 • @VTMomokaSakurai • KirinaVT VA❤️‍🔥 • 🍭🎠Kyume Dulcenube 💌🧸 IRIAM FS • Miyu 🦥 Indefinite Hiatus • Lillie 🌱🌷 花薬リリー Apothecary Idol VTuber • Akira Inuka 🐺⛓️‍💥 【 IRIAM US 】 • Rina Lunette🦉🌙 SVP • Vylia Jester 🎩🃏bondEN | @IRIAM US • 🐾Evie Askal☕️ 【Witch Dog】 🐾 • @katonymously • Tatakae • @yuki_san98 • Star Kitagawa IRIAM US • Shirokawa Fuu 🌻📸【IRIAM US】 • Domino Muryo 🐮☕@ IRIAM US 【UNDER RENOVATION】 • Trixxie ♥♠ 🔜 Offkai '26 • Rinaza Thorn 👑🌹【IRIAM US | Elysian Tower】 • Paichi 🍄 🐯【DropOuts】 🔜 Offkai • continued > #OFYFestival #IRIAMUS #IRIAM #Vtuber

Celes Aurion🔜NYAN NIGHTS🐾🎧

71,777 views • 9 months ago

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

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

Tim Cotten

12,617 views • 1 year ago

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

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

Naru

55,609 views • 5 months ago

just copy the prompt below and paste on Utopai the PAI agent turns it into script, create storyline, generate clips and edit all by itself prompt: High-energy 3D CGI animated comedy short, Pixar quality, ultra-detailed character animation, exaggerated physics, vibrant colors, warm orange kitchen lighting with glowing flames, bright daylight city streets, dynamic camera work with fast pans, tilts and dramatic angles, subtle motion blur on fast movements, comedic timing and expressions, upbeat energetic music with whooshes and impacts. **Main Character Casting Descriptions:** - **Pizza Chef - Jack (main actor in kitchen)**: Early 50s energetic male, messy silver hair, large prominent nose, thick expressive eyebrows, sharp intense eyes, fair skin with slight blush from heat. Wears white double-breasted chef jacket, wear white chef hat with text “el.cine” in front, gree neckerchief. Highly animated face — furrowed brows, focused squint, dramatic determination turning to exhaustion. - **Pizza Delivery Guy - Tom (main actor on street/scooter)**: Late teens/early 20s lanky male, long blue hair, huge expressive brown eyes, long nose, very animated facial expressions (surprise, determination, panic, relief). Wears white helmet with spinning yellow propeller on to, light blue leather with text el.cine at back, white pants, sneakers. Fast, exaggerated movements. - **Customer (final shot)**: Large, middle-aged stern woman, brown hair, heavy eyebrows, downturned mouth, wearing beige suit jacket, white shirt, dark trousers. Standing in doorway with impatient/annoyed expression. SHOT 1 (0:00–0:02) – Cinematic fast motion, dramatic low angle with subtle Dutch tilt and intense push-in: fast push from kitchen wide shot to close up on the Pizza Chef’s face in the bustling kitchen. He grips the large pepperoni pizza on a metal tray with raw, over-the-top determination — brows dramatically furrowed into deep angry V-shapes, eyes sharply narrowed with a fierce glint and slight crazy wideness at the edges, teeth gritted in heroic effort, dramatic sweat beads flying off his forehead. Bright orange flames explode upward from the pizza in the foreground with massive sparks and heat waves licking toward his face. Dynamic camera orbits left while pushing in for maximum tension, subtle motion blur on the flames. Background shows chaotic kitchen with stacked pizza boxes, glowing ovens, and flying embers. SHOT 2 (0:02–0:04) – Medium close-up, eye-level: Chef lifts the flaming pizza higher with both hands, leans forward, eyes wide with concentration as flames lick upward toward his face. SHOT 3 (0:04–0:06) – Medium shot, eye-level, dynamic pan: Chef dramatically spins the flaming pizza on the peel in a huge fiery arc above his head, left hand on forehead in dramatic pose, right arm extended. Flames trail in a perfect circle. SHOT 4 (0:06–0:08) – Low-angle dramatic shot looking up: Chef tosses the flaming pizza high into the air with both hands. The camera follows the spinning fiery pizza as it arcs toward the ceiling tiles. SHOT 5 (0:08–0:10) – Extreme low-angle on ceiling: The flaming pizza spins in a perfect circle of fire against the tiled ceiling, sparks flying. SHOT 6 (0:10–0:12) – Wide dynamic shot, low angle: Chef does a full acrobatic flip in mid-air, upside-down, catching the flaming pizza behind his back while still in the air. SHOT 7 (0:12–0:14) – Wide action shot, eye-level: Chef lands in a wide stance, spins the flaming pizza on one hand like a basketball, then dramatically throws it forward toward the open doorway with full body power, flames trailing, quick push in and follow the close up of the flying pizza in slow motion SHOT 8 (0:14–0:16) – Medium shot on street, eye-level: Pizza Delivery Guy stands outside the shop holding an empty pizza box, looking down at his watch with bored expression, propeller on helmet slowly spinning. SHOT 9 (0:16–0:18) – Medium close-up, eye-level: Chef (partially visible inside doorway) throws the flaming pepperoni pizza directly toward the Delivery Guy. Delivery Guy looks up with wide-eyed shock. SHOT 10 (0:18–0:20) – Medium shot, eye-level: slow motion, close up of the flaming pizza flies straight into the open pizza box held by the Delivery Guy. Flames whoosh past his face as he catches it perfectly. SHOT 11 (0:20–0:22) – Close-up on Delivery Guy’s face: His eyes go extremely wide in surprise, mouth open, propeller spinning faster, and talk excitedly SHOT 12 (0:22–0:24) – Extreme close-up on smartphone screen held in hand: Red digital timer clearly shows “00:30” counting down. SHOT 13 (0:24–0:26) – Close-up on Delivery Guy’s face: Expression changes from shock to intense determination — eyebrows lowered, mouth set in a smirk, eyes focused. SHOT 14 (0:26–0:50 end) – Wide tracking shot from behind, fast-paced: Delivery Guy jumps on his purple scooter and speeds away down the sunny city street, pizza box secured on the back. Camera follows as he weaves between cars, jumps over red-and-white construction barriers, rides up stairs, does rooftop jumps, and finally stops smoothly in front of a house. He turns with a confident smile as the stern Customer opens the door and stares at him and says with an angry tone “you are late” cut to Tom smiling awkwardly and scratch the back of his head, he takes the pizza from his back and suddenly he slide and fall down on the ground Cinematic 3D CGI animation style, highly exaggerated comedic action, perfect continuity of the flaming pizza and characters, dynamic camera movements exactly matching the original video’s pacing, framing, and energetic tone. Photorealistic 3D render quality, 1080p, 24fps.

just copy the prompt below and paste on Utopai the PAI agent turns it into script, create storyline, generate clips and edit all by itself prompt: High-energy 3D CGI animated comedy short, Pixar quality, ultra-detailed character animation, exaggerated physics, vibrant colors, warm orange kitchen lighting with glowing flames, bright daylight city streets, dynamic camera work with fast pans, tilts and dramatic angles, subtle motion blur on fast movements, comedic timing and expressions, upbeat energetic music with whooshes and impacts. Main Character Casting Descriptions: - Pizza Chef - Jack (main actor in kitchen): Early 50s energetic male, messy silver hair, large prominent nose, thick expressive eyebrows, sharp intense eyes, fair skin with slight blush from heat. Wears white double-breasted chef jacket, wear white chef hat with text “el.cine” in front, gree neckerchief. Highly animated face — furrowed brows, focused squint, dramatic determination turning to exhaustion. - Pizza Delivery Guy - Tom (main actor on street/scooter): Late teens/early 20s lanky male, long blue hair, huge expressive brown eyes, long nose, very animated facial expressions (surprise, determination, panic, relief). Wears white helmet with spinning yellow propeller on to, light blue leather with text el.cine at back, white pants, sneakers. Fast, exaggerated movements. - Customer (final shot): Large, middle-aged stern woman, brown hair, heavy eyebrows, downturned mouth, wearing beige suit jacket, white shirt, dark trousers. Standing in doorway with impatient/annoyed expression. SHOT 1 (0:00–0:02) – Cinematic fast motion, dramatic low angle with subtle Dutch tilt and intense push-in: fast push from kitchen wide shot to close up on the Pizza Chef’s face in the bustling kitchen. He grips the large pepperoni pizza on a metal tray with raw, over-the-top determination — brows dramatically furrowed into deep angry V-shapes, eyes sharply narrowed with a fierce glint and slight crazy wideness at the edges, teeth gritted in heroic effort, dramatic sweat beads flying off his forehead. Bright orange flames explode upward from the pizza in the foreground with massive sparks and heat waves licking toward his face. Dynamic camera orbits left while pushing in for maximum tension, subtle motion blur on the flames. Background shows chaotic kitchen with stacked pizza boxes, glowing ovens, and flying embers. SHOT 2 (0:02–0:04) – Medium close-up, eye-level: Chef lifts the flaming pizza higher with both hands, leans forward, eyes wide with concentration as flames lick upward toward his face. SHOT 3 (0:04–0:06) – Medium shot, eye-level, dynamic pan: Chef dramatically spins the flaming pizza on the peel in a huge fiery arc above his head, left hand on forehead in dramatic pose, right arm extended. Flames trail in a perfect circle. SHOT 4 (0:06–0:08) – Low-angle dramatic shot looking up: Chef tosses the flaming pizza high into the air with both hands. The camera follows the spinning fiery pizza as it arcs toward the ceiling tiles. SHOT 5 (0:08–0:10) – Extreme low-angle on ceiling: The flaming pizza spins in a perfect circle of fire against the tiled ceiling, sparks flying. SHOT 6 (0:10–0:12) – Wide dynamic shot, low angle: Chef does a full acrobatic flip in mid-air, upside-down, catching the flaming pizza behind his back while still in the air. SHOT 7 (0:12–0:14) – Wide action shot, eye-level: Chef lands in a wide stance, spins the flaming pizza on one hand like a basketball, then dramatically throws it forward toward the open doorway with full body power, flames trailing, quick push in and follow the close up of the flying pizza in slow motion SHOT 8 (0:14–0:16) – Medium shot on street, eye-level: Pizza Delivery Guy stands outside the shop holding an empty pizza box, looking down at his watch with bored expression, propeller on helmet slowly spinning. SHOT 9 (0:16–0:18) – Medium close-up, eye-level: Chef (partially visible inside doorway) throws the flaming pepperoni pizza directly toward the Delivery Guy. Delivery Guy looks up with wide-eyed shock. SHOT 10 (0:18–0:20) – Medium shot, eye-level: slow motion, close up of the flaming pizza flies straight into the open pizza box held by the Delivery Guy. Flames whoosh past his face as he catches it perfectly. SHOT 11 (0:20–0:22) – Close-up on Delivery Guy’s face: His eyes go extremely wide in surprise, mouth open, propeller spinning faster, and talk excitedly SHOT 12 (0:22–0:24) – Extreme close-up on smartphone screen held in hand: Red digital timer clearly shows “00:30” counting down. SHOT 13 (0:24–0:26) – Close-up on Delivery Guy’s face: Expression changes from shock to intense determination — eyebrows lowered, mouth set in a smirk, eyes focused. SHOT 14 (0:26–0:50 end) – Wide tracking shot from behind, fast-paced: Delivery Guy jumps on his purple scooter and speeds away down the sunny city street, pizza box secured on the back. Camera follows as he weaves between cars, jumps over red-and-white construction barriers, rides up stairs, does rooftop jumps, and finally stops smoothly in front of a house. He turns with a confident smile as the stern Customer opens the door and stares at him and says with an angry tone “you are late” cut to Tom smiling awkwardly and scratch the back of his head, he takes the pizza from his back and suddenly he slide and fall down on the ground Cinematic 3D CGI animation style, highly exaggerated comedic action, perfect continuity of the flaming pizza and characters, dynamic camera movements exactly matching the original video’s pacing, framing, and energetic tone. Photorealistic 3D render quality, 1080p, 24fps.

el.cine

12,990 views • 2 months ago