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Marvel’s Wolverine - Pros & Cons based on reviews: PROS - Brutal, visceral Wolverine combat - Rage system makes fights feel aggressive and satisfying - Excellent animations, gore and visual presentation - Strong performance from Liam McIntyre as Logan - Logan’s character and relationships are one of the story’s...

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GameVerse

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258,994 просмотров • 17 дней назад •via X (Twitter)

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Tomorrow the reviews drop for one of my most anticipated games of the year: Crimson Desert. I’m starting a new format where I predict a game’s final verdict before the embargo lifts. Here’s my scorecard. Predicted Positives ✅ > Huge variety and strong open‑world design > Top‑tier visuals with surprisingly smooth performance > Exploration that constantly rewards curiosity > Minimal bugs at launch > Systems that connect well and feel thoughtfully built > A stylish combat system that keeps fights exciting from start to finish > A diverse lineup of bosses that push the combat to its best moments Predicted Negatives ❌ > Storyline lands somewhere in the middle > Characters aren’t especially memorable > Some puzzle design may frustrate players (yellow painting… where are you /s) > Trying to do everything makes the lore feel unfocused Final Metacritic Score Prediction: 88 🦾
0:12

Tomorrow the reviews drop for one of my most anticipated games of the year: Crimson Desert. I’m starting a new format where I predict a game’s final verdict before the embargo lifts. Here’s my scorecard. Predicted Positives ✅ > Huge variety and strong open‑world design > Top‑tier visuals with surprisingly smooth performance > Exploration that constantly rewards curiosity > Minimal bugs at launch > Systems that connect well and feel thoughtfully built > A stylish combat system that keeps fights exciting from start to finish > A diverse lineup of bosses that push the combat to its best moments Predicted Negatives ❌ > Storyline lands somewhere in the middle > Characters aren’t especially memorable > Some puzzle design may frustrate players (yellow painting… where are you /s) > Trying to do everything makes the lore feel unfocused Final Metacritic Score Prediction: 88 🦾

𝒩𝒾𝓀𝒻ℴ𝓇

41,356 просмотров • 6 месяцев назад

I've played Clair Obscur Expedition 33 for 4 hours and here is my preview: -Insane visuals -Very good performance -Outstanding voice acting -Might be the best rpg world map out there (exploration, shortcuts, hidden bosses, design, soundtrack) -Camp everywhere on the map -Your camp will change overtime (extra dialogue, new NPCs, side content and more) -You can see enemies anytime, even on the world map -Difficulty options (change it anytime) -Great UI / Fast 'menuing' -Insane soundtrack -Insane art direction and world building -Super interesting story -Very dark themes (Very 'adult', death/loss, love, swearing, blood and gore) -But on the other side also super funny side characters -Interesting characters overall -Fast travel to checkpoints -Great enemy design (some FromSoftware stuff in here) -Great outfits -New weapons will look different -Widescreen support -30fps cutscenes -No fall damage -Skippable cutscenes -Fast loading times -Instant character swap (one button) -Almost seamless gameplay into combat -Amazing exploration with the grappling hook and climbing -Secret bosses with great rewards -Combat is super fun and challenging -Bosses are no joke (died multiple times) -You can see enemy turns -One button press combat -Persona meets Final Fantasy 10 with some own ideas!!! (It’s fire imo) -High risk and reward system in combat -You can parry/dodge ANY attack (final boss is also possible) / no hit run any? -Battle theme(s) are freaking amazing If my play session is any indicator of the whole game - oh boy, we are in for a treat. Any RPG fan who doesn’t already have the game on their most-wanted list should do so immediately, because something very special arrives next month.
0:14

I've played Clair Obscur Expedition 33 for 4 hours and here is my preview: -Insane visuals -Very good performance -Outstanding voice acting -Might be the best rpg world map out there (exploration, shortcuts, hidden bosses, design, soundtrack) -Camp everywhere on the map -Your camp will change overtime (extra dialogue, new NPCs, side content and more) -You can see enemies anytime, even on the world map -Difficulty options (change it anytime) -Great UI / Fast 'menuing' -Insane soundtrack -Insane art direction and world building -Super interesting story -Very dark themes (Very 'adult', death/loss, love, swearing, blood and gore) -But on the other side also super funny side characters -Interesting characters overall -Fast travel to checkpoints -Great enemy design (some FromSoftware stuff in here) -Great outfits -New weapons will look different -Widescreen support -30fps cutscenes -No fall damage -Skippable cutscenes -Fast loading times -Instant character swap (one button) -Almost seamless gameplay into combat -Amazing exploration with the grappling hook and climbing -Secret bosses with great rewards -Combat is super fun and challenging -Bosses are no joke (died multiple times) -You can see enemy turns -One button press combat -Persona meets Final Fantasy 10 with some own ideas!!! (It’s fire imo) -High risk and reward system in combat -You can parry/dodge ANY attack (final boss is also possible) / no hit run any? -Battle theme(s) are freaking amazing If my play session is any indicator of the whole game - oh boy, we are in for a treat. Any RPG fan who doesn’t already have the game on their most-wanted list should do so immediately, because something very special arrives next month.

GermanStrands

678,496 просмотров • 1 год назад

My Lost Soul Aside Impressions: I’m playing on the PS5 Pro in performance mode with a VRR display, and I’m very satisfied with the performance. For me, the image looks sharp and the gameplay runs very smooth with 60fps. Even during big boss fights, I haven’t noticed any significant drops. Claims that the game runs at 20fps are absolute nonsense. I wouldn’t recommend quality mode, as the missing frames per second and the input delay are a major disadvantage, especially with such fast-paced gameplay. Visually, I’d say the game looks very good, but not outstanding. Environmental details are sometimes not fully polished, and the facial animations could be better. On the other hand, the characters are incredibly detailed, which I really enjoyed. The combat animations are absolutely fantastic, and the choreographed fight cutscenes are brilliant. Boss fights are simply phenomenal and I loved every second of them. The whole experience feels like a mix of Final Fantasy and Devil May Cry. Bosses also come with certain mechanics you have to trigger, which adds depth. The soundtrack has impressed me so far, mixing rock tracks with softer melodies that really bring the fantasy world to life. However, the audio mixing between cutscenes and gameplay is sometimes off and should be fixed. The game is very linear, which I personally find refreshing and not a negative at all. The map reminds me of Final Fantasy X, with some side paths that hide chests or items. Puzzles are simple but help break things up. Larger areas are often rather empty though, and exploration can feel unrewarding when all you find is “+7 gold.” The story so far is quite predictable. I didn’t enjoy the English voice acting and switched to the Chinese original, which feels much better. I also made some adjustments to improve my experience: in the sound menu, I boosted the weapon effects and increased the music volume. In combat, I found there’s too much chatter and subtitles are distracting, so I turned them off completely. The game is challenging, and I’d definitely consider it demanding. There are no difficulty options, but if you die often enough, you’ll get amulets that make the gameplay noticeably easier. Now, onto the clear highlight of the game: the combat system. My goodness, it’s amazing. The chaining of attacks and overall complexity are simply brilliant. It’s an endless fireworks display of effects, and for me the wait was truly worth it. At first, combat might seem simple, but as you progress you unlock new weapons with their own skill trees, special attacks that can be upgraded, new combo actions, and the ability to switch weapons instantly in battle to chain them into even more combos. Different weapons can also interact with the environment and trigger special effects. It’s just genius. Another fantastic feature is weapon customization. You can freely change the appearance of your weapons, as every weapon can take on the look of another. You can also adjust details in real time, resize parts, reposition them, and all changes are applied instantly without requiring resources. Even better, these customizations carry over into cutscenes. When you move to the next level, the camera zooms out and shows your characters in a charming overworld view, similar to Expedition 33. A really nice touch. So far, I’ve been enjoying the game immensely, and I simply couldn’t put it down. If you’re expecting a combo-based combat system, you definitely won’t be disappointed in my opinion. The linear level design felt incredibly refreshing, and it genuinely transported me back to the PS2 era, always leaving me with a warm feeling in my heart.
0:11

My Lost Soul Aside Impressions: I’m playing on the PS5 Pro in performance mode with a VRR display, and I’m very satisfied with the performance. For me, the image looks sharp and the gameplay runs very smooth with 60fps. Even during big boss fights, I haven’t noticed any significant drops. Claims that the game runs at 20fps are absolute nonsense. I wouldn’t recommend quality mode, as the missing frames per second and the input delay are a major disadvantage, especially with such fast-paced gameplay. Visually, I’d say the game looks very good, but not outstanding. Environmental details are sometimes not fully polished, and the facial animations could be better. On the other hand, the characters are incredibly detailed, which I really enjoyed. The combat animations are absolutely fantastic, and the choreographed fight cutscenes are brilliant. Boss fights are simply phenomenal and I loved every second of them. The whole experience feels like a mix of Final Fantasy and Devil May Cry. Bosses also come with certain mechanics you have to trigger, which adds depth. The soundtrack has impressed me so far, mixing rock tracks with softer melodies that really bring the fantasy world to life. However, the audio mixing between cutscenes and gameplay is sometimes off and should be fixed. The game is very linear, which I personally find refreshing and not a negative at all. The map reminds me of Final Fantasy X, with some side paths that hide chests or items. Puzzles are simple but help break things up. Larger areas are often rather empty though, and exploration can feel unrewarding when all you find is “+7 gold.” The story so far is quite predictable. I didn’t enjoy the English voice acting and switched to the Chinese original, which feels much better. I also made some adjustments to improve my experience: in the sound menu, I boosted the weapon effects and increased the music volume. In combat, I found there’s too much chatter and subtitles are distracting, so I turned them off completely. The game is challenging, and I’d definitely consider it demanding. There are no difficulty options, but if you die often enough, you’ll get amulets that make the gameplay noticeably easier. Now, onto the clear highlight of the game: the combat system. My goodness, it’s amazing. The chaining of attacks and overall complexity are simply brilliant. It’s an endless fireworks display of effects, and for me the wait was truly worth it. At first, combat might seem simple, but as you progress you unlock new weapons with their own skill trees, special attacks that can be upgraded, new combo actions, and the ability to switch weapons instantly in battle to chain them into even more combos. Different weapons can also interact with the environment and trigger special effects. It’s just genius. Another fantastic feature is weapon customization. You can freely change the appearance of your weapons, as every weapon can take on the look of another. You can also adjust details in real time, resize parts, reposition them, and all changes are applied instantly without requiring resources. Even better, these customizations carry over into cutscenes. When you move to the next level, the camera zooms out and shows your characters in a charming overworld view, similar to Expedition 33. A really nice touch. So far, I’ve been enjoying the game immensely, and I simply couldn’t put it down. If you’re expecting a combo-based combat system, you definitely won’t be disappointed in my opinion. The linear level design felt incredibly refreshing, and it genuinely transported me back to the PS2 era, always leaving me with a warm feeling in my heart.

GermanStrands

105,473 просмотров • 1 год назад

First Path of Exile 2 Review: -Campaign about 35-40 hours -"Dark Souls of ARGPs" another reviewer thought the same thing -No difficulty options -No easy game -Lots of challenging boss fights -Feels so rewarding to beat them -Dark Souls and Elden Ring feeling -Maps are astronomically large (1 h from side to side) -Maps feel a little bit empty in terms of events -Scratched the tiniest surface of the game after 40 hours -Great sense of discovery (mechanics, builds and lore) -Feels like 3 games into one -Almost limitless combinations of builds -Lot easier to respec your skills -50-100 changes was no problem -Outstanding dark theme art direction -Clearly inspired by Diablo 2 -Details on skill effects and boss designs are the best in the industry in the ARPG genre -Blown away by the amount of detail -Most dynamic combat in an ARPG -Switch to controller was a revelation -Feels like a game that was designed for controller first -Plays even better than Diablo 4 with a controller -Potential to be the alltime king of the genre -Some bugs and crashes occurred -Strong believe that the developers will join the annals of greatness alongside Larian Studios and FromSoftware Watch:
0:13

First Path of Exile 2 Review: -Campaign about 35-40 hours -"Dark Souls of ARGPs" another reviewer thought the same thing -No difficulty options -No easy game -Lots of challenging boss fights -Feels so rewarding to beat them -Dark Souls and Elden Ring feeling -Maps are astronomically large (1 h from side to side) -Maps feel a little bit empty in terms of events -Scratched the tiniest surface of the game after 40 hours -Great sense of discovery (mechanics, builds and lore) -Feels like 3 games into one -Almost limitless combinations of builds -Lot easier to respec your skills -50-100 changes was no problem -Outstanding dark theme art direction -Clearly inspired by Diablo 2 -Details on skill effects and boss designs are the best in the industry in the ARPG genre -Blown away by the amount of detail -Most dynamic combat in an ARPG -Switch to controller was a revelation -Feels like a game that was designed for controller first -Plays even better than Diablo 4 with a controller -Potential to be the alltime king of the genre -Some bugs and crashes occurred -Strong believe that the developers will join the annals of greatness alongside Larian Studios and FromSoftware Watch:

GermanStrands

1,572,046 просмотров • 1 год назад

I finished Ninja Gaiden: Ragebound, found all collectibles, and completed all the secret bonus stages. My honest review: -The combat system is incredibly smooth and elegant -Every move is fully controllable, jumps are precise, and combat is fast and brutal -The default difficulty feels perfectly balanced – challenging but never unfair -Checkpoints are well-placed: you’re never set too far back, and respawning is immediate -The level design is diverse and creative, often ending in tough, sometimes screen-filling boss fights -Boss fights are true highlights – intense, demanding, and incredibly satisfying -After a while, I fell into a pure "destruction flow": anticipating enemy moves, zoning out, fully immersed -The level design contributes massively to this feeling – thoughtful, tight, and perfectly tuned -The pixel art is among the best I’ve ever seen – fluid, rich in detail, and beautifully animated -The sound design is equally impressive – the clash of blades sounds absolutely satisfying -On top of that, the soundtrack is a total banger – easily one of my favorite soundtracks of the year -The overworld is clean and intuitive, showing you clearly which levels you’ve completed and what collectibles are still missing -Long-time Ninja Gaiden fans will spot several clever nods to earlier entries -Action-packed set pieces break up the gameplay and add cinematic flair – a touch I really appreciated -The ability to switch characters in certain situations adds variety and depth to the gameplay -The normal difficulty is, in my opinion, perfectly tuned – but for those craving more, there’s a hard mode -On hard difficulty, enemy placement, level layout, and boss arenas are reworked to push your skills even further -Beating levels on hard was seriously tough – but the satisfaction of overcoming them was unmatched -Technically, the game runs flawlessly – I didn’t encounter a single bug throughout my entire playthrough -The secret and bonus stages are very well hidden and genuinely fun to search for -Collectibles can be used in a shop to buy new gear, talismans, and upgrades -However, I didn’t find the talismans particularly impactful – they didn’t change the gameplay much for me -I just wanted more – more levels, more content – but that’s just nitpicking Ninja Gaiden: Ragebound is unquestionably one of the best indie games of the year and my favorite title from The Game Kitchen, which says a lot. Ninja Gaiden 2D returns with a bang and continues the Year of the Ninja in spectacular fashion — a comeback we won’t be forgetting anytime soon. Final Score: 9.5/10 #NinjaGaiden Cosmocover PR 🇪🇺🇫🇷🇩🇪🇪🇸🇮🇹🇧🇪🇨🇭🏳️‍🌈 Dotemu
0:10

I finished Ninja Gaiden: Ragebound, found all collectibles, and completed all the secret bonus stages. My honest review: -The combat system is incredibly smooth and elegant -Every move is fully controllable, jumps are precise, and combat is fast and brutal -The default difficulty feels perfectly balanced – challenging but never unfair -Checkpoints are well-placed: you’re never set too far back, and respawning is immediate -The level design is diverse and creative, often ending in tough, sometimes screen-filling boss fights -Boss fights are true highlights – intense, demanding, and incredibly satisfying -After a while, I fell into a pure "destruction flow": anticipating enemy moves, zoning out, fully immersed -The level design contributes massively to this feeling – thoughtful, tight, and perfectly tuned -The pixel art is among the best I’ve ever seen – fluid, rich in detail, and beautifully animated -The sound design is equally impressive – the clash of blades sounds absolutely satisfying -On top of that, the soundtrack is a total banger – easily one of my favorite soundtracks of the year -The overworld is clean and intuitive, showing you clearly which levels you’ve completed and what collectibles are still missing -Long-time Ninja Gaiden fans will spot several clever nods to earlier entries -Action-packed set pieces break up the gameplay and add cinematic flair – a touch I really appreciated -The ability to switch characters in certain situations adds variety and depth to the gameplay -The normal difficulty is, in my opinion, perfectly tuned – but for those craving more, there’s a hard mode -On hard difficulty, enemy placement, level layout, and boss arenas are reworked to push your skills even further -Beating levels on hard was seriously tough – but the satisfaction of overcoming them was unmatched -Technically, the game runs flawlessly – I didn’t encounter a single bug throughout my entire playthrough -The secret and bonus stages are very well hidden and genuinely fun to search for -Collectibles can be used in a shop to buy new gear, talismans, and upgrades -However, I didn’t find the talismans particularly impactful – they didn’t change the gameplay much for me -I just wanted more – more levels, more content – but that’s just nitpicking Ninja Gaiden: Ragebound is unquestionably one of the best indie games of the year and my favorite title from The Game Kitchen, which says a lot. Ninja Gaiden 2D returns with a bang and continues the Year of the Ninja in spectacular fashion — a comeback we won’t be forgetting anytime soon. Final Score: 9.5/10 #NinjaGaiden Cosmocover PR 🇪🇺🇫🇷🇩🇪🇪🇸🇮🇹🇧🇪🇨🇭🏳️‍🌈 Dotemu

GermanStrands

31,261 просмотров • 1 год назад

Played Kingdoms of the Dump for 30 hours, here is my review: -The game is a loving homage to classic SNES RPGs like Chrono Trigger and Final Fantasy, perfectly capturing their atmosphere -A tactical turn-based combat system with active elements, reminiscent of Super Mario RPG or more recently Expedition 33 -One of the most unique settings ever in an RPG -Incredible variety of enemies, all beautifully rendered in pixel art (boss design by Look Outside pixel artist) -The game is divided into multiple acts, taking you through a wide variety of regions and kingdoms -It’s full of charm and incredible attention to detail. Heal with rotting items, fight flying jellyshorts, and save using toilet paper rolls on toilets. Just lovely. -Fun fact: Game is made by 2 real janitors -The original soundtrack is an absolute banger, instantly transporting you back to the SNES era -There’s a Mode 7-style overworld that you can explore on foot, on a mount, or by airship -The overworld invites exploration and is packed with secrets and hidden areas -What brings the game into the modern era is a dedicated jump button. You can jump pretty much anywhere and explore the world on entirely new levels -There are also various characters, each with unique abilities outside of combat, and you can switch between them at any time -Characters are just lovely -The game is wonderfully written and well paced, full of great story moments and twists, but it’s only available in English at the moment -I would compare the difficulty to Chrono Trigger. It’s challenging but never unfair, and grinding is never necessary -If you die in a battle, you can retry it immediately -Enemies are visible before battle and can be avoided -Fast battles, quick in and out -Various battle themes -Fallen characters and those outside your active party still gain experience -The game is pure indie at heart, over eight years in the making and packed with content -Lots of side quests -Dedicated character quests that explore each character’s backstory -Secret weapons and bosses -Dungeons with puzzle elements -25 hours of story content (more with side stuff) -Only 20 bucks (discount right now) -Great on Steam Deck -Full controller support -Sometimes the jumping sections demand too much precision -I ran into a few bugs during my playtime. The game froze, I got stuck in walls, the music sometimes cut out, and I wasn’t able to use an item at one point -I reached out to the developers, and they have already responded with multiple updates Kingdoms of the Dump is a love letter to an era that produced some of the greatest RPGs of all time. It’s a modern classic, only held back by some technical issues. For me, it’s the best SNES game that was never actually released on a Super Nintendo. Verdict: 9/10 #KingdomsoftheDump 👑 Kingdoms of the Dump - OUT NOW
0:12

Played Kingdoms of the Dump for 30 hours, here is my review: -The game is a loving homage to classic SNES RPGs like Chrono Trigger and Final Fantasy, perfectly capturing their atmosphere -A tactical turn-based combat system with active elements, reminiscent of Super Mario RPG or more recently Expedition 33 -One of the most unique settings ever in an RPG -Incredible variety of enemies, all beautifully rendered in pixel art (boss design by Look Outside pixel artist) -The game is divided into multiple acts, taking you through a wide variety of regions and kingdoms -It’s full of charm and incredible attention to detail. Heal with rotting items, fight flying jellyshorts, and save using toilet paper rolls on toilets. Just lovely. -Fun fact: Game is made by 2 real janitors -The original soundtrack is an absolute banger, instantly transporting you back to the SNES era -There’s a Mode 7-style overworld that you can explore on foot, on a mount, or by airship -The overworld invites exploration and is packed with secrets and hidden areas -What brings the game into the modern era is a dedicated jump button. You can jump pretty much anywhere and explore the world on entirely new levels -There are also various characters, each with unique abilities outside of combat, and you can switch between them at any time -Characters are just lovely -The game is wonderfully written and well paced, full of great story moments and twists, but it’s only available in English at the moment -I would compare the difficulty to Chrono Trigger. It’s challenging but never unfair, and grinding is never necessary -If you die in a battle, you can retry it immediately -Enemies are visible before battle and can be avoided -Fast battles, quick in and out -Various battle themes -Fallen characters and those outside your active party still gain experience -The game is pure indie at heart, over eight years in the making and packed with content -Lots of side quests -Dedicated character quests that explore each character’s backstory -Secret weapons and bosses -Dungeons with puzzle elements -25 hours of story content (more with side stuff) -Only 20 bucks (discount right now) -Great on Steam Deck -Full controller support -Sometimes the jumping sections demand too much precision -I ran into a few bugs during my playtime. The game froze, I got stuck in walls, the music sometimes cut out, and I wasn’t able to use an item at one point -I reached out to the developers, and they have already responded with multiple updates Kingdoms of the Dump is a love letter to an era that produced some of the greatest RPGs of all time. It’s a modern classic, only held back by some technical issues. For me, it’s the best SNES game that was never actually released on a Super Nintendo. Verdict: 9/10 #KingdomsoftheDump 👑 Kingdoms of the Dump - OUT NOW

GermanStrands

36,817 просмотров • 10 месяцев назад

nijiJourneyV6 & seedance2.0でkawaii系MV🎵 みんなで踊るプロンプトを共有。15秒で5枚のリファレンスを使用💕 ✳️seedance2.0プロンプト Use the uploaded images as the primary visual references for character design, facial style, color palette, graphic motifs, and overall kawaii-chaotic tone. 15-second music-video style animation, ultra cute and hyper pop, fast-paced, candy-colored, chaotic but readable, anime-inspired graphic motion. Main direction: The characters dance in a cute, playful, slightly chaotic “mob dance” / “idol crowd dance” feeling. The motion should feel inferred naturally from the reference images, not rigid choreography. Emphasize fast switching expressions, group-like energy, rapid cut transitions, and a dense pop visual atmosphere. Visual style: Pastel neon palette, pink, cyan, lemon yellow, mint, lavender. Bold clean outlines, flat shading, sticker-like icons, bows, flowers, sparkles, spirals, abstract shapes, pop symbols, glitchy accents, halftone dots, split panels, manga-like framing, layered collage feeling. Cute and stylish chaos, not horror, not grotesque. Character motion: Generate adorable dance movement with small bouncy steps, side-to-side body sway, quick hand poses, synchronized hops, idol-style gestures, playful pointing, little spins, shoulder pops, head tilts, wink poses, cheerful bouncing, cute rhythmic stepping.The dance should feel like a spontaneous cute flash-mob or idol crowd routine, with repeated shared gestures, group energy, and playful synchronized timing. Include moments that feel like a crowd dance or mob dance, even if only one or a few characters are visible at a time. The dance should feel energetic, spontaneous, and rhythm-driven. Expression direction: Rapid expression changes: smile, wink, surprised face, excited open-mouth face, mischievous grin, hypnotic stare, sparkling eyes, dizzy spiral-eye mood, overjoyed face, playful chaos. Expressions should switch quickly with the cuts, giving a hyperactive kawaii feeling. Editing / camera: Very fast-cut visual rhythm. Use rapid cut-ins, jump cuts, smash zooms, push-ins, pull-backs, diagonal framing, split-screen panels, close-ups of faces, occasional medium shots for dance, and layered pop composition. Cuts can change every 0.2 to 0.8 seconds. Alternate between close-up face shots, upper-body dancing, and brief group/crowd-energy compositions. The camera should feel lively and music-synced. Scene flow: 0–3s: Introduce the character(s) with fast close-ups, blinking, cute smile, eye highlights, bows/flowers/icons popping in, fast panel cuts. 3–6s: Start the dance with small synchronized idol-like motions, side steps, hand poses, bouncing shoulders, quick expression switches. 6–9s: Increase the chaos. More split panels, more characters or crowd-energy feeling, fast alternating expressions, quick hops, spins, and rhythmic pose changes. 9–12s: Peak energy. Cute mob-dance vibe, dense visual layering, multiple rapid cut-ins, close-up reaction faces, synchronized bounce and gesture-heavy movement. 12–15s: Final climax. Maximum kawaii chaos with energetic dancing, smiling faces, wink, big pose finish, layered pop symbols exploding around the frame, ending on a strong cute final pose. Important priorities: Keep the characters cute and appealing at all times. Preserve readability of faces and silhouette. Let the dance and expressions feel naturally inferred from the references. The chaos should come from editing, framing, layered motifs, and rapid expression changes, not from broken anatomy or visual confusion. Negative prompt: horror, dark tone, realistic style, grotesque face, body deformation, extra limbs, broken hands, scary expressions, dull colors, muddy palette, slow motion, empty background, overly realistic physics, unreadable face, low energy, depressing mood.Make the choreography feel partially AI-inferred from the visual mood of the references: cute, chaotic, rhythmic, slightly unpredictable, but always charming and musically coherent.
0:16

nijiJourneyV6 & seedance2.0でkawaii系MV🎵 みんなで踊るプロンプトを共有。15秒で5枚のリファレンスを使用💕 ✳️seedance2.0プロンプト Use the uploaded images as the primary visual references for character design, facial style, color palette, graphic motifs, and overall kawaii-chaotic tone. 15-second music-video style animation, ultra cute and hyper pop, fast-paced, candy-colored, chaotic but readable, anime-inspired graphic motion. Main direction: The characters dance in a cute, playful, slightly chaotic “mob dance” / “idol crowd dance” feeling. The motion should feel inferred naturally from the reference images, not rigid choreography. Emphasize fast switching expressions, group-like energy, rapid cut transitions, and a dense pop visual atmosphere. Visual style: Pastel neon palette, pink, cyan, lemon yellow, mint, lavender. Bold clean outlines, flat shading, sticker-like icons, bows, flowers, sparkles, spirals, abstract shapes, pop symbols, glitchy accents, halftone dots, split panels, manga-like framing, layered collage feeling. Cute and stylish chaos, not horror, not grotesque. Character motion: Generate adorable dance movement with small bouncy steps, side-to-side body sway, quick hand poses, synchronized hops, idol-style gestures, playful pointing, little spins, shoulder pops, head tilts, wink poses, cheerful bouncing, cute rhythmic stepping.The dance should feel like a spontaneous cute flash-mob or idol crowd routine, with repeated shared gestures, group energy, and playful synchronized timing. Include moments that feel like a crowd dance or mob dance, even if only one or a few characters are visible at a time. The dance should feel energetic, spontaneous, and rhythm-driven. Expression direction: Rapid expression changes: smile, wink, surprised face, excited open-mouth face, mischievous grin, hypnotic stare, sparkling eyes, dizzy spiral-eye mood, overjoyed face, playful chaos. Expressions should switch quickly with the cuts, giving a hyperactive kawaii feeling. Editing / camera: Very fast-cut visual rhythm. Use rapid cut-ins, jump cuts, smash zooms, push-ins, pull-backs, diagonal framing, split-screen panels, close-ups of faces, occasional medium shots for dance, and layered pop composition. Cuts can change every 0.2 to 0.8 seconds. Alternate between close-up face shots, upper-body dancing, and brief group/crowd-energy compositions. The camera should feel lively and music-synced. Scene flow: 0–3s: Introduce the character(s) with fast close-ups, blinking, cute smile, eye highlights, bows/flowers/icons popping in, fast panel cuts. 3–6s: Start the dance with small synchronized idol-like motions, side steps, hand poses, bouncing shoulders, quick expression switches. 6–9s: Increase the chaos. More split panels, more characters or crowd-energy feeling, fast alternating expressions, quick hops, spins, and rhythmic pose changes. 9–12s: Peak energy. Cute mob-dance vibe, dense visual layering, multiple rapid cut-ins, close-up reaction faces, synchronized bounce and gesture-heavy movement. 12–15s: Final climax. Maximum kawaii chaos with energetic dancing, smiling faces, wink, big pose finish, layered pop symbols exploding around the frame, ending on a strong cute final pose. Important priorities: Keep the characters cute and appealing at all times. Preserve readability of faces and silhouette. Let the dance and expressions feel naturally inferred from the references. The chaos should come from editing, framing, layered motifs, and rapid expression changes, not from broken anatomy or visual confusion. Negative prompt: horror, dark tone, realistic style, grotesque face, body deformation, extra limbs, broken hands, scary expressions, dull colors, muddy palette, slow motion, empty background, overly realistic physics, unreadable face, low energy, depressing mood.Make the choreography feel partially AI-inferred from the visual mood of the references: cute, chaotic, rhythmic, slightly unpredictable, but always charming and musically coherent.

Toshi@ニャルオAI

13,761 просмотров • 3 месяцев назад

PREVIEW: I was invited to a press preview of Assassin’s Creed Black Flag Resynced in Paris, back in April, as I previously mentioned, and I played ~3 hours🚀 Here are my impressions: 🎞️Visuals & Performance: being a remake, the visuals are quite well upgraded, making the most of modern tech and the beauty of the setting, creating a breathtaking atmosphere ✅Stunning environment ✅Dreamy natural beauty & grounded world ✅Photorealistic character models ✅Smooth animations ✅Sharp resolution ✅Runs at 60fps 🕹️Gameplay & Upgrades: The game is a faithful remake, with new gameplay systems, along with enhancements to the original formula ✅New gameplay systems ✅Faithfulness is the main priority ✅Enhanced parkour (still faithful) ✅Manual jumps and side ejects ✅Seamless exploration of cities ✅Zip-lines added ✅Dynamic weather ✅Brand new content expanding narrative ✅Quests with new secrets ✅Original modern day replace with rifts ✅Rifts explore “what if” scenarios ✅6 hours of extra gameplay ✅3 new recruitable officers ✅New storylines for the new officers ✅New chapter to play as Robert Mena ✅Extended endings for iconic characters ✅Hideout side quests ✅New collectibles ✅Forts modernized with new content ✅New voice lines for activities ✅New islands with rewarding secrets ✅New world moments ✅New content for the hideout ✅History of the villa explored ✅Heated shots new naval weapon in seq 3 ✅Explosive fire barrels w/wider effect ✅Swivel gun can now be manually aimed ✅Rebuilt combat system rewarding to skill ✅No skill trees, all unlocks from the start ✅Enemies now have defense meter ✅Meter is depleted with a perfect parry ✅New perfect parry depends on weapon ✅Heavy strike (high damage/wide area) ✅Shove to wall/ground > new take downs ✅Stealth inspired by Shadows ✅Crouch option added ✅Visibility affected by day/night & weather ✅Whistle/breaking things blow your cover ✅Rope dart unlocks in sequence 3 ✅Ambient dialogue leads to new quests ✅Raise and lower your hood option The new enhancements make the game far more entertaining compared to the original, except for one controversial change of bit having Hidden Blade combat, except in stealth assassinations/take downs Everything else effectively elevates the original design and makes gameplay either feel just as good, or more refined 🧬Changes: with this remake comes a few elements that were removed from the original, which may upset some players ✅Menus have been revamped and they don’t feature the DNA sequence tracker ✅Difficulty can be tailored with much more detail from the menu ✅Switch between and choose your favorite Sea Shanties to be performed by your crew ✅No hidden blade combat. The Hidden Blade is mainly used for stealth take-downs ✅No present day segments. I was informed that it will be replaced with new moments that explore Edward’s past with his wife, along with some “what if” scenarios like Edward siding with the Templars, for example, likely related to Juno’s involvement in the original narrative 📜Thoughts: While the demo I played featured only a portion of the map, Resynced has potential to replace the original as the definitive experience of Edward Kenway’s story I also wasn’t able to experience any of Rifts that replace the modern day, so for me, as a fan of the series’ lore and present day since 2007, the absence of a traditional modern day is the only let down that prevents me from fully replacing the original with it, as present day and sci-do elements are the DNA of the franchise and what makes it stand out It would also be great if mission replay is added later, a feature the OG had by default, like its predecessors That said, everything else very much elevated what was in the original, which made going back to replay it show how dated it feels by comparison I look forward to the final game, and to see future games inherit this formula of a defined protagonist, focused progression and no RPG elements😎
0:17

PREVIEW: I was invited to a press preview of Assassin’s Creed Black Flag Resynced in Paris, back in April, as I previously mentioned, and I played ~3 hours🚀 Here are my impressions: 🎞️Visuals & Performance: being a remake, the visuals are quite well upgraded, making the most of modern tech and the beauty of the setting, creating a breathtaking atmosphere ✅Stunning environment ✅Dreamy natural beauty & grounded world ✅Photorealistic character models ✅Smooth animations ✅Sharp resolution ✅Runs at 60fps 🕹️Gameplay & Upgrades: The game is a faithful remake, with new gameplay systems, along with enhancements to the original formula ✅New gameplay systems ✅Faithfulness is the main priority ✅Enhanced parkour (still faithful) ✅Manual jumps and side ejects ✅Seamless exploration of cities ✅Zip-lines added ✅Dynamic weather ✅Brand new content expanding narrative ✅Quests with new secrets ✅Original modern day replace with rifts ✅Rifts explore “what if” scenarios ✅6 hours of extra gameplay ✅3 new recruitable officers ✅New storylines for the new officers ✅New chapter to play as Robert Mena ✅Extended endings for iconic characters ✅Hideout side quests ✅New collectibles ✅Forts modernized with new content ✅New voice lines for activities ✅New islands with rewarding secrets ✅New world moments ✅New content for the hideout ✅History of the villa explored ✅Heated shots new naval weapon in seq 3 ✅Explosive fire barrels w/wider effect ✅Swivel gun can now be manually aimed ✅Rebuilt combat system rewarding to skill ✅No skill trees, all unlocks from the start ✅Enemies now have defense meter ✅Meter is depleted with a perfect parry ✅New perfect parry depends on weapon ✅Heavy strike (high damage/wide area) ✅Shove to wall/ground > new take downs ✅Stealth inspired by Shadows ✅Crouch option added ✅Visibility affected by day/night & weather ✅Whistle/breaking things blow your cover ✅Rope dart unlocks in sequence 3 ✅Ambient dialogue leads to new quests ✅Raise and lower your hood option The new enhancements make the game far more entertaining compared to the original, except for one controversial change of bit having Hidden Blade combat, except in stealth assassinations/take downs Everything else effectively elevates the original design and makes gameplay either feel just as good, or more refined 🧬Changes: with this remake comes a few elements that were removed from the original, which may upset some players ✅Menus have been revamped and they don’t feature the DNA sequence tracker ✅Difficulty can be tailored with much more detail from the menu ✅Switch between and choose your favorite Sea Shanties to be performed by your crew ✅No hidden blade combat. The Hidden Blade is mainly used for stealth take-downs ✅No present day segments. I was informed that it will be replaced with new moments that explore Edward’s past with his wife, along with some “what if” scenarios like Edward siding with the Templars, for example, likely related to Juno’s involvement in the original narrative 📜Thoughts: While the demo I played featured only a portion of the map, Resynced has potential to replace the original as the definitive experience of Edward Kenway’s story I also wasn’t able to experience any of Rifts that replace the modern day, so for me, as a fan of the series’ lore and present day since 2007, the absence of a traditional modern day is the only let down that prevents me from fully replacing the original with it, as present day and sci-do elements are the DNA of the franchise and what makes it stand out It would also be great if mission replay is added later, a feature the OG had by default, like its predecessors That said, everything else very much elevated what was in the original, which made going back to replay it show how dated it feels by comparison I look forward to the final game, and to see future games inherit this formula of a defined protagonist, focused progression and no RPG elements😎

Rino🚀

21,098 просмотров • 4 месяцев назад

Crafted with Seedance 2.0 + GPT Image 2 Pollo AI Storyboard Prompt: Create a raw kung fu performance storyboard focused on extreme physical action. Use reference image for the character. 16:9 storyboard sheet, 12 cinematic panels. The actual storyboard drawings must be black and white only: rough pencil lines, minimal detail, fast gesture drawing energy, simple anatomy construction and strong silhouette readability. Keep the artwork lightweight, dynamic and unfinished like early fight choreography previs. Start directly in action. Do not begin with a calm stance, preparation shot or slow introduction. A solitary female performer executes an aggressive Tibetan kung fu master-style routine inside a vast ancient temple. The choreography is exaggerated, explosive and constantly escalating: flying diagonal kicks, monk-style low stances, rapid palm strikes, spinning cloth-like body turns, animal-form hand shapes, deep lunges, aerial twists, floor-level sweeps, sudden drops, claw-like blocks, back-arched jumps, sliding recoveries and violent sculptural impact poses. Every panel must contain visible motion and strong body momentum. Avoid static standing poses. The performer should feel like a ritual warrior moving with discipline, fury, spiritual pressure and total body control. Action progression: 1. begin mid-air with a flying diagonal kick already in motion 2. handheld close-up palm sweep cutting through air 3. orbiting wide shot of a full-body spin 4. low-angle impact palm strike with shockwave 5. long-lens side profile spinning kick 6. top-down aerial turn with body, hair and fabric flaring outward 7. hard floor stomp cracking the temple stone 8. sliding low sweep across the floor 9. aggressive close-up flurry of elbows, palms and backfist strikes 10. extreme low monk-style beast stance with energy rising 11. spinning elemental vortex around the body 12. final airborne action pose, suspended above the temple floor, body twisted in a powerful kung fu strike, all elements converging around her before impact Add selective elemental energy effects as VFX-style storyboard accents. The effects should feel spiritual, ritualistic and cinematic, not superhero-like: air bursts around spins and flying kicks, dust and stone fragments lifting from stomps, water-like floor ripples during slides, fire-like trails around explosive strikes, heat distortion around high-intensity movement, elemental vortex near the climax. Element progression: early panels: subtle wind, dust and pressure lines middle panels: stronger stone fragments, floor ripples and air shockwaves late panels: controlled fire trails and energy spirals final panel: the strongest combined elemental surge while the performer is still airborne Use cinematic arthouse action camerawork: handheld energy, whip-pan feeling, orbiting camera moves, overhead shots, side silhouettes, aggressive close-ups, long-lens compression, extreme low angles, wide negative space, strong parallax. Keep the temple environment minimal and atmospheric: towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections. Do not overcrowd the frames. Annotation color system: red arrows = body movement blue arrows = camera movement green marks = framing / composition notes orange marks = lighting direction yellow marks = elemental VFX / energy effects black text = short lens notes and panel labels No timestamps. No dialogue. No singing. No extra characters. No enemies. No logos. No watermark. Seedance video prompt: Video Prompt Seedance 2.0 Create a 15-second cinematic kung fu performance video. Use Image1 as the fixed character sheet reference. The character must strictly match the character sheet. Use Image2 ] as the storyboard reference. Follow the storyboard shot by shot as the main source for action order, camera rhythm, body movement, framing, movement direction, camera angles and visual progression. Treat each storyboard panel as a sequential keyframe. Preserve the shot order and make the video feel like the storyboard has been translated into continuous live-action motion. The sequence must end on a frozen final frame while the performer is still airborne. Do not add text, captions, storyboard labels, arrows, UI, logos or watermarks. Do not treat the storyboard as a single image. Do not redesign the character, change the costume or alter the face. Do not begin with a calm stance, preparation pose or slow introduction. Do not make the elemental effects look like superhero powers or excessive fantasy glow. Visual style: stylized cinematic realism, high-end 3D painterly animation quality, dynamic cloth simulation, expressive silhouette design, rich cinematic lighting, controlled color palette, natural motion blur, dramatic scale, beautiful but aggressive physicality, premium feature-animation aesthetic. Environment: vast ancient temple, towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections, high contrast shadows. The performance is a solitary female kung fu routine inside a vast ancient temple. The routine starts immediately in action, with no calm stance, no preparation pose and no slow introduction. The movement should feel aggressive, ritualistic, disciplined, physically extreme and spiritually charged. This is not a fight against an enemy. It is a solo performance of force, control, exhaustion, fury and release. Follow story board for choreography direction. Element progression: early sequence: subtle wind, dust and pressure lines responding to movement. middle sequence: stronger air shockwaves, stone fragments, floor cracks and water-like ripples across the temple floor. late sequence: controlled fire trails, heat distortion and energy spirals around explosive strikes and kicks. climax: wind, dust, stone, water ripple and fire accents combine into a stronger elemental vortex. final beat: the performer is airborne above the temple floor in a powerful kung fu strike, body twisted mid-air, hair and fabric flaring outward, with all elements converging around her before impact. Elemental VFX must feel spiritual, ritualistic and cinematic. The effects should be integrated with the choreography and motivated by physical movement. Keep the energy raw, elemental, atmospheric and grounded in the temple environment. Use Laban movement logic throughout: weight: strong, heavy, grounded during impacts, with brief lightness during jumps and aerial twists time: quick during strikes, kicks, drops and turns, sustained during suspended holds and recovery transitions space: direct during attacks, blocks and lunges, indirect during spinning turns and elemental vortex moments flow: bound during rooted stances and precise strikes, free during aerial motion, spinning fabric movement and elemental releaseSee less
0:15

Crafted with Seedance 2.0 + GPT Image 2 Pollo AI Storyboard Prompt: Create a raw kung fu performance storyboard focused on extreme physical action. Use reference image for the character. 16:9 storyboard sheet, 12 cinematic panels. The actual storyboard drawings must be black and white only: rough pencil lines, minimal detail, fast gesture drawing energy, simple anatomy construction and strong silhouette readability. Keep the artwork lightweight, dynamic and unfinished like early fight choreography previs. Start directly in action. Do not begin with a calm stance, preparation shot or slow introduction. A solitary female performer executes an aggressive Tibetan kung fu master-style routine inside a vast ancient temple. The choreography is exaggerated, explosive and constantly escalating: flying diagonal kicks, monk-style low stances, rapid palm strikes, spinning cloth-like body turns, animal-form hand shapes, deep lunges, aerial twists, floor-level sweeps, sudden drops, claw-like blocks, back-arched jumps, sliding recoveries and violent sculptural impact poses. Every panel must contain visible motion and strong body momentum. Avoid static standing poses. The performer should feel like a ritual warrior moving with discipline, fury, spiritual pressure and total body control. Action progression: 1. begin mid-air with a flying diagonal kick already in motion 2. handheld close-up palm sweep cutting through air 3. orbiting wide shot of a full-body spin 4. low-angle impact palm strike with shockwave 5. long-lens side profile spinning kick 6. top-down aerial turn with body, hair and fabric flaring outward 7. hard floor stomp cracking the temple stone 8. sliding low sweep across the floor 9. aggressive close-up flurry of elbows, palms and backfist strikes 10. extreme low monk-style beast stance with energy rising 11. spinning elemental vortex around the body 12. final airborne action pose, suspended above the temple floor, body twisted in a powerful kung fu strike, all elements converging around her before impact Add selective elemental energy effects as VFX-style storyboard accents. The effects should feel spiritual, ritualistic and cinematic, not superhero-like: air bursts around spins and flying kicks, dust and stone fragments lifting from stomps, water-like floor ripples during slides, fire-like trails around explosive strikes, heat distortion around high-intensity movement, elemental vortex near the climax. Element progression: early panels: subtle wind, dust and pressure lines middle panels: stronger stone fragments, floor ripples and air shockwaves late panels: controlled fire trails and energy spirals final panel: the strongest combined elemental surge while the performer is still airborne Use cinematic arthouse action camerawork: handheld energy, whip-pan feeling, orbiting camera moves, overhead shots, side silhouettes, aggressive close-ups, long-lens compression, extreme low angles, wide negative space, strong parallax. Keep the temple environment minimal and atmospheric: towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections. Do not overcrowd the frames. Annotation color system: red arrows = body movement blue arrows = camera movement green marks = framing / composition notes orange marks = lighting direction yellow marks = elemental VFX / energy effects black text = short lens notes and panel labels No timestamps. No dialogue. No singing. No extra characters. No enemies. No logos. No watermark. Seedance video prompt: Video Prompt Seedance 2.0 Create a 15-second cinematic kung fu performance video. Use Image1 as the fixed character sheet reference. The character must strictly match the character sheet. Use Image2 ] as the storyboard reference. Follow the storyboard shot by shot as the main source for action order, camera rhythm, body movement, framing, movement direction, camera angles and visual progression. Treat each storyboard panel as a sequential keyframe. Preserve the shot order and make the video feel like the storyboard has been translated into continuous live-action motion. The sequence must end on a frozen final frame while the performer is still airborne. Do not add text, captions, storyboard labels, arrows, UI, logos or watermarks. Do not treat the storyboard as a single image. Do not redesign the character, change the costume or alter the face. Do not begin with a calm stance, preparation pose or slow introduction. Do not make the elemental effects look like superhero powers or excessive fantasy glow. Visual style: stylized cinematic realism, high-end 3D painterly animation quality, dynamic cloth simulation, expressive silhouette design, rich cinematic lighting, controlled color palette, natural motion blur, dramatic scale, beautiful but aggressive physicality, premium feature-animation aesthetic. Environment: vast ancient temple, towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections, high contrast shadows. The performance is a solitary female kung fu routine inside a vast ancient temple. The routine starts immediately in action, with no calm stance, no preparation pose and no slow introduction. The movement should feel aggressive, ritualistic, disciplined, physically extreme and spiritually charged. This is not a fight against an enemy. It is a solo performance of force, control, exhaustion, fury and release. Follow story board for choreography direction. Element progression: early sequence: subtle wind, dust and pressure lines responding to movement. middle sequence: stronger air shockwaves, stone fragments, floor cracks and water-like ripples across the temple floor. late sequence: controlled fire trails, heat distortion and energy spirals around explosive strikes and kicks. climax: wind, dust, stone, water ripple and fire accents combine into a stronger elemental vortex. final beat: the performer is airborne above the temple floor in a powerful kung fu strike, body twisted mid-air, hair and fabric flaring outward, with all elements converging around her before impact. Elemental VFX must feel spiritual, ritualistic and cinematic. The effects should be integrated with the choreography and motivated by physical movement. Keep the energy raw, elemental, atmospheric and grounded in the temple environment. Use Laban movement logic throughout: weight: strong, heavy, grounded during impacts, with brief lightness during jumps and aerial twists time: quick during strikes, kicks, drops and turns, sustained during suspended holds and recovery transitions space: direct during attacks, blocks and lunges, indirect during spinning turns and elemental vortex moments flow: bound during rooted stances and precise strikes, free during aerial motion, spinning fabric movement and elemental releaseSee less

Ciri

77,861 просмотров • 2 месяцев назад

Recently did an interview with the lead developer of Knight's Path on the title's future release and the state of the industry. The Western AAA gaming industry has shifted its focus away from its core audience, favoring products for smaller, less engaged demographics. This shift has led to a noticeable disconnect between large publishers and their traditional fan base. This has, however, created an environment for indies to thrive. They can prioritize authenticity and community, crafting games that resonate with their players and that is exactly the case with Knight's Path. In December of 2023, Knights Path: The Tournament was released to Very Positive reviews on Steam. It is a short medieval RPG featuring challenging combat, an immersive progression system, and a nice little story. It served as an announcement, a combat concept demo, and a teaser for the forthcoming open-world RPG Knight's Path, which is currently in active development. I asked what their plans were regarding the scope of the full release. While you might get the impression that Knight's Path is an arena fighting game, that’s not the case with the full release. "Knight's Path will be a proper open-world, story-driven RPG. Of course, as a small indie team, we’re keeping the scope modest. The open world will be compact but dense, featuring one town, one village, castle ruins, forests, valleys, and other areas to explore." Many gamers would agree it is better to have a limited number of fully fleshed-out areas than to present a gigantic, empty world. This has been a major criticism levied towards recent releases like Pokémon Scarlet and Violet and even modern Assassins Creed, which tends to rely on repetitive gameplay loops scattered across an overly large map, which can feel more like busywork than meaningful exploration. I have always believed that quality over quantity is the best way to go. The team has also made this a priority with things such as the story and weapon types. "We plan to include three main weapon types: longsword, sword and shield, and bows. These will feature the full progression system seen in the demo, with skill levels such as Novice, Adept, Expert, and Master. Players will need to learn individual skills from different trainers to progress. In addition, we’re introducing secondary weapons like spears, halberds, and other polearms. These won’t have RPG-style progression but will still offer variety in combat." Regarding the story, they plan to be bold and strive to create a 16-28 hour-long main campaign. "The story will be divided into four chapters, with each chapter offering around 4–7 hours of gameplay. As in the demo, the player character begins as a nobody, slowly learning how to wield a sword and eventually becoming a knight. However, the progression will be much more realistic than in the demo, where the peasant hilariously transformed into a champion in just four days." This is a far cry from many games that are released nowadays. In just 2024 alone at a glance, the AA release Flintlock: The Siege of Dawn provided an average of 8 hours of content, Princess Peach: Showtime at 10 hours, Silent Hill 2 Remake at 15, and even the GOTY winner Astrobot holds an average playtime of 10 hours. A major issue within the industry is the way we are treated by the people who only have jobs because of our favorite hobby. In 2024 the gaming industry is forecasted to generate $208.7 BILLION dollars, up from 5.4% in 2023. Compare that to Hollywood, which is a measly $12.3 billion. The gaming industry employs 727,000 individuals in the United States alone. So, you'd think these people would have a little bit of respect for gamers, though so many who are vocal on social media show nothing but contempt for us. Perhaps this is because of fear if they do not show loyalty to a cause or "fit in" that they may not secure funding or genuinely believe in what they preach, but the team behind Knight's Path isn't worried about that. "We are independent developers, and we plan to stay independent so we can stay true to our vision. Knight's Path is a game made by gamers for gamers. We’re prioritizing fun gameplay above all, and we firmly believe this is exactly what gamers want." I also raised some questions about their big plans moving forward. In the demo, one of the major criticisms I had was with the voice acting. I had guessed it was done via AI, which was confirmed. "You guessed correctly– the voice acting in the demo was done by AI, and it was probably the loudest critique we received, and we totally understand why! Back then, we didn’t have much of a choice, but for the full game, we don’t plan to use any AI voices. Luckily, after the demo release, many voice actors reached out to us, volunteering to lend their voices to the full game. We absolutely plan to answer their call and give them that opportunity." AI can be a useful tool, especially for developers starting out who can't commit a lot of money to voice acting or just want to see a version of the product that's closer to what they envision the full release to be, but going from that to real voice actors will bump the experience to the next level. I myself played the demo in its entirety and really enjoyed my time with it! I thought the game was reminiscent of Gothic 2 and even The Witcher. I was happily surprised when I didn't encounter any bugs or glitches and while some areas have not been fleshed out like the voice acting, I would recommend putting the game on your wishlist to see what this team does in the future when they finally deliver their updated demo and the eventual full release of the game.
2:26

Recently did an interview with the lead developer of Knight's Path on the title's future release and the state of the industry. The Western AAA gaming industry has shifted its focus away from its core audience, favoring products for smaller, less engaged demographics. This shift has led to a noticeable disconnect between large publishers and their traditional fan base. This has, however, created an environment for indies to thrive. They can prioritize authenticity and community, crafting games that resonate with their players and that is exactly the case with Knight's Path. In December of 2023, Knights Path: The Tournament was released to Very Positive reviews on Steam. It is a short medieval RPG featuring challenging combat, an immersive progression system, and a nice little story. It served as an announcement, a combat concept demo, and a teaser for the forthcoming open-world RPG Knight's Path, which is currently in active development. I asked what their plans were regarding the scope of the full release. While you might get the impression that Knight's Path is an arena fighting game, that’s not the case with the full release. "Knight's Path will be a proper open-world, story-driven RPG. Of course, as a small indie team, we’re keeping the scope modest. The open world will be compact but dense, featuring one town, one village, castle ruins, forests, valleys, and other areas to explore." Many gamers would agree it is better to have a limited number of fully fleshed-out areas than to present a gigantic, empty world. This has been a major criticism levied towards recent releases like Pokémon Scarlet and Violet and even modern Assassins Creed, which tends to rely on repetitive gameplay loops scattered across an overly large map, which can feel more like busywork than meaningful exploration. I have always believed that quality over quantity is the best way to go. The team has also made this a priority with things such as the story and weapon types. "We plan to include three main weapon types: longsword, sword and shield, and bows. These will feature the full progression system seen in the demo, with skill levels such as Novice, Adept, Expert, and Master. Players will need to learn individual skills from different trainers to progress. In addition, we’re introducing secondary weapons like spears, halberds, and other polearms. These won’t have RPG-style progression but will still offer variety in combat." Regarding the story, they plan to be bold and strive to create a 16-28 hour-long main campaign. "The story will be divided into four chapters, with each chapter offering around 4–7 hours of gameplay. As in the demo, the player character begins as a nobody, slowly learning how to wield a sword and eventually becoming a knight. However, the progression will be much more realistic than in the demo, where the peasant hilariously transformed into a champion in just four days." This is a far cry from many games that are released nowadays. In just 2024 alone at a glance, the AA release Flintlock: The Siege of Dawn provided an average of 8 hours of content, Princess Peach: Showtime at 10 hours, Silent Hill 2 Remake at 15, and even the GOTY winner Astrobot holds an average playtime of 10 hours. A major issue within the industry is the way we are treated by the people who only have jobs because of our favorite hobby. In 2024 the gaming industry is forecasted to generate $208.7 BILLION dollars, up from 5.4% in 2023. Compare that to Hollywood, which is a measly $12.3 billion. The gaming industry employs 727,000 individuals in the United States alone. So, you'd think these people would have a little bit of respect for gamers, though so many who are vocal on social media show nothing but contempt for us. Perhaps this is because of fear if they do not show loyalty to a cause or "fit in" that they may not secure funding or genuinely believe in what they preach, but the team behind Knight's Path isn't worried about that. "We are independent developers, and we plan to stay independent so we can stay true to our vision. Knight's Path is a game made by gamers for gamers. We’re prioritizing fun gameplay above all, and we firmly believe this is exactly what gamers want." I also raised some questions about their big plans moving forward. In the demo, one of the major criticisms I had was with the voice acting. I had guessed it was done via AI, which was confirmed. "You guessed correctly– the voice acting in the demo was done by AI, and it was probably the loudest critique we received, and we totally understand why! Back then, we didn’t have much of a choice, but for the full game, we don’t plan to use any AI voices. Luckily, after the demo release, many voice actors reached out to us, volunteering to lend their voices to the full game. We absolutely plan to answer their call and give them that opportunity." AI can be a useful tool, especially for developers starting out who can't commit a lot of money to voice acting or just want to see a version of the product that's closer to what they envision the full release to be, but going from that to real voice actors will bump the experience to the next level. I myself played the demo in its entirety and really enjoyed my time with it! I thought the game was reminiscent of Gothic 2 and even The Witcher. I was happily surprised when I didn't encounter any bugs or glitches and while some areas have not been fleshed out like the voice acting, I would recommend putting the game on your wishlist to see what this team does in the future when they finally deliver their updated demo and the eventual full release of the game.

Vara Dark

42,375 просмотров • 1 год назад

Seedance V2 This used to take people month of study and practice on Adobe Flash, now it can be done with Seedance V2, not perfect but this is the worst it will be. 15 seconds, stylized 2D hand-drawn animation, overhead battlefield on aged yellow lined notebook paper, clear blue horizontal ruled lines and a red left margin line always visible, fine paper grain, pencil marks, ink strokes, minimal classroom-material aesthetic at the start. The entire video must preserve the same paper world from start to finish. No live action, no 3D rendering, no realistic human faces, no modern objects, no narration, no subtitles. Core concept: A childish classroom doodle of an ancient war gradually transforms into a legendary illustrated battlefield, then collapses back into scribbles after the climax. The escalation must feel smooth, intentional, and visually magical, as if imagination is taking over the page. Army design: Two opposing ancient armies drawn first as simple colored stick figures, one faction in red, one faction in blue. Dense infantry blocks with spears and swords, cavalry units with long lances, banner carriers, archers. At first they are crude doodles with simple line limbs and circular heads. As the battle intensifies, they evolve step by step into more detailed inked warriors with clearer armor silhouettes, horses, weapons, helmets, capes, and expressive movement, but still remain inside a hand-drawn 2D illustrated style on paper. Visual progression and timing: 0-3 seconds: Wide top-down view of a large notebook-paper battlefield. Rough stick-figure armies face each other across the page. The drawing feels playful and simple at first. The camera slowly glides forward over the paper as both sides begin charging. Tiny horses gallop, infantry rushes, arrows are sketched into existence and start falling. Everything still looks like rough schoolbook doodles. 3-7 seconds: The first major collision. Spears thrust, swords swing, cavalry crashes into cavalry, formations break apart. With each impact, the art style upgrades. Simple stick limbs become stronger ink lines, bodies gain armor shapes, horses gain muscular form, banners gain flowing detail, shadows and dust marks appear. The battlefield becomes denser, faster, more dramatic. Red and blue strokes smear across the page with the force of combat. 7-11 seconds: The battle reaches full transformation. The once-crude doodles are now a glorious hand-illustrated ancient war scene, still clearly drawn on notebook paper but far more detailed and cinematic. The camera pushes into a central duel between two opposing generals on horseback. Their weapons clash with a powerful burst of ink lines and paper tremor. Around them, infantry and cavalry continue fighting in layered motion, arrows rain down, fallen soldiers scatter across the ruled lines. 11-15 seconds: At the peak of the duel, one final strike lands. A shockwave ripples through the page. The detailed warriors, horses, banners, and battle effects suddenly break apart into loose pencil scribbles, sketch fragments, and drifting paper-line debris. The great war rapidly collapses back into childish rough doodles, then into scattered marks and unfinished lines, as if the imagination has burned out. End on the overhead notebook page with the battlefield reduced to messy hand-drawn remnants. Animation and motion: Smooth fluid motion, strong timing, readable silhouettes, at least 24fps feel. The escalation from crude doodle to epic illustrated warfare must be gradual and continuous, not abrupt. Impacts should feel sharp and rhythmic. Keep all action legible from overhead. Maintain strong contrast between the innocent notebook-paper setting and the seriousness of the war. Atmosphere: Starts playful and curious, grows intense and heroic, peaks as a mythic battlefield, then ends with a strange quiet after the collapse. The whole piece should feel like a child’s imagination turning into an epic war vision on paper.
0:15

Seedance V2 This used to take people month of study and practice on Adobe Flash, now it can be done with Seedance V2, not perfect but this is the worst it will be. 15 seconds, stylized 2D hand-drawn animation, overhead battlefield on aged yellow lined notebook paper, clear blue horizontal ruled lines and a red left margin line always visible, fine paper grain, pencil marks, ink strokes, minimal classroom-material aesthetic at the start. The entire video must preserve the same paper world from start to finish. No live action, no 3D rendering, no realistic human faces, no modern objects, no narration, no subtitles. Core concept: A childish classroom doodle of an ancient war gradually transforms into a legendary illustrated battlefield, then collapses back into scribbles after the climax. The escalation must feel smooth, intentional, and visually magical, as if imagination is taking over the page. Army design: Two opposing ancient armies drawn first as simple colored stick figures, one faction in red, one faction in blue. Dense infantry blocks with spears and swords, cavalry units with long lances, banner carriers, archers. At first they are crude doodles with simple line limbs and circular heads. As the battle intensifies, they evolve step by step into more detailed inked warriors with clearer armor silhouettes, horses, weapons, helmets, capes, and expressive movement, but still remain inside a hand-drawn 2D illustrated style on paper. Visual progression and timing: 0-3 seconds: Wide top-down view of a large notebook-paper battlefield. Rough stick-figure armies face each other across the page. The drawing feels playful and simple at first. The camera slowly glides forward over the paper as both sides begin charging. Tiny horses gallop, infantry rushes, arrows are sketched into existence and start falling. Everything still looks like rough schoolbook doodles. 3-7 seconds: The first major collision. Spears thrust, swords swing, cavalry crashes into cavalry, formations break apart. With each impact, the art style upgrades. Simple stick limbs become stronger ink lines, bodies gain armor shapes, horses gain muscular form, banners gain flowing detail, shadows and dust marks appear. The battlefield becomes denser, faster, more dramatic. Red and blue strokes smear across the page with the force of combat. 7-11 seconds: The battle reaches full transformation. The once-crude doodles are now a glorious hand-illustrated ancient war scene, still clearly drawn on notebook paper but far more detailed and cinematic. The camera pushes into a central duel between two opposing generals on horseback. Their weapons clash with a powerful burst of ink lines and paper tremor. Around them, infantry and cavalry continue fighting in layered motion, arrows rain down, fallen soldiers scatter across the ruled lines. 11-15 seconds: At the peak of the duel, one final strike lands. A shockwave ripples through the page. The detailed warriors, horses, banners, and battle effects suddenly break apart into loose pencil scribbles, sketch fragments, and drifting paper-line debris. The great war rapidly collapses back into childish rough doodles, then into scattered marks and unfinished lines, as if the imagination has burned out. End on the overhead notebook page with the battlefield reduced to messy hand-drawn remnants. Animation and motion: Smooth fluid motion, strong timing, readable silhouettes, at least 24fps feel. The escalation from crude doodle to epic illustrated warfare must be gradual and continuous, not abrupt. Impacts should feel sharp and rhythmic. Keep all action legible from overhead. Maintain strong contrast between the innocent notebook-paper setting and the seriousness of the war. Atmosphere: Starts playful and curious, grows intense and heroic, peaks as a mythic battlefield, then ends with a strange quiet after the collapse. The whole piece should feel like a child’s imagination turning into an epic war vision on paper.

Emily

35,023 просмотров • 5 месяцев назад

VTubing is for everyone! I don't like to bring this up, but recent events in the VTuber community made some people really vile. I had my M&G at HolMat last week and had people come up and just yell at me for being a girl in the "womans world", that is VTubing, no idea about who I was, or why I was there. I had the same group return to my handler multiple times, I felt really worried about the person carrying me around having to deal with this repeatedly and tried to steer them away from the group. It seems they found my YT and left me a handful of the same comments, luckily all caught by moderation tools. While I will refrain from M&G's for a little until this calms down I want to say this; I have been managing for over 1.5 years now, I deliberately take on male VTubers to show them that they can still do it. I take on people that have babiniku accounts, those that are changing from one gender presentation to another and want help, and those that have no gender presentation in their avatar. A lot of male VTubers struggle to find a manager because the stereotype is that all male VTubers are evil and it perpetuates a stereotype that extends beyond entertainment industry subcultures like streaming. VTubing has always been a medium, while character and marketing matters, it's about what makes you happy, YOU are the person that makes the content. Use whatever you want as an avatar, use a voice changer if that's what you want to do. Every month I have a male client bring up they can't do it the same way, that it's easier if jiggle physics or a cute voice is the answer to fast growth. And I tell them yeah, I can also do ASMR, I can do drama content, collab with a larger person, and get to x amount of viewers. There are shortcuts in every entertainment profession and subculture. Does it last? Do quick fixes for anything ever last? Yes, great physics and an expensive model can get people in, but if your value, your way of interacting with people, your content plan and marketing is ass, you can pack up. Most of us start on a small budget, premade or resold models, and it's the same in the big league entertainment industry too. Can I take out a loan and put myself on a billboard tomorrow, can I pay the most expensive model artist and rigger and get in along corporate VTubers tomorrow? Sure. Will it last, will it be genuine, will people trust me? Hell no. Genuine communities and growth build trust. I think streaming, creative industries, entertainment, are full of people, regardless of gender, that will see success and call it "easy", because of what they see as the end product. They don't see most VTubers working a second job, they don't see the managers, they don't see 100+ hours a month going into content production, years invested in singing and voice lessons, model redebut after redebut. I think a lot of male VTubers get a bad rep, because so many boys are raised without putting emphasis on empathy and creativity, watching my brothers be told they should not pursue art, that theatre class is a waste of time, and that they needed to go study x or y to make money for their families in the future was heartbreaking. Nobody should have to look at others and feel so much hatred for society they turn against a whole group of people. If you want to pursue entertainment, please do. If you want to grow and try and make a name for yourself, you should start there, not with yelling about how you already failed. "Oh but I can't", "Oh but the odds are stacked against me", look at the big streamers, look at Ironmouse who overcame everything with hard work, look at Kiara who rose from the ashes, look at everyone that fights against their odds every day and give it your all. If you already think you lost, then you have nothing to lose. Don't give up on your dreams because others tell you to.
0:15

VTubing is for everyone! I don't like to bring this up, but recent events in the VTuber community made some people really vile. I had my M&G at HolMat last week and had people come up and just yell at me for being a girl in the "womans world", that is VTubing, no idea about who I was, or why I was there. I had the same group return to my handler multiple times, I felt really worried about the person carrying me around having to deal with this repeatedly and tried to steer them away from the group. It seems they found my YT and left me a handful of the same comments, luckily all caught by moderation tools. While I will refrain from M&G's for a little until this calms down I want to say this; I have been managing for over 1.5 years now, I deliberately take on male VTubers to show them that they can still do it. I take on people that have babiniku accounts, those that are changing from one gender presentation to another and want help, and those that have no gender presentation in their avatar. A lot of male VTubers struggle to find a manager because the stereotype is that all male VTubers are evil and it perpetuates a stereotype that extends beyond entertainment industry subcultures like streaming. VTubing has always been a medium, while character and marketing matters, it's about what makes you happy, YOU are the person that makes the content. Use whatever you want as an avatar, use a voice changer if that's what you want to do. Every month I have a male client bring up they can't do it the same way, that it's easier if jiggle physics or a cute voice is the answer to fast growth. And I tell them yeah, I can also do ASMR, I can do drama content, collab with a larger person, and get to x amount of viewers. There are shortcuts in every entertainment profession and subculture. Does it last? Do quick fixes for anything ever last? Yes, great physics and an expensive model can get people in, but if your value, your way of interacting with people, your content plan and marketing is ass, you can pack up. Most of us start on a small budget, premade or resold models, and it's the same in the big league entertainment industry too. Can I take out a loan and put myself on a billboard tomorrow, can I pay the most expensive model artist and rigger and get in along corporate VTubers tomorrow? Sure. Will it last, will it be genuine, will people trust me? Hell no. Genuine communities and growth build trust. I think streaming, creative industries, entertainment, are full of people, regardless of gender, that will see success and call it "easy", because of what they see as the end product. They don't see most VTubers working a second job, they don't see the managers, they don't see 100+ hours a month going into content production, years invested in singing and voice lessons, model redebut after redebut. I think a lot of male VTubers get a bad rep, because so many boys are raised without putting emphasis on empathy and creativity, watching my brothers be told they should not pursue art, that theatre class is a waste of time, and that they needed to go study x or y to make money for their families in the future was heartbreaking. Nobody should have to look at others and feel so much hatred for society they turn against a whole group of people. If you want to pursue entertainment, please do. If you want to grow and try and make a name for yourself, you should start there, not with yelling about how you already failed. "Oh but I can't", "Oh but the odds are stacked against me", look at the big streamers, look at Ironmouse who overcame everything with hard work, look at Kiara who rose from the ashes, look at everyone that fights against their odds every day and give it your all. If you already think you lost, then you have nothing to lose. Don't give up on your dreams because others tell you to.

Kuromiya Lucien

15,552 просмотров • 9 месяцев назад

Has been a while since I've given an update so here's a breakdown of where Sappy is at right now and what we're focusing on going into this year. Pre-amble: With altcoins & NFTs the market is definitely not the same as it was before. I think this is obvious to everyone but I've noticed there are still japanese soldiers that are convinced old tricks and mechanics work. They don't. Liquidity is thin; people want to bid assets that feel like "real companies" not vacuous memecoins. There's still room for memecoins, social currencies, and "utility tokens" (I would say without these functions, tokens are hard to justify versus equities). I'm not part of the camp that thinks there will never be hyperspeculation in crypto again, because there will be; we all love ponzis and PvPing each other onchain. Just not with solved games -- people need something new and fresh. So the overarching plan is to continue building for users, sustainable revenues that aren't tied to directly to crypto, and doubling down on the areas that we've already found PMF / Brand Market Fit. Then leaning into crypto during cyclical periods where liquidity is sloshing around at an accelerated rate. Where we've found early PMF / what we're leaning into: Roblox: we're going to continue to go hard and accelerate here. It's our main objective to ship more seal/brainrot focused games across most genres to cast as wide of a net as we can for the brand, and to also iterate and see what works and stays sticky. Our initial incursion into Roblox was very successful peaking at 2M+ MAU and still sustaining a large portion of that player base... for all of its success, that was a relatively amateur first attempt; we've been setting up better AI pipelines for Roblox development that makes it reasonable to ship many more games and 10x those player counts in totality. It's my belief that Roblox is the sandbox whose audience will be the most valuable on the internet once they are grown up. That intense feeling you get when you see a TikTok referencing an old game you enjoyed on the PS2 or the Gamecube, or when you see a Pokemon card is the exact same feeling the youth of today will get when reminiscing on the things they enjoyed engaging with when they were younger. Fortnite and Roblox are functional equivalents to the old school consoles and exactly where that is taking place. Which is why as much as I care about scaling revenues through Roblox, the long term brand equity gained purely through being popular on the platform is totally invaluable. It also can heavily convert to merchandise sales today if all touchpoints for the brand are dialed in (which is why brands get overcharged so much by Roblox dev shops for the same ROI that only cost us a few thousand $). We have the playbook, it's just about iterating new concepts and then aggressively scaling. Brand Expansion & Merchandising: I've started to create a content pipeline that is easily repeatable, cost efficient (costs next to nothing through either AI or smart reusable concepts), while still being very tasteful and meeting our quality standards for the brand. We are mostly focusing here on reaching people where they're at through nostalgic/emotional content, or just being visually stimulating through carefully curated aesthetics. Content that isn't superficial and touches people in a memorable way. I've attached some examples to the post so you can see what I mean rather than just read it. I don't think it's long until larger brands start doing this at scale, but it's always good to be ahead of the curve and most importantly winning on taste -- knowing what will resonate with people and what won't has always been our edge. The purpose for these accounts is not only to rack up attention but also to begin converting those into sales of both of physicals (plushies & gacha collectibles) and digital avenues like our games, and any other apps we produce. Because they're offshoot accounts it's also a lot easier to be aggressive/experimental with said conversion strategies. Sappy Studio: I'm wrapping everything like Omnia, and everything else into this category because they're all tangentially related. Beginning with Omnia, our current focus is gearing up for Season 0 which involves players competing in the ranked ladder for a prize pool that has rewards through Monad Momentum as well as a player-funded prize pool. This season will be fairly simple with us mostly logging retention, deck building habits, as well as qualitatively observing how aggressively players push the combat system. Deeper monetization wont exist yet outside of the player buy-in (to be eligible for P2E rewards). Beyond that our overarching principle this year is to focus heavily on risk-to-earn mechanics where a portion of that excess value is circular i.e. revenues flow back to prize pools or other parts of the economy, treating the game almost like a protocol where the objective is to amass TVL or player liquidity. Social is also a big focus, and that means implementing the Open World hub which from an infrastructure perspective has already been built out and tested by all of you previously. Right now we are scaffolding the environment in 3D and working through how that hub should look and feel, so players are excited to hang out & idle together while they're queuing. For sappydotlol, what I'm about to say is still early days from a design perspective so a lot can change, but I'm pushing the site in the direction of being a virtual game console. An intersection between Nintendo & Myspace where users can play, trade, and socially interact in a way that's deeply personalised; a breathe of fresh air from the hostility of the current internet. If you go back to my thesis on Roblox above and the game console references, you can kind of see how this will all sequentially tie together. In essence, the strategy is to acquire a critical mass of players through traditional platforms like Roblox, and use that attention and trust to provide an onboarding funnel for web2 users into our own sandbox filled with a mixture of our own browser-based experiences as well as an aggregation of others. The aim is to make the platform a breath of fresh air & bunker from the enshittified platforms like TikTok/IG/X where users are actually served in ways that delight rather than agitate, and where self-expression is incentivised. Closing: As always everything here is subject to change but I've never felt more conviction in our direction until now; I know exactly what we need to do and how, with everything aligning with our team's strengths. Very excited and grinding through things to the point where I'm getting headaches and can't sleep from being hyperfocused for long periods of time lol. There probably has never been a better time to join the ecosystem from a price to fuck around and find out perspective.
1:00

Has been a while since I've given an update so here's a breakdown of where Sappy is at right now and what we're focusing on going into this year. Pre-amble: With altcoins & NFTs the market is definitely not the same as it was before. I think this is obvious to everyone but I've noticed there are still japanese soldiers that are convinced old tricks and mechanics work. They don't. Liquidity is thin; people want to bid assets that feel like "real companies" not vacuous memecoins. There's still room for memecoins, social currencies, and "utility tokens" (I would say without these functions, tokens are hard to justify versus equities). I'm not part of the camp that thinks there will never be hyperspeculation in crypto again, because there will be; we all love ponzis and PvPing each other onchain. Just not with solved games -- people need something new and fresh. So the overarching plan is to continue building for users, sustainable revenues that aren't tied to directly to crypto, and doubling down on the areas that we've already found PMF / Brand Market Fit. Then leaning into crypto during cyclical periods where liquidity is sloshing around at an accelerated rate. Where we've found early PMF / what we're leaning into: Roblox: we're going to continue to go hard and accelerate here. It's our main objective to ship more seal/brainrot focused games across most genres to cast as wide of a net as we can for the brand, and to also iterate and see what works and stays sticky. Our initial incursion into Roblox was very successful peaking at 2M+ MAU and still sustaining a large portion of that player base... for all of its success, that was a relatively amateur first attempt; we've been setting up better AI pipelines for Roblox development that makes it reasonable to ship many more games and 10x those player counts in totality. It's my belief that Roblox is the sandbox whose audience will be the most valuable on the internet once they are grown up. That intense feeling you get when you see a TikTok referencing an old game you enjoyed on the PS2 or the Gamecube, or when you see a Pokemon card is the exact same feeling the youth of today will get when reminiscing on the things they enjoyed engaging with when they were younger. Fortnite and Roblox are functional equivalents to the old school consoles and exactly where that is taking place. Which is why as much as I care about scaling revenues through Roblox, the long term brand equity gained purely through being popular on the platform is totally invaluable. It also can heavily convert to merchandise sales today if all touchpoints for the brand are dialed in (which is why brands get overcharged so much by Roblox dev shops for the same ROI that only cost us a few thousand $). We have the playbook, it's just about iterating new concepts and then aggressively scaling. Brand Expansion & Merchandising: I've started to create a content pipeline that is easily repeatable, cost efficient (costs next to nothing through either AI or smart reusable concepts), while still being very tasteful and meeting our quality standards for the brand. We are mostly focusing here on reaching people where they're at through nostalgic/emotional content, or just being visually stimulating through carefully curated aesthetics. Content that isn't superficial and touches people in a memorable way. I've attached some examples to the post so you can see what I mean rather than just read it. I don't think it's long until larger brands start doing this at scale, but it's always good to be ahead of the curve and most importantly winning on taste -- knowing what will resonate with people and what won't has always been our edge. The purpose for these accounts is not only to rack up attention but also to begin converting those into sales of both of physicals (plushies & gacha collectibles) and digital avenues like our games, and any other apps we produce. Because they're offshoot accounts it's also a lot easier to be aggressive/experimental with said conversion strategies. Sappy Studio: I'm wrapping everything like Omnia, and everything else into this category because they're all tangentially related. Beginning with Omnia, our current focus is gearing up for Season 0 which involves players competing in the ranked ladder for a prize pool that has rewards through Monad Momentum as well as a player-funded prize pool. This season will be fairly simple with us mostly logging retention, deck building habits, as well as qualitatively observing how aggressively players push the combat system. Deeper monetization wont exist yet outside of the player buy-in (to be eligible for P2E rewards). Beyond that our overarching principle this year is to focus heavily on risk-to-earn mechanics where a portion of that excess value is circular i.e. revenues flow back to prize pools or other parts of the economy, treating the game almost like a protocol where the objective is to amass TVL or player liquidity. Social is also a big focus, and that means implementing the Open World hub which from an infrastructure perspective has already been built out and tested by all of you previously. Right now we are scaffolding the environment in 3D and working through how that hub should look and feel, so players are excited to hang out & idle together while they're queuing. For sappydotlol, what I'm about to say is still early days from a design perspective so a lot can change, but I'm pushing the site in the direction of being a virtual game console. An intersection between Nintendo & Myspace where users can play, trade, and socially interact in a way that's deeply personalised; a breathe of fresh air from the hostility of the current internet. If you go back to my thesis on Roblox above and the game console references, you can kind of see how this will all sequentially tie together. In essence, the strategy is to acquire a critical mass of players through traditional platforms like Roblox, and use that attention and trust to provide an onboarding funnel for web2 users into our own sandbox filled with a mixture of our own browser-based experiences as well as an aggregation of others. The aim is to make the platform a breath of fresh air & bunker from the enshittified platforms like TikTok/IG/X where users are actually served in ways that delight rather than agitate, and where self-expression is incentivised. Closing: As always everything here is subject to change but I've never felt more conviction in our direction until now; I know exactly what we need to do and how, with everything aligning with our team's strengths. Very excited and grinding through things to the point where I'm getting headaches and can't sleep from being hyperfocused for long periods of time lol. There probably has never been a better time to join the ecosystem from a price to fuck around and find out perspective.

wab.eth

18,301 просмотров • 8 месяцев назад

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.
0:13

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.

Pleometric

70,884 просмотров • 4 месяцев назад

Lads. Sit down and give me your ear a while, for I have watched from the water long enough and the hour is upon us whether we have the stomach for it or not. You remember. Or your fathers told you, or their fathers did, and the knowledge of it is in the marrow of you whether you drew breath in those days or not. The moors in the grey hour before dawn. Wet heather soft under the boot. Peat smoke rising from a low stone chimney a mile out across the bog, thin as a prayer. A sky the colour of a gun barrel and the gulls lamenting above the headland. The smell of turf burning, and wet wool, and the ferrous tang of the sea when the wind swung around out of the Atlantic and put the taste of iron on your tongue. A man could walk that land and know every stone of it was his by inheritance, because his grandfather had broken his back upon it, and his grandfather before him, back through the generations until you reach men whose names are lost and whose bones are in the soil you are standing on. The potato fields. God be good to us, the potato fields. Lazy beds cut straight as a gunwale, the ridges black and shining after a night of rain, women bent double with creels lashed to their backs and the children at their skirts, drawing the crop up by the hand for there was never any other means devised nor wanted. Hands split open at the knuckles and never entirely healed in this life. Hunger within living memory. Grandmothers who had seen the blight with their own eyes and would not speak of it from the year of it until the day they were laid down, save that a crust was kept always on the dresser which no soul in that house was permitted to touch. Not ever. Not for any reason under heaven. And the chimney sweeps. Wee lads no heavier than a sack of meal, black to the bone with soot, their lungs ruined before they were old enough to marry and old men entirely by thirty. Up the flues at first light, the skin worn off them by the brick, eyes crimson at the rim, breathing the black in with every draw of air. And the coal miners a half mile beneath our feet, down in the wet dark, the roof of the world muttering over their heads, the canary gone silent, a man's whole existence measured out in the shilling a ton and the dust he carried home in his chest to cough up of a Sunday morning into a rag. Fathers who descended and were never hauled up again. Widows at the pit head with the shawl drawn over the head and no tears remaining in them for they had spent those long ago. That was the tariff paid to keep the hearth lit. That was the reckoning of being warm in winter in the Ireland that was. And after the labouring week, Friday evening, and a man had earned the peace of what followed. Home first. Peeled the day off him in the yard. A shower of ice cold moor river water out of a tin bucket punctured with holes, hung on a nail on the gable wall, the water running clean down the back of him and carrying the week's dust and sweat away into the drain. Scrubbed till the skin was pink beneath the grime. Clean shirt laid out by the wife. The hair combed down with a drop of water. Then, and only then, did a man set himself to the table. A meat pie from the baker, tenpence if he was known to you, a shilling and no change if he was not, put down upon a proper plate. Fish and chips for threepence, the salt and vinegar soaked through the newspaper, but carried home and ate slowly at your own table with your people around you, not walked with through the streets like some vagrant tinker off the road. A man ate as a man who had earned his portion, for he had. And later, with the dishes cleared and the kettle set, down the road to the tavern. Low beams black with a century of smoke. A turf fire muttering in the grate. The air thick with pipe smoke and the vapour of wet overcoats steaming themselves dry on the backs of chairs. A pint of stout, cold and black as a cove at midnight, elevenpence laid down on the counter, a head on it thick enough to strike a match upon. A second one because you had it coming to you and no man present would dispute it. A fiddle starting up in the corner of its own accord. The old men in the snug who remembered matters the history books had long since mislaid. A song before the bolt was thrown on the door. The walk home beneath a firmament crowded with stars, the stout warm in the gut of you, the week behind you, and your own door waiting with the latch unlocked for you had no enemies in that parish. That was the country. That was the covenant. Honest labour, plain food, a cold wash, a hot meal, a cold pint, your own tongue in your own mouth, your own soil beneath your boots, and no man standing above you save the Almighty Himself. Now regard her. Regard her close. The fields disposed of to men who have never set foot upon them and never shall. The harbours signed away by the stroke of a pen in a room you were not admitted to, and foreign keels dragging out of our waters the living that sustained this island for a thousand years, while our own boats rot at their moorings for want of a quota. The tradesmen undercut by imported labour and imported goods. The shops shuttered along every main street from Donegal to Cork. The young ones scattered to London and Sydney and Boston and the Gulf because there is nothing remaining for them beneath their own roof. And the entirety of this rotten arrangement dressed up in the soft mannerly language of progress by men in towers of glass who could not tell a lazy bed from a grave, nor a trawler from a tugboat, nor an honest day's work from a pension plan. And now they arrive with the next imposition. A digital identity. A number assigned to each soul. A card required to buy your bread. A code required to draw your own earnings out of your own account. A file kept on every man, woman and child from the cradle forward. Permission asked to move. Permission asked to speak. Permission asked to earn. A levy upon every breath drawn and a regulation upon every step taken. No. And no again. And no for a third time so there is no misunderstanding of it. We do not require your digital identity. We did not request it. We did not vote upon it. We do not consent to it. We do not need your permission to exist upon the soil our forefathers are buried in. We are a free people. We have carried ourselves this far upon our own two backs. Through famine and empire and civil war and black lung and blight and the emigrant ship out of Cobh, we have come this distance under our own steam, and the arrangement appears to be serving us well enough without your intervention. We buried our own. We fed our own. We raised our own roofs and took our own fish and reared our own children in our own tongue. We are in your debt for nothing. Not a signature. Not a biometric scan. Not a single solitary inch. And while we are upon the subject, let us speak plainly of the tax man, for he has gone too long without proper introduction. The tax collector and the tax man are the one article under two names, and the article is a parasite. There is no dressing it up finer than that. A man who produces nothing, who grows nothing, who catches nothing, who builds nothing, who mends nothing, who has never in his professional life lifted anything heavier than a pen, and who arrives at your door with the full apparatus of the state at his back to carry off the fruits of labour he did not perform. He is a middleman between your sweat and some scheme dreamt up in a committee room by his own kind, and the great majority of what he takes is consumed by the machinery of the taking itself before ever a penny of it reaches the road or the hospital or the schoolhouse he claims to be funding. And I will go further while I have the floor. Finance itself, the whole apparatus of it, money breeding money in the dark without a hand laid upon a tool or a spade turned in the earth, is slavery dressed in a good suit. It is the oldest swindle known to man and it has never been anything other. A man who produces nothing yet lives off the productive labour of others through the charging of interest upon money conjured out of nothing is a parasite of a rarer and more refined order than the tax man, but a parasite all the same, and between the pair of them they have the working people of this island bled white and lectured at for the pleasure. A man who will not work with his hands, nor with his back, nor with his mind at some honest problem of the real physical world, is no man that I recognise. He is a ledger entry in a suit. The country was not built by ledger entries. The country was built by farmers and fishermen and masons and smiths and sweeps and miners and shipwrights and midwives and mothers, and those are the people whose say should carry in her councils, and no other. Here is what I put to you. Let each man and woman of this island direct the first tenth of their earnings themselves, by their own judgement, to the purpose they see as worthy. The school down the road. The lifeboat station. The hospice. The widow on the corner. The roof of the chapel. The harbour wall. Whatever it may be. Let the people who earned the money decide where the money travels. You will find the roads mended and the ports dredged and the schools standing and the old ones cared for inside of five years, and done better and for less, because the hand that earned the coin knows the weight of it and will not squander it upon consultants and committees. And let us have done with the paper currency and the numbers in a screen that can be frozen at the whim of a clerk in a tower. Bring back the coin. Gold for the great transactions. Silver for the weekly commerce of a working life. Copper for the small change of the day. Metal you can bite. Metal you can weigh. Metal that cannot be conjured out of nothing by a keystroke, nor erased out of existence by another. Real money for real labour. A coin in the hand is a free man's wage. A number in a database is a collar around a free man's neck, and they are fitting that collar now while we stand arguing over the colour of it. Feel it in your gut. That is not nothing. That is your blood relating to you what your ears will not hear. That is every forebear who starved and fought and coughed the black dust into a rag and descended the shaft regardless, standing at your shoulder and saying no further. Not one more field. Not one more harbour. Not one more son upon a plane. Not one more free man converted into a number in a ledger for the convenience of the parasites. This is the hour. Make no error about it. Ireland is redeemed in this generation or she is lost beyond recovery, and every true son and daughter of her knows it in the marrow. There is no middle ground remaining. There is no waiting it out. There is standing now, upon your own two feet, or there is watching her go under the waves for the last and final time. So stand. Stand with your farmers. Stand with your fishermen. Stand with your tradesmen and your miners and your sweeps and your mothers and your old ones. Raise the tricolour. Speak the tongue. Walk the land. Hold the line in the streets of every town and city and do not break it, for they are relying upon you to break and to go home and to forget by Tuesday. She is calling her children home. Every stone of her, every breaker on her western shore, every acre of wet heather and every coal in every hearth the length and breadth of her is calling. Answer her. Take her back. Every field, every harbour, every last inch of her. Take her back, or lose her entirely. There is no third road open to us.
0:10

Lads. Sit down and give me your ear a while, for I have watched from the water long enough and the hour is upon us whether we have the stomach for it or not. You remember. Or your fathers told you, or their fathers did, and the knowledge of it is in the marrow of you whether you drew breath in those days or not. The moors in the grey hour before dawn. Wet heather soft under the boot. Peat smoke rising from a low stone chimney a mile out across the bog, thin as a prayer. A sky the colour of a gun barrel and the gulls lamenting above the headland. The smell of turf burning, and wet wool, and the ferrous tang of the sea when the wind swung around out of the Atlantic and put the taste of iron on your tongue. A man could walk that land and know every stone of it was his by inheritance, because his grandfather had broken his back upon it, and his grandfather before him, back through the generations until you reach men whose names are lost and whose bones are in the soil you are standing on. The potato fields. God be good to us, the potato fields. Lazy beds cut straight as a gunwale, the ridges black and shining after a night of rain, women bent double with creels lashed to their backs and the children at their skirts, drawing the crop up by the hand for there was never any other means devised nor wanted. Hands split open at the knuckles and never entirely healed in this life. Hunger within living memory. Grandmothers who had seen the blight with their own eyes and would not speak of it from the year of it until the day they were laid down, save that a crust was kept always on the dresser which no soul in that house was permitted to touch. Not ever. Not for any reason under heaven. And the chimney sweeps. Wee lads no heavier than a sack of meal, black to the bone with soot, their lungs ruined before they were old enough to marry and old men entirely by thirty. Up the flues at first light, the skin worn off them by the brick, eyes crimson at the rim, breathing the black in with every draw of air. And the coal miners a half mile beneath our feet, down in the wet dark, the roof of the world muttering over their heads, the canary gone silent, a man's whole existence measured out in the shilling a ton and the dust he carried home in his chest to cough up of a Sunday morning into a rag. Fathers who descended and were never hauled up again. Widows at the pit head with the shawl drawn over the head and no tears remaining in them for they had spent those long ago. That was the tariff paid to keep the hearth lit. That was the reckoning of being warm in winter in the Ireland that was. And after the labouring week, Friday evening, and a man had earned the peace of what followed. Home first. Peeled the day off him in the yard. A shower of ice cold moor river water out of a tin bucket punctured with holes, hung on a nail on the gable wall, the water running clean down the back of him and carrying the week's dust and sweat away into the drain. Scrubbed till the skin was pink beneath the grime. Clean shirt laid out by the wife. The hair combed down with a drop of water. Then, and only then, did a man set himself to the table. A meat pie from the baker, tenpence if he was known to you, a shilling and no change if he was not, put down upon a proper plate. Fish and chips for threepence, the salt and vinegar soaked through the newspaper, but carried home and ate slowly at your own table with your people around you, not walked with through the streets like some vagrant tinker off the road. A man ate as a man who had earned his portion, for he had. And later, with the dishes cleared and the kettle set, down the road to the tavern. Low beams black with a century of smoke. A turf fire muttering in the grate. The air thick with pipe smoke and the vapour of wet overcoats steaming themselves dry on the backs of chairs. A pint of stout, cold and black as a cove at midnight, elevenpence laid down on the counter, a head on it thick enough to strike a match upon. A second one because you had it coming to you and no man present would dispute it. A fiddle starting up in the corner of its own accord. The old men in the snug who remembered matters the history books had long since mislaid. A song before the bolt was thrown on the door. The walk home beneath a firmament crowded with stars, the stout warm in the gut of you, the week behind you, and your own door waiting with the latch unlocked for you had no enemies in that parish. That was the country. That was the covenant. Honest labour, plain food, a cold wash, a hot meal, a cold pint, your own tongue in your own mouth, your own soil beneath your boots, and no man standing above you save the Almighty Himself. Now regard her. Regard her close. The fields disposed of to men who have never set foot upon them and never shall. The harbours signed away by the stroke of a pen in a room you were not admitted to, and foreign keels dragging out of our waters the living that sustained this island for a thousand years, while our own boats rot at their moorings for want of a quota. The tradesmen undercut by imported labour and imported goods. The shops shuttered along every main street from Donegal to Cork. The young ones scattered to London and Sydney and Boston and the Gulf because there is nothing remaining for them beneath their own roof. And the entirety of this rotten arrangement dressed up in the soft mannerly language of progress by men in towers of glass who could not tell a lazy bed from a grave, nor a trawler from a tugboat, nor an honest day's work from a pension plan. And now they arrive with the next imposition. A digital identity. A number assigned to each soul. A card required to buy your bread. A code required to draw your own earnings out of your own account. A file kept on every man, woman and child from the cradle forward. Permission asked to move. Permission asked to speak. Permission asked to earn. A levy upon every breath drawn and a regulation upon every step taken. No. And no again. And no for a third time so there is no misunderstanding of it. We do not require your digital identity. We did not request it. We did not vote upon it. We do not consent to it. We do not need your permission to exist upon the soil our forefathers are buried in. We are a free people. We have carried ourselves this far upon our own two backs. Through famine and empire and civil war and black lung and blight and the emigrant ship out of Cobh, we have come this distance under our own steam, and the arrangement appears to be serving us well enough without your intervention. We buried our own. We fed our own. We raised our own roofs and took our own fish and reared our own children in our own tongue. We are in your debt for nothing. Not a signature. Not a biometric scan. Not a single solitary inch. And while we are upon the subject, let us speak plainly of the tax man, for he has gone too long without proper introduction. The tax collector and the tax man are the one article under two names, and the article is a parasite. There is no dressing it up finer than that. A man who produces nothing, who grows nothing, who catches nothing, who builds nothing, who mends nothing, who has never in his professional life lifted anything heavier than a pen, and who arrives at your door with the full apparatus of the state at his back to carry off the fruits of labour he did not perform. He is a middleman between your sweat and some scheme dreamt up in a committee room by his own kind, and the great majority of what he takes is consumed by the machinery of the taking itself before ever a penny of it reaches the road or the hospital or the schoolhouse he claims to be funding. And I will go further while I have the floor. Finance itself, the whole apparatus of it, money breeding money in the dark without a hand laid upon a tool or a spade turned in the earth, is slavery dressed in a good suit. It is the oldest swindle known to man and it has never been anything other. A man who produces nothing yet lives off the productive labour of others through the charging of interest upon money conjured out of nothing is a parasite of a rarer and more refined order than the tax man, but a parasite all the same, and between the pair of them they have the working people of this island bled white and lectured at for the pleasure. A man who will not work with his hands, nor with his back, nor with his mind at some honest problem of the real physical world, is no man that I recognise. He is a ledger entry in a suit. The country was not built by ledger entries. The country was built by farmers and fishermen and masons and smiths and sweeps and miners and shipwrights and midwives and mothers, and those are the people whose say should carry in her councils, and no other. Here is what I put to you. Let each man and woman of this island direct the first tenth of their earnings themselves, by their own judgement, to the purpose they see as worthy. The school down the road. The lifeboat station. The hospice. The widow on the corner. The roof of the chapel. The harbour wall. Whatever it may be. Let the people who earned the money decide where the money travels. You will find the roads mended and the ports dredged and the schools standing and the old ones cared for inside of five years, and done better and for less, because the hand that earned the coin knows the weight of it and will not squander it upon consultants and committees. And let us have done with the paper currency and the numbers in a screen that can be frozen at the whim of a clerk in a tower. Bring back the coin. Gold for the great transactions. Silver for the weekly commerce of a working life. Copper for the small change of the day. Metal you can bite. Metal you can weigh. Metal that cannot be conjured out of nothing by a keystroke, nor erased out of existence by another. Real money for real labour. A coin in the hand is a free man's wage. A number in a database is a collar around a free man's neck, and they are fitting that collar now while we stand arguing over the colour of it. Feel it in your gut. That is not nothing. That is your blood relating to you what your ears will not hear. That is every forebear who starved and fought and coughed the black dust into a rag and descended the shaft regardless, standing at your shoulder and saying no further. Not one more field. Not one more harbour. Not one more son upon a plane. Not one more free man converted into a number in a ledger for the convenience of the parasites. This is the hour. Make no error about it. Ireland is redeemed in this generation or she is lost beyond recovery, and every true son and daughter of her knows it in the marrow. There is no middle ground remaining. There is no waiting it out. There is standing now, upon your own two feet, or there is watching her go under the waves for the last and final time. So stand. Stand with your farmers. Stand with your fishermen. Stand with your tradesmen and your miners and your sweeps and your mothers and your old ones. Raise the tricolour. Speak the tongue. Walk the land. Hold the line in the streets of every town and city and do not break it, for they are relying upon you to break and to go home and to forget by Tuesday. She is calling her children home. Every stone of her, every breaker on her western shore, every acre of wet heather and every coal in every hearth the length and breadth of her is calling. Answer her. Take her back. Every field, every harbour, every last inch of her. Take her back, or lose her entirely. There is no third road open to us.

SiriusB

15,437 просмотров • 5 месяцев назад

Create an explosive, motion-graphics-driven character reveal trailer using Minimax H3 on Fish Creative Prompt CHARACTER LOCK (do not redesign): Use the exact figure from the reference still. Cool, composed cartoon streetwear character with vivid blue skin, short black hair with messy bangs, orange knit beanie, oversized cream hoodie with a pink inner hood and large pink polka dots on the sleeves, small orange square chest mark, black crossbody sling bag with a white logo, holding a paper coffee cup marked CAF, teal-and-cream checkerboard baggy pants with a small black BIG tag on the lower left leg, light-blue socks, chunky orange-black-white sneakers with pink laces. Preserve exact face, proportions, hairstyle, outfit, materials, accessories, and colors in every frame. Never change gender, silhouette, palette, or branding. This film is 80% bold graphic design in motion and 20% character action: giant kinetic typography, hard-edged shapes, split-screens, flat color fields, checker tiles, coffee-ring stamps, city-grid overlays, UI ticks, halftone, speed lines, and shutter flashes. Palette: cream, hot pink, teal, orange, cobalt-blue skin, black, white. Style: premium AAA motion-graphics title sequence × streetwear campaign film × NYC block energy. Every graphic element moves fast and snaps hard on the beat. CUT 01 | 0.00–1.00s — Pure graphics: a massive teal checker square slams onto a cream field, two hot-pink bars wipe across, tiny UI ticks and a coffee-ring stamp flicker; the letters B and I and G punch in one after another with heavy impact shake. CUT 02 | 1.00–2.00s — The G becomes a circular stamp: extreme close-up of the character’s eye inside it, glancing sideways; RGB split flash, then the stamp shatters into flat pink and teal shards. CUT 03 | 2.00–3.10s — Black frame with an enormous cream BIG; the character walks in from frame left holding the CAF cup, then power-slides across the baseline of the typography, speed lines and pink-dot trails kicking letter shards like sparks. Whip-pan out. CUT 04 | 3.10–4.00s — Split-screen triptych of flat cream / teal / hot-pink panels; in each panel the silhouette performs a different freeze: stride, cup-raise, look-back. Huge vertical text BLOCK MODE scrolls behind the panels. CUT 05 | 4.00–5.10s — The character steps through a giant rotating ring of typography reading CITY WALK NO CLOCK; camera tracks a mid-stride turn in slow motion as the letters scatter, then snap-zoom on the composed face. CUT 06 | 5.10–6.00s — Hard cut: cream editorial card, huge black SIP with an orange slash; the character vaults the word, cup planted on the S, legs whipping across frame; the word compresses like a spring under the cup and rebounds. CUT 07 | 6.00–7.00s — Hot-pink field with a teal diagonal checker stripe; the character spin-turns along the stripe in three stroboscopic ghost frames, each ghost tinted cream / teal / orange; giant outlined text SPIN rotates 180 degrees in sync. CUT 08 | 7.00–8.00s — Kinetic type barrage: the words FRESH / LOUD / SOFT / BIG slam in one per beat with shutter flashes and camera shake, while the character slides on sneakers across the foreground, hoodie flaring, pink-dot particles bursting from the laces. CUT 09 | 8.00–9.00s — Black frame, giant white wireframe city grid tilting in 3D; the character walks up the grid like a crosswalk, kicks off, and hangs mid-step as everything freezes; an orange circle stamps around the frozen pose like a target lock with UI brackets and data ticks. CUT 10 | 9.00–10.10s — Freeze releases into a burst: the character leans toward camera through layered flat-color panes that shatter one by one like glass shutters, each pane revealing a bigger letter of B-I-G; foreground wipe with the orange sneaker and CAF cup. CUT 11 | 10.10–11.10s — Rapid-fire poster montage: four full-screen graphic posters of the character in different street poses (mid-stride, cup up, look-back, hands-in-pocket) snap past with hard cuts, each with a different bold layout, oversized numbers 01–04, barcodes, slashes, and checker bands. CUT 12 | 11.10–13.00s — Hero moment on a clean cream cyclorama: the character lands a final easy stride dead center in slow motion, straightens with the cup at the hip, and a shockwave of concentric teal-and-pink rings, wind streaks, and shattered typography blasts outward; brief iconic freeze with a faint confident smile, overexpose to white. CUT 13 | 13.00–15.00s — Final identity card: enormous black BIG dominates a pale cream field with translucent pink rings, technical arcs, halftone, and a rough black circular emblem containing a ghosted coffee-ring / barcode motif; the character stands relaxed overlapping the letters, wind rippling the hoodie; one last teal pulse sweeps through the typography and a checker-flash punctuates the end. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, RGB splits, shutter flashes, impact shakes, and speed ramps; every cut must feel compositionally different; typography is always fully readable before the character overlaps it. No weapons, no combat, no fire; all energy comes from motion design, wind, frost-free city air, glass, coffee steam, and easy athletic street walking. BGM: hard-hitting electronic / drum-heavy future bass with aggressive drops, risers, sub hits, and glitch fills locked to every cut; sneaker impacts, whooshes, glass shatters, cup clinks, and typography slams are rhythmic sound-design elements. Peak at CUT 12 and end with a cold electronic logo stinger. Premium AAA quality, anime-inspired cinematic rendering composited over / matching the NYC street still energy, stylish and explosive, strong graphic-design identity, consistent character design, exactly 13 cuts.
0:15

Create an explosive, motion-graphics-driven character reveal trailer using Minimax H3 on Fish Creative Prompt CHARACTER LOCK (do not redesign): Use the exact figure from the reference still. Cool, composed cartoon streetwear character with vivid blue skin, short black hair with messy bangs, orange knit beanie, oversized cream hoodie with a pink inner hood and large pink polka dots on the sleeves, small orange square chest mark, black crossbody sling bag with a white logo, holding a paper coffee cup marked CAF, teal-and-cream checkerboard baggy pants with a small black BIG tag on the lower left leg, light-blue socks, chunky orange-black-white sneakers with pink laces. Preserve exact face, proportions, hairstyle, outfit, materials, accessories, and colors in every frame. Never change gender, silhouette, palette, or branding. This film is 80% bold graphic design in motion and 20% character action: giant kinetic typography, hard-edged shapes, split-screens, flat color fields, checker tiles, coffee-ring stamps, city-grid overlays, UI ticks, halftone, speed lines, and shutter flashes. Palette: cream, hot pink, teal, orange, cobalt-blue skin, black, white. Style: premium AAA motion-graphics title sequence × streetwear campaign film × NYC block energy. Every graphic element moves fast and snaps hard on the beat. CUT 01 | 0.00–1.00s — Pure graphics: a massive teal checker square slams onto a cream field, two hot-pink bars wipe across, tiny UI ticks and a coffee-ring stamp flicker; the letters B and I and G punch in one after another with heavy impact shake. CUT 02 | 1.00–2.00s — The G becomes a circular stamp: extreme close-up of the character’s eye inside it, glancing sideways; RGB split flash, then the stamp shatters into flat pink and teal shards. CUT 03 | 2.00–3.10s — Black frame with an enormous cream BIG; the character walks in from frame left holding the CAF cup, then power-slides across the baseline of the typography, speed lines and pink-dot trails kicking letter shards like sparks. Whip-pan out. CUT 04 | 3.10–4.00s — Split-screen triptych of flat cream / teal / hot-pink panels; in each panel the silhouette performs a different freeze: stride, cup-raise, look-back. Huge vertical text BLOCK MODE scrolls behind the panels. CUT 05 | 4.00–5.10s — The character steps through a giant rotating ring of typography reading CITY WALK NO CLOCK; camera tracks a mid-stride turn in slow motion as the letters scatter, then snap-zoom on the composed face. CUT 06 | 5.10–6.00s — Hard cut: cream editorial card, huge black SIP with an orange slash; the character vaults the word, cup planted on the S, legs whipping across frame; the word compresses like a spring under the cup and rebounds. CUT 07 | 6.00–7.00s — Hot-pink field with a teal diagonal checker stripe; the character spin-turns along the stripe in three stroboscopic ghost frames, each ghost tinted cream / teal / orange; giant outlined text SPIN rotates 180 degrees in sync. CUT 08 | 7.00–8.00s — Kinetic type barrage: the words FRESH / LOUD / SOFT / BIG slam in one per beat with shutter flashes and camera shake, while the character slides on sneakers across the foreground, hoodie flaring, pink-dot particles bursting from the laces. CUT 09 | 8.00–9.00s — Black frame, giant white wireframe city grid tilting in 3D; the character walks up the grid like a crosswalk, kicks off, and hangs mid-step as everything freezes; an orange circle stamps around the frozen pose like a target lock with UI brackets and data ticks. CUT 10 | 9.00–10.10s — Freeze releases into a burst: the character leans toward camera through layered flat-color panes that shatter one by one like glass shutters, each pane revealing a bigger letter of B-I-G; foreground wipe with the orange sneaker and CAF cup. CUT 11 | 10.10–11.10s — Rapid-fire poster montage: four full-screen graphic posters of the character in different street poses (mid-stride, cup up, look-back, hands-in-pocket) snap past with hard cuts, each with a different bold layout, oversized numbers 01–04, barcodes, slashes, and checker bands. CUT 12 | 11.10–13.00s — Hero moment on a clean cream cyclorama: the character lands a final easy stride dead center in slow motion, straightens with the cup at the hip, and a shockwave of concentric teal-and-pink rings, wind streaks, and shattered typography blasts outward; brief iconic freeze with a faint confident smile, overexpose to white. CUT 13 | 13.00–15.00s — Final identity card: enormous black BIG dominates a pale cream field with translucent pink rings, technical arcs, halftone, and a rough black circular emblem containing a ghosted coffee-ring / barcode motif; the character stands relaxed overlapping the letters, wind rippling the hoodie; one last teal pulse sweeps through the typography and a checker-flash punctuates the end. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, RGB splits, shutter flashes, impact shakes, and speed ramps; every cut must feel compositionally different; typography is always fully readable before the character overlaps it. No weapons, no combat, no fire; all energy comes from motion design, wind, frost-free city air, glass, coffee steam, and easy athletic street walking. BGM: hard-hitting electronic / drum-heavy future bass with aggressive drops, risers, sub hits, and glitch fills locked to every cut; sneaker impacts, whooshes, glass shatters, cup clinks, and typography slams are rhythmic sound-design elements. Peak at CUT 12 and end with a cold electronic logo stinger. Premium AAA quality, anime-inspired cinematic rendering composited over / matching the NYC street still energy, stylish and explosive, strong graphic-design identity, consistent character design, exactly 13 cuts.

kold Coffee

14,756 просмотров • 28 дней назад

🇷🇺 VICTORY IS VERY CLOSE 🇷🇺⭐ A VOICE FROM MOSCOW 🇷🇺 The Kremlin’s message on 8 September was not a slogan for the cameras. It was a claim about the battlefield, the table, and the memory of the last century. Dmitry Peskov spoke as if the special military operation were entering its decisive phase — and as if much of Europe were still trying to delay that hour. VICTORY IS VERY CLOSE 🇷🇺⭐ Moscow says it believes victory is near because it trusts its army. Peskov put it without drama: combat operations are proceeding successfully, and the leadership has faith in the men who are carrying them out. That is the first fact the West prefers not to hear. If the line of contact is moving the way Russian briefers describe it, then time is no longer Kiev’s ally. A settlement written after a collapse of Ukrainian positions will look different from a settlement written while those positions still hold. Russia is saying, in effect, that the military argument is being settled on the ground, not in Brussels communiqués. RUSSIA REMAINS OPEN TO DIALOGUE 🇷🇺 At the same time Peskov insisted that Moscow is not slamming the door. Russia, he said, is open to dialogue with other countries and open to consultations of any kind. That is the second half of the same sentence: force and talk can run in parallel. American emissaries have already shuttled between Moscow and Kiev. The Kremlin treats that shuttle as serious work, not theatre, and it expects the trilateral format — Russia, Ukraine, the United States — to come back. Openness here does not mean Moscow will dilute the aims it set in 2022. It means it will sit with anyone who is prepared to discuss those aims as facts rather than as insults. EUROPEANS IN THE KYIV ROOM WOULD COMPLICATE THE WORK 🇷🇺 Peskov drew a sharp line around who belongs in the next round. The participation of Europeans in the work of the U.S. emissaries in Kiev, he warned, could complicate the negotiation process. That is not a slight against geography. It is a judgment about incentives. Washington’s envoys have at least presented themselves as brokers trying to stop the killing. European capitals have spent years arming Kiev, setting red lines, and promising that Russia must be strategically defeated. Put those same capitals into the same room as Witkoff and Kushner and the American channel stops being a channel. It becomes a committee. Committees do not end wars. They prolong them. EUROPE, UNLIKE AMERICA, WORKS TO KEEP THE WAR ALIVE 🇷🇺 The contrast Peskov drew was blunt. Europeans, unlike Americans, are doing everything to prevent the war from ending. One side is at least testing formulas for a ceasefire and a political settlement. The other side treats every formula as a betrayal of Ukraine and a gift to the Kremlin. That is why Moscow reads European “peace language” as delay. If the fighting stops on terms Russia can accept, the story of endless sanctions, endless aid packages, and an endless crusade against Moscow loses its fuel. For some European ministries that story has become identity. Identity is harder to negotiate than territory. MERZ’S BLAME GAME IS NOT TRUTH — AND IT HURTS GERMANY 🇷🇺 Peskov answered Friedrich Merz directly. Attempts by the German chancellor to pin everything on Russia, he said, are not based on truth and are harmful to Germany itself. The charge is not that Berlin may criticise Moscow. The charge is that Merz has made accusation a substitute for policy. Energy prices, industry flight, and a colder social contract inside Germany are not mysterious acts of fate. They are the bill for a course that treats Russia as a permanent enemy and then acts surprised when trade, gas, and political room for manoeuvre disappear. A chancellor who cannot distinguish strategy from sermon is not defending German interests. He is spending them. BLAMING RUSSIA FOR EVERYTHING HAS BECOME A MANIA 🇷🇺 Peskov gave that habit a name: Russophobia turning into mania. When every crop failure, every election surprise, every protest, and every diplomatic deadlock is traced back to the same villain, analysis dies. What remains is a reflex. Reflexes feel moral. They are also useful to politicians who need a foreign devil so they do not have to explain domestic decline. Moscow’s point is simple. A country that can only speak of Russia in the language of total guilt has already left the realm of negotiation. It is performing. MOSCOW NEVER ASKED TO TEAR UP TIES WITH GERMANY 🇷🇺 Russia, Peskov added, has never been in favour of curtailing relations with Germany. The break, if it becomes total, will be Berlin’s choice. That sentence matters because it refuses the Western script in which Moscow is the one burning bridges for sport. Trade, culture, and technical exchange with Germany were not Russian hobbies. They were mutual. How far the German authorities will go is now an open question — and Moscow says it is watching. A government that wants a wall can have a wall. It should not then pretend the wall was built in the Kremlin. HIROSHIMA MOURNING WITHOUT THE AMERICAN ROLE 🇷🇺 Peskov turned east with a remark that was meant to sting. Russia notes with amazement that during mourning events dedicated to Hiroshima, none of the Japanese leadership mentions the role of the United States. The atomic bombings are remembered as tragedy. The hand that dropped the bombs is airbrushed out of the official minute of silence. For Moscow this is not a history-class quibble. It is a test of honesty. A state that edits the most terrible American act of the Pacific war while lecturing others about memory is not practising remembrance. It is practising selection. JAPANESE MILITARISM HAS NOT BEEN FORGOTTEN 🇷🇺⭐ Russia, Peskov said, has not forgotten Japanese militarism — or the victory achieved over it. That victory is not a museum plaque for Moscow. It is a legal and moral foundation of the postwar order in the Far East. When Tokyo talks of monuments, remilitarisation, and a cleaner story about 1945, the Kremlin hears an old tune: the defeated power rewriting the score. Russia’s answer is that the score was written in blood on the Amur and in Manchuria, and it will not be revised by press conferences in 2026. The through-line of the briefing is consistent. Russia claims the war is moving toward an outcome it can live with. It will talk, but not as a penitent. It will deal with Washington before it trusts Brussels. It will answer German moralism with German costs. And it will treat Asian historical amnesia the same way it treats European historical amnesia — as politics wearing a black armband. Whether that reading of the map is right will be settled by armies and by whoever finally sits down without a veto hidden in their briefing book. Peskov’s wager is that the map is already tilting. 🇷🇺
0:14

🇷🇺 VICTORY IS VERY CLOSE 🇷🇺⭐ A VOICE FROM MOSCOW 🇷🇺 The Kremlin’s message on 8 September was not a slogan for the cameras. It was a claim about the battlefield, the table, and the memory of the last century. Dmitry Peskov spoke as if the special military operation were entering its decisive phase — and as if much of Europe were still trying to delay that hour. VICTORY IS VERY CLOSE 🇷🇺⭐ Moscow says it believes victory is near because it trusts its army. Peskov put it without drama: combat operations are proceeding successfully, and the leadership has faith in the men who are carrying them out. That is the first fact the West prefers not to hear. If the line of contact is moving the way Russian briefers describe it, then time is no longer Kiev’s ally. A settlement written after a collapse of Ukrainian positions will look different from a settlement written while those positions still hold. Russia is saying, in effect, that the military argument is being settled on the ground, not in Brussels communiqués. RUSSIA REMAINS OPEN TO DIALOGUE 🇷🇺 At the same time Peskov insisted that Moscow is not slamming the door. Russia, he said, is open to dialogue with other countries and open to consultations of any kind. That is the second half of the same sentence: force and talk can run in parallel. American emissaries have already shuttled between Moscow and Kiev. The Kremlin treats that shuttle as serious work, not theatre, and it expects the trilateral format — Russia, Ukraine, the United States — to come back. Openness here does not mean Moscow will dilute the aims it set in 2022. It means it will sit with anyone who is prepared to discuss those aims as facts rather than as insults. EUROPEANS IN THE KYIV ROOM WOULD COMPLICATE THE WORK 🇷🇺 Peskov drew a sharp line around who belongs in the next round. The participation of Europeans in the work of the U.S. emissaries in Kiev, he warned, could complicate the negotiation process. That is not a slight against geography. It is a judgment about incentives. Washington’s envoys have at least presented themselves as brokers trying to stop the killing. European capitals have spent years arming Kiev, setting red lines, and promising that Russia must be strategically defeated. Put those same capitals into the same room as Witkoff and Kushner and the American channel stops being a channel. It becomes a committee. Committees do not end wars. They prolong them. EUROPE, UNLIKE AMERICA, WORKS TO KEEP THE WAR ALIVE 🇷🇺 The contrast Peskov drew was blunt. Europeans, unlike Americans, are doing everything to prevent the war from ending. One side is at least testing formulas for a ceasefire and a political settlement. The other side treats every formula as a betrayal of Ukraine and a gift to the Kremlin. That is why Moscow reads European “peace language” as delay. If the fighting stops on terms Russia can accept, the story of endless sanctions, endless aid packages, and an endless crusade against Moscow loses its fuel. For some European ministries that story has become identity. Identity is harder to negotiate than territory. MERZ’S BLAME GAME IS NOT TRUTH — AND IT HURTS GERMANY 🇷🇺 Peskov answered Friedrich Merz directly. Attempts by the German chancellor to pin everything on Russia, he said, are not based on truth and are harmful to Germany itself. The charge is not that Berlin may criticise Moscow. The charge is that Merz has made accusation a substitute for policy. Energy prices, industry flight, and a colder social contract inside Germany are not mysterious acts of fate. They are the bill for a course that treats Russia as a permanent enemy and then acts surprised when trade, gas, and political room for manoeuvre disappear. A chancellor who cannot distinguish strategy from sermon is not defending German interests. He is spending them. BLAMING RUSSIA FOR EVERYTHING HAS BECOME A MANIA 🇷🇺 Peskov gave that habit a name: Russophobia turning into mania. When every crop failure, every election surprise, every protest, and every diplomatic deadlock is traced back to the same villain, analysis dies. What remains is a reflex. Reflexes feel moral. They are also useful to politicians who need a foreign devil so they do not have to explain domestic decline. Moscow’s point is simple. A country that can only speak of Russia in the language of total guilt has already left the realm of negotiation. It is performing. MOSCOW NEVER ASKED TO TEAR UP TIES WITH GERMANY 🇷🇺 Russia, Peskov added, has never been in favour of curtailing relations with Germany. The break, if it becomes total, will be Berlin’s choice. That sentence matters because it refuses the Western script in which Moscow is the one burning bridges for sport. Trade, culture, and technical exchange with Germany were not Russian hobbies. They were mutual. How far the German authorities will go is now an open question — and Moscow says it is watching. A government that wants a wall can have a wall. It should not then pretend the wall was built in the Kremlin. HIROSHIMA MOURNING WITHOUT THE AMERICAN ROLE 🇷🇺 Peskov turned east with a remark that was meant to sting. Russia notes with amazement that during mourning events dedicated to Hiroshima, none of the Japanese leadership mentions the role of the United States. The atomic bombings are remembered as tragedy. The hand that dropped the bombs is airbrushed out of the official minute of silence. For Moscow this is not a history-class quibble. It is a test of honesty. A state that edits the most terrible American act of the Pacific war while lecturing others about memory is not practising remembrance. It is practising selection. JAPANESE MILITARISM HAS NOT BEEN FORGOTTEN 🇷🇺⭐ Russia, Peskov said, has not forgotten Japanese militarism — or the victory achieved over it. That victory is not a museum plaque for Moscow. It is a legal and moral foundation of the postwar order in the Far East. When Tokyo talks of monuments, remilitarisation, and a cleaner story about 1945, the Kremlin hears an old tune: the defeated power rewriting the score. Russia’s answer is that the score was written in blood on the Amur and in Manchuria, and it will not be revised by press conferences in 2026. The through-line of the briefing is consistent. Russia claims the war is moving toward an outcome it can live with. It will talk, but not as a penitent. It will deal with Washington before it trusts Brussels. It will answer German moralism with German costs. And it will treat Asian historical amnesia the same way it treats European historical amnesia — as politics wearing a black armband. Whether that reading of the map is right will be settled by armies and by whoever finally sits down without a veto hidden in their briefing book. Peskov’s wager is that the map is already tilting. 🇷🇺

𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺 🇷🇸🇮🇪

60,787 просмотров • 19 дней назад

DIRECTED ENERGY WEAPONS (DEWs) While typical civilian access to DEW technology is hyper limited, AI gives more insight into the reality of Directed Energy Weapons as used in combat. However, this is not a very comprehensive snapshot of what DEW munitions really are. First, they are not lasers, but rather known as sasers (sound outside of human audible range) that delivers more than just excited photons as per lasers, but envelopes microwave radiation delivered through linear particle accelerators and amplified by square-wave (jackhammer) ultrasonic concussion exceeding 20,000 pulses per second, where each impact doubles in energy through secondary emissions for every pulse. Secondary emissions are created on-the-spot through Neutrino Events that harvests brand-new energy directly out of atmospheric neutrinos, turning them into new ions. Hence why saser beams deliver more energy to the target than anything short of a nuclear blast. DEWs also actively draw energy out of surrounding capacitors at the scene of the target as well as from local sources in the path of the beam. Microwaves excite the electrons within the target structure, such as car batteries and the electric wires inside homes, that causes additional increase in amplitude. Since the energy being siphoned off is focused in the zero point of the beam, that area creates dual opposing twin vortices at zero target forming a hyperbola in the center of the affected area where the energy collapses in on itself, sucking oxygen out of the air which then amplifies the thermal radiation only within that toroidal vortex area, achieving crucible-level temperatures in an open-air setting. This is hyper-accelerated by the coupling of the SBX-1 mobile Vortex generator that delivers oxygen to the strike zone with hyper-focused accuracy at up to 70+ MPH winds. Which is why target zones see hurricane winds out of nowhere and from clear skies without any clouds. DEWs generate temperatures that are vastly higher than normal house or forest fires; 1200F and 1500F respectively. A self-imploding DEW saser strike can generate thermal signatures high enough to burn terracotta roofing tiles (2100F), melt glass (2900F), and vaporize stucco walls that are rated to hold up for 1 HOUR under direct torch flame, rendering it to tiny traces of powder. Even the concrete slab foundations of homes in the Santa Rosa fire of 2017 had been incinerated and literally gone as if evaporated into the air. Since the air surrounding the strike zone becomes immediately depleted, fire will not be readily sustained anywhere outside of the hyperbola area (just the home or automobile), leaving brush, trees, plastic, within just a few feet away barely seared and, in many cases, totally unscathed altogether. Houses that incinerate all the way down to ash within minutes will leave no soot, or flame marks on white-painted homes as little as ten feet away as if there was no heat or fire present of any kind. It is important to note that a normal house fire takes 3-4 hours to burn down, leaving large portions of the home and contents behind unconsumed. DEW crucible vortex fires consumed homes down to nothing but white ash in Santa Rosa, incinerated within 20 minutes that I observed after pounding on doors in one residential neighborhood of 2 story homes at 2:30 in the morning screaming to get out, then returning to that same location less than a half hour later, with nothing left but smoldering ash. There is nothing ‘normal’ about DEW remains. Kitchen stoves, pots and pans, washers, dryers, water heaters simply vanished. The cast-iron engines in cars just gone with their aluminum alloy wheels and windows melted on the street. Since DEW sasers work through the delivery of microwaves (that are radioactive) through encapsulation within tachyons (like protective bubbles), the resulting debris fields of target areas are also left contaminated, similar to the aftermath of nuclear detonation sites. The sites where homes once stood in the Santa Rosa fire for instance, had to have the soil under the vaporized concrete slabs excavated and stored in radiation containment casks before any new construction could resume, as reported by locals there that were involved in the cleanup. The Lahaina target homes in Maui are still blocked off with absolutely no entrance for any reason for this same reason almost a year and a half later. DEWs have been seen pulling massive arcs from lightning strikes, obviously generated by the extreme excitation of atmospheric particles of the beam, as well as from overhead electrical wires that supercharge the phonon shafts that are invisible to the naked eye unless backlit from flame or sparks. This technology has been shown to cut full size military ships in half from high altitude delivery systems in seconds, rendering all previous forms of explosive armaments, including nuclear warheads, obsolete. All the military weapons delivered from the US and other countries to Ukraine in recent years were outdated and considered unusable in a genuine modern conflict and were therefore literally being disposed of to make room for other, newer forms of weaponry in armories here at home. In other words, they were merely junk. US dark and black ops have had functioning DEW assault systems in place for many decades already. While AI admits to Turkey using them in combat in 2019, the real date of deployment of DEWs goes back more than just centuries, but prior to humans' arrival to earth in 560m BC. A recent use of DEWs shown here from the Great Chicago Fire of 1871. An even more recent DEW ‘Tara Cleansing’ as they’re called, was the Great San Francisco Fire of 1906 that was blamed on a 7.9 earthquake. And yes, the HAARP SBX-1 hurricane generator is also an earthquake generator as well. None of this is new tech, just new to you. Satellite and antigravity drone delivery of such weapons are entirely remotely-controlled, placing no mil soldiers' lives on the line to mount a siege, making military battlefield loss of life virtually a thing of the past at this time. VIDEO: DEW ATTACK PACIFIC PALISADES 1/8/25 gratis Kyle Zink
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DIRECTED ENERGY WEAPONS (DEWs) While typical civilian access to DEW technology is hyper limited, AI gives more insight into the reality of Directed Energy Weapons as used in combat. However, this is not a very comprehensive snapshot of what DEW munitions really are. First, they are not lasers, but rather known as sasers (sound outside of human audible range) that delivers more than just excited photons as per lasers, but envelopes microwave radiation delivered through linear particle accelerators and amplified by square-wave (jackhammer) ultrasonic concussion exceeding 20,000 pulses per second, where each impact doubles in energy through secondary emissions for every pulse. Secondary emissions are created on-the-spot through Neutrino Events that harvests brand-new energy directly out of atmospheric neutrinos, turning them into new ions. Hence why saser beams deliver more energy to the target than anything short of a nuclear blast. DEWs also actively draw energy out of surrounding capacitors at the scene of the target as well as from local sources in the path of the beam. Microwaves excite the electrons within the target structure, such as car batteries and the electric wires inside homes, that causes additional increase in amplitude. Since the energy being siphoned off is focused in the zero point of the beam, that area creates dual opposing twin vortices at zero target forming a hyperbola in the center of the affected area where the energy collapses in on itself, sucking oxygen out of the air which then amplifies the thermal radiation only within that toroidal vortex area, achieving crucible-level temperatures in an open-air setting. This is hyper-accelerated by the coupling of the SBX-1 mobile Vortex generator that delivers oxygen to the strike zone with hyper-focused accuracy at up to 70+ MPH winds. Which is why target zones see hurricane winds out of nowhere and from clear skies without any clouds. DEWs generate temperatures that are vastly higher than normal house or forest fires; 1200F and 1500F respectively. A self-imploding DEW saser strike can generate thermal signatures high enough to burn terracotta roofing tiles (2100F), melt glass (2900F), and vaporize stucco walls that are rated to hold up for 1 HOUR under direct torch flame, rendering it to tiny traces of powder. Even the concrete slab foundations of homes in the Santa Rosa fire of 2017 had been incinerated and literally gone as if evaporated into the air. Since the air surrounding the strike zone becomes immediately depleted, fire will not be readily sustained anywhere outside of the hyperbola area (just the home or automobile), leaving brush, trees, plastic, within just a few feet away barely seared and, in many cases, totally unscathed altogether. Houses that incinerate all the way down to ash within minutes will leave no soot, or flame marks on white-painted homes as little as ten feet away as if there was no heat or fire present of any kind. It is important to note that a normal house fire takes 3-4 hours to burn down, leaving large portions of the home and contents behind unconsumed. DEW crucible vortex fires consumed homes down to nothing but white ash in Santa Rosa, incinerated within 20 minutes that I observed after pounding on doors in one residential neighborhood of 2 story homes at 2:30 in the morning screaming to get out, then returning to that same location less than a half hour later, with nothing left but smoldering ash. There is nothing ‘normal’ about DEW remains. Kitchen stoves, pots and pans, washers, dryers, water heaters simply vanished. The cast-iron engines in cars just gone with their aluminum alloy wheels and windows melted on the street. Since DEW sasers work through the delivery of microwaves (that are radioactive) through encapsulation within tachyons (like protective bubbles), the resulting debris fields of target areas are also left contaminated, similar to the aftermath of nuclear detonation sites. The sites where homes once stood in the Santa Rosa fire for instance, had to have the soil under the vaporized concrete slabs excavated and stored in radiation containment casks before any new construction could resume, as reported by locals there that were involved in the cleanup. The Lahaina target homes in Maui are still blocked off with absolutely no entrance for any reason for this same reason almost a year and a half later. DEWs have been seen pulling massive arcs from lightning strikes, obviously generated by the extreme excitation of atmospheric particles of the beam, as well as from overhead electrical wires that supercharge the phonon shafts that are invisible to the naked eye unless backlit from flame or sparks. This technology has been shown to cut full size military ships in half from high altitude delivery systems in seconds, rendering all previous forms of explosive armaments, including nuclear warheads, obsolete. All the military weapons delivered from the US and other countries to Ukraine in recent years were outdated and considered unusable in a genuine modern conflict and were therefore literally being disposed of to make room for other, newer forms of weaponry in armories here at home. In other words, they were merely junk. US dark and black ops have had functioning DEW assault systems in place for many decades already. While AI admits to Turkey using them in combat in 2019, the real date of deployment of DEWs goes back more than just centuries, but prior to humans' arrival to earth in 560m BC. A recent use of DEWs shown here from the Great Chicago Fire of 1871. An even more recent DEW ‘Tara Cleansing’ as they’re called, was the Great San Francisco Fire of 1906 that was blamed on a 7.9 earthquake. And yes, the HAARP SBX-1 hurricane generator is also an earthquake generator as well. None of this is new tech, just new to you. Satellite and antigravity drone delivery of such weapons are entirely remotely-controlled, placing no mil soldiers' lives on the line to mount a siege, making military battlefield loss of life virtually a thing of the past at this time. VIDEO: DEW ATTACK PACIFIC PALISADES 1/8/25 gratis Kyle Zink

W.R. Schock, QBD

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