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My Blender Addon just released! Leons Modeling Toolkit features: - World Aligned Texturing - Hammer Editor Style texturing - Better Origin Snapping - Arch tools - Shape Drawing (Plane, Cubes, Stairs) - Clip tool similar to Hammer Editor - A better mirror system - Maya style vertex merging -...

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Leon

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37,421 просмотров • 5 месяцев назад •via X (Twitter)

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fine, i'll build it myself, open source ofc Launching Three-Maps, a rapid blockout editor for building game maps for threejs games: Create a floor plan in 2D, automatically generate 3D levels from it, edit them, export to .glb and use in your games (see end of video) Features: - Floorplan 2D: A 2D canvas to map out the floor - Edit Mode for Objects: Edit Vertices/Edges/Faces, extrude, bevel, fillet and chamfer - Brush Mode: Rapidly build map elements with a RealtimeCSG like experience. Cubes, Stairs, Doors, Arch, Cylinder, Custom polygons. Yes, you can even curve the stairs - Modifiers: Yes, you read that right, slap that array modifier on your pillar and call it a day - Terrain Generator: Perlin, Voronoi, you name it. Oh yes, you can rasterize it and edit every single vertex in edit mode. Keyboard shortcuts are mostly same as blender to activate that muscle memory (G/R/S, axis lock XYZ) Soon: - AI integration. Boot that MCP and directly connect your fav AI agent to build the floorplan, generate 3D maps and more (you will love how this movie ends) It's a little rough and in early, very early alpha so come and join as a contributor instead of calling it slop It's all vibe coded btw, i have no idea what the code does I need this to build my game, as i'm a total blender noob and threejs is great, so why not? Outshipping every CAD and 3D startup just because i want to build a game, that's how you accelerate
1:54

fine, i'll build it myself, open source ofc Launching Three-Maps, a rapid blockout editor for building game maps for threejs games: Create a floor plan in 2D, automatically generate 3D levels from it, edit them, export to .glb and use in your games (see end of video) Features: - Floorplan 2D: A 2D canvas to map out the floor - Edit Mode for Objects: Edit Vertices/Edges/Faces, extrude, bevel, fillet and chamfer - Brush Mode: Rapidly build map elements with a RealtimeCSG like experience. Cubes, Stairs, Doors, Arch, Cylinder, Custom polygons. Yes, you can even curve the stairs - Modifiers: Yes, you read that right, slap that array modifier on your pillar and call it a day - Terrain Generator: Perlin, Voronoi, you name it. Oh yes, you can rasterize it and edit every single vertex in edit mode. Keyboard shortcuts are mostly same as blender to activate that muscle memory (G/R/S, axis lock XYZ) Soon: - AI integration. Boot that MCP and directly connect your fav AI agent to build the floorplan, generate 3D maps and more (you will love how this movie ends) It's a little rough and in early, very early alpha so come and join as a contributor instead of calling it slop It's all vibe coded btw, i have no idea what the code does I need this to build my game, as i'm a total blender noob and threejs is great, so why not? Outshipping every CAD and 3D startup just because i want to build a game, that's how you accelerate

robot 2.0

106,664 просмотров • 6 месяцев назад

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.
0:33

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

seyi

29,245 просмотров • 2 месяцев назад

Here is the Geometry Nodes Weighted Normals with Laplacian Blur on a full character (a vroid). It easily improves the shading even on game topology with almost no setup. I built this as part of my quest to improve real time toon shading. 3D anime models are popular, but use of dynamic light is rare even among high quality vtuber models. This is for several reasons, but a big one is simply that it takes a lot of Custom Normals work to make 3D cel shading not look like a jagged mess (other pieces of the puzzle are issues like deformations, multiple lights, etc). And fixing Normals is tedious, especially on existing game topology. I have focused on proxy meshes for priority areas like character faces, but they aren't an efficient solution for the whole body + outfit. I wanted something I could just throw on any model and make it at least not a jagged mess anymore even if it wasn't perfect. As you can see from this clip, this does that very well! And vertex groups can be used to control the style of the effect and power. It still can't smooth beyond what the topology density can support, but the topo itself is no longer a problem (for higher res, could be run on a subdivided version of the model and then baked to a Normal Map.) The only changes I made to this model were adding a weld modifier to merge split edges during interpolation, and a vertex group to select the skirt. I have not yet added full handling and logic for detecting edges with big angles like the skirt, or for handling boundaries like on the hair, so both those areas can get better too. You can also see that while it successfully smooths out the Face, it isn't really stylistically correct there. That is still best done with a proxy mesh to define a new shape. This is part of the tools I am working on for Fondant. We are putting together a Blender Addon to release this + a proxy mesh tool for the face, and are working on resolving other problems in-engine to fully bring dynamic light to real time 3D toon shading. Give us a follow, and send them a DM if you are interested in testing these tools as they develop!
2:17

Here is the Geometry Nodes Weighted Normals with Laplacian Blur on a full character (a vroid). It easily improves the shading even on game topology with almost no setup. I built this as part of my quest to improve real time toon shading. 3D anime models are popular, but use of dynamic light is rare even among high quality vtuber models. This is for several reasons, but a big one is simply that it takes a lot of Custom Normals work to make 3D cel shading not look like a jagged mess (other pieces of the puzzle are issues like deformations, multiple lights, etc). And fixing Normals is tedious, especially on existing game topology. I have focused on proxy meshes for priority areas like character faces, but they aren't an efficient solution for the whole body + outfit. I wanted something I could just throw on any model and make it at least not a jagged mess anymore even if it wasn't perfect. As you can see from this clip, this does that very well! And vertex groups can be used to control the style of the effect and power. It still can't smooth beyond what the topology density can support, but the topo itself is no longer a problem (for higher res, could be run on a subdivided version of the model and then baked to a Normal Map.) The only changes I made to this model were adding a weld modifier to merge split edges during interpolation, and a vertex group to select the skirt. I have not yet added full handling and logic for detecting edges with big angles like the skirt, or for handling boundaries like on the hair, so both those areas can get better too. You can also see that while it successfully smooths out the Face, it isn't really stylistically correct there. That is still best done with a proxy mesh to define a new shape. This is part of the tools I am working on for Fondant. We are putting together a Blender Addon to release this + a proxy mesh tool for the face, and are working on resolving other problems in-engine to fully bring dynamic light to real time 3D toon shading. Give us a follow, and send them a DM if you are interested in testing these tools as they develop!

aVersionOfReality

14,904 просмотров • 1 год назад

This is a better and more challenging demonstration of my AI music theory cli tool and skills library. I told the agent only that I wanted to take the traditional Irish song, Clare's Dragoons, and to create a piano rendition of the main verse and chorus followed by a series of variations in the style of Mozart's famous "Twinkle Star Variations" (K. 265/300e), and that it should spawn Codex with the skills and prompt it to do that for me and to invoke any relevant skills in the system. This was in Codex with GPT-6 Astra xhigh and with the workspace loaded up with just the 320 skills that are part of the music AI skills library, and with the mtdt (music_theory_data_tool) cli tool available for use by the agent. The agent was able to find suitable sheet music for the Clare's Dragoons song and then used mtdt to convert that into its internal representation form, which makes it easy for the agent to work on the music and to convert it to any other desired format (like a PDF engraving, midi files, etc). It then researched the Twinkle Star variations and used various skills to compose and review and refine the variations. Why do I think this task is more demanding than writing a fugue in the style of Bach? Well, for one, it's a lot more structured, so you have much less flexibility and room for "artistic license." Ultimately, you have to render the original tune accurately, and then the variations have to sound similar enough to the original tune while introducing various creative musical manipulations to be interesting. It's pretty challenging to balance those two priorities: it's easy to lose the thread of the original tune, and easy to overcompensate for that and end up with something that only slightly tweaks one or two aspects of the original. Now, this is obviously not at the level of Mozart, but I think it's not that bad and will likely get much better over the next year as I improve the skills and tool and especially as models get better and more multimodal, so they can "listen" to the results in addition to reading the score. I'll provide the full prompt that the "controller" agent wrote for the agent that actually created the variations in a reply to this post. You can also see in the screenshots in this post the massive number of intermediate working files and artifacts created during the process, which gives a ton of visibility into how the agent did its work and reached its decisions. Not a black box! And I can assure you that I didn't mess with anything at all: this entire process was automated from start to finish and you're seeing the exact end product the agent produced without any revisions or feedback coming from me or any other human (the controller agent did ask for some revisions from the worker agent, which you can see in the final pic in this post). I'm trying to think of some other fun demonstrations. Maybe taking famous video game music (Mario 2? Ocarina of Time?) and making a version in the style of Schumann or Rachmaninoff. I'm open to suggestions!
7:32

This is a better and more challenging demonstration of my AI music theory cli tool and skills library. I told the agent only that I wanted to take the traditional Irish song, Clare's Dragoons, and to create a piano rendition of the main verse and chorus followed by a series of variations in the style of Mozart's famous "Twinkle Star Variations" (K. 265/300e), and that it should spawn Codex with the skills and prompt it to do that for me and to invoke any relevant skills in the system. This was in Codex with GPT-6 Astra xhigh and with the workspace loaded up with just the 320 skills that are part of the music AI skills library, and with the mtdt (music_theory_data_tool) cli tool available for use by the agent. The agent was able to find suitable sheet music for the Clare's Dragoons song and then used mtdt to convert that into its internal representation form, which makes it easy for the agent to work on the music and to convert it to any other desired format (like a PDF engraving, midi files, etc). It then researched the Twinkle Star variations and used various skills to compose and review and refine the variations. Why do I think this task is more demanding than writing a fugue in the style of Bach? Well, for one, it's a lot more structured, so you have much less flexibility and room for "artistic license." Ultimately, you have to render the original tune accurately, and then the variations have to sound similar enough to the original tune while introducing various creative musical manipulations to be interesting. It's pretty challenging to balance those two priorities: it's easy to lose the thread of the original tune, and easy to overcompensate for that and end up with something that only slightly tweaks one or two aspects of the original. Now, this is obviously not at the level of Mozart, but I think it's not that bad and will likely get much better over the next year as I improve the skills and tool and especially as models get better and more multimodal, so they can "listen" to the results in addition to reading the score. I'll provide the full prompt that the "controller" agent wrote for the agent that actually created the variations in a reply to this post. You can also see in the screenshots in this post the massive number of intermediate working files and artifacts created during the process, which gives a ton of visibility into how the agent did its work and reached its decisions. Not a black box! And I can assure you that I didn't mess with anything at all: this entire process was automated from start to finish and you're seeing the exact end product the agent produced without any revisions or feedback coming from me or any other human (the controller agent did ask for some revisions from the worker agent, which you can see in the final pic in this post). I'm trying to think of some other fun demonstrations. Maybe taking famous video game music (Mario 2? Ocarina of Time?) and making a version in the style of Schumann or Rachmaninoff. I'm open to suggestions!

Jeffrey Emanuel

12,829 просмотров • 5 дней назад

Blades of Fire | Hands-On Gameplay Impressions ▪️Recap: New action-adventure IP from MercurySteam (Metroid Dread, Castlevania: Lords of Shadow) ▪️Coming to PS5, Xbox and PC on May 22 ▪️Around 60-70 hours long to complete ▪️You play as Aran de Lira, a forger and warrior who, after suffering a personal tragedy, "finds himself in possession of a magic hammer that lets him enter the forge of the gods to create the only weapons able to defeat Queen Nerea’s forces" ▪️The world is "squarely in fantasy territory", "rich, overabundant, lavish fantasy, as well as occasionally brutal and twisted" ▪️Magic courses through a land teeming with flowers and buzzing with wildlife, and creatures like trolls and elementals romp around ▪️Soldiers sort of look a bit like the Locust from Gears of War, chunky, loitering around. The whole game feels like it has a "chunkiness" to it, a bit like Blizzard games (hands and arms are oversized, buildings/walls are double thick). Combines to make a pleasing visual picture and give a sturdy, hefty feel ▪️"Wildly customizable weapons saves it from being just another action game", "combat is refreshingly different" ▪️Combat: Rooted in directional attacks that use every face button on a controller. On a DualSense for example, Δ aims for the head, X goes for the torso, while ⏹️ and ⭕️ swipe left and right respectively ▪️An enemy holding up a blade to protect their face for instance, can be overcome by aiming low and skewering through their gut ▪️Example: A troll boss can have a second health bar that can only be chipped away after dismembering it. If you use your right hand attacks, you can cut off its club-wielding left arm or cut off its entire face, leaving it blind and aimlessly flailing until it can regrow its eyes back ▪️Your attack and dodge stamina must be manually restored by holding the block button instead of automatically regenerating ▪️You can swap between 4 different weapons on the fly, wield your weapons via different stances, either slashing with the sharp edge or thrusting with the pointed tip; assess enemies to determine which methods are the most effective ▪️Rather than finding new weapons out in the game world, every weapon's life starts in the Forge ▪️You can create up to 7 different weapon types, from twin axes to polearms ▪️You start with your choice of a basic weapon template and tweak and modify and name, for example you can adjust the length of a spear's pole and the shape of its spear head which affects its stats ▪️A longer pole increases the spear's range, while its head shape dictates if its better at slashing or piercing ▪️Different materials also affect a weapon's weight which has an effect on your stamina pool ▪️You then physically hammer out the metal in-game on the anvil through a "remarkably involved minigame", where you control the length, force and angle of every hammer strike ▪️There is a curved line onscreen that represents the ideal weapon, you arrange a series of vertical bars to try and match the shape of that curved line with each hammer strike. Overworking results in a weaker weapon. You're rewarded with a star rating, the more stars you get, the more you can repair your weapon before it permanently breaks ▪️You can instantly remake weapons you've made before to save time ▪️Some found the weapon forging system to be "frustratingly obtuse", as there didn't seem to be a clear connection between the areas struck and the resulting shape of the metal; hoping for better tutorial or improvements before launch ▪️MercurySteam wants you to feel deeply attached to the weapons you create and carry them with you for the duration of your journey ▪️If you die, you lose your weapon upon respawning, but you can go back to where you died to retrieve them ▪️After playing for 3 hours, some hands-on impressions were unsure if the game can support a variety of a 60 hour game ("within 3 hours I’d fought the same gatekeeping miniboss 3 times") ▪️Others also felt there were uneven difficulty spikes, the game chucks multiple types of enemies at you, sometimes in confined areas. Can sometimes feel like you waste precious weapons, rest at an anvil to reforge and then enemies respawn again ▪️One previewer noted that when they started slowing down and nosing through the game's menus and built-in tips to see what they were doing wrong, they learned the game's nuances and it clicked Previews IGN: Full IGN Gameplay: Mirror: Eurogamer: #BladesofFire
4:53

Blades of Fire | Hands-On Gameplay Impressions ▪️Recap: New action-adventure IP from MercurySteam (Metroid Dread, Castlevania: Lords of Shadow) ▪️Coming to PS5, Xbox and PC on May 22 ▪️Around 60-70 hours long to complete ▪️You play as Aran de Lira, a forger and warrior who, after suffering a personal tragedy, "finds himself in possession of a magic hammer that lets him enter the forge of the gods to create the only weapons able to defeat Queen Nerea’s forces" ▪️The world is "squarely in fantasy territory", "rich, overabundant, lavish fantasy, as well as occasionally brutal and twisted" ▪️Magic courses through a land teeming with flowers and buzzing with wildlife, and creatures like trolls and elementals romp around ▪️Soldiers sort of look a bit like the Locust from Gears of War, chunky, loitering around. The whole game feels like it has a "chunkiness" to it, a bit like Blizzard games (hands and arms are oversized, buildings/walls are double thick). Combines to make a pleasing visual picture and give a sturdy, hefty feel ▪️"Wildly customizable weapons saves it from being just another action game", "combat is refreshingly different" ▪️Combat: Rooted in directional attacks that use every face button on a controller. On a DualSense for example, Δ aims for the head, X goes for the torso, while ⏹️ and ⭕️ swipe left and right respectively ▪️An enemy holding up a blade to protect their face for instance, can be overcome by aiming low and skewering through their gut ▪️Example: A troll boss can have a second health bar that can only be chipped away after dismembering it. If you use your right hand attacks, you can cut off its club-wielding left arm or cut off its entire face, leaving it blind and aimlessly flailing until it can regrow its eyes back ▪️Your attack and dodge stamina must be manually restored by holding the block button instead of automatically regenerating ▪️You can swap between 4 different weapons on the fly, wield your weapons via different stances, either slashing with the sharp edge or thrusting with the pointed tip; assess enemies to determine which methods are the most effective ▪️Rather than finding new weapons out in the game world, every weapon's life starts in the Forge ▪️You can create up to 7 different weapon types, from twin axes to polearms ▪️You start with your choice of a basic weapon template and tweak and modify and name, for example you can adjust the length of a spear's pole and the shape of its spear head which affects its stats ▪️A longer pole increases the spear's range, while its head shape dictates if its better at slashing or piercing ▪️Different materials also affect a weapon's weight which has an effect on your stamina pool ▪️You then physically hammer out the metal in-game on the anvil through a "remarkably involved minigame", where you control the length, force and angle of every hammer strike ▪️There is a curved line onscreen that represents the ideal weapon, you arrange a series of vertical bars to try and match the shape of that curved line with each hammer strike. Overworking results in a weaker weapon. You're rewarded with a star rating, the more stars you get, the more you can repair your weapon before it permanently breaks ▪️You can instantly remake weapons you've made before to save time ▪️Some found the weapon forging system to be "frustratingly obtuse", as there didn't seem to be a clear connection between the areas struck and the resulting shape of the metal; hoping for better tutorial or improvements before launch ▪️MercurySteam wants you to feel deeply attached to the weapons you create and carry them with you for the duration of your journey ▪️If you die, you lose your weapon upon respawning, but you can go back to where you died to retrieve them ▪️After playing for 3 hours, some hands-on impressions were unsure if the game can support a variety of a 60 hour game ("within 3 hours I’d fought the same gatekeeping miniboss 3 times") ▪️Others also felt there were uneven difficulty spikes, the game chucks multiple types of enemies at you, sometimes in confined areas. Can sometimes feel like you waste precious weapons, rest at an anvil to reforge and then enemies respawn again ▪️One previewer noted that when they started slowing down and nosing through the game's menus and built-in tips to see what they were doing wrong, they learned the game's nuances and it clicked Previews IGN: Full IGN Gameplay: Mirror: Eurogamer: #BladesofFire

Shinobi602

113,003 просмотров • 1 год назад

I am an easy target. I am loud, I am crass. I'm from Boston after all but don't think I was the only target Before turning their attention my way, Valens had already written the byline and was just choosing a target to execute it against. Valen's timeline proves days were spent talking about how Rima Evenstar and ElaraVtuber's audience "were transphobic", and "Don't you think it's suspicious that Rima and Elara always have fans who use the incorrect pronouns for trans vTubers." Not a single shred of evidence was provided that Elara or Rima enabled this behavior, but that's never stopped a good smear article before Luckily for Rima and Elara, and unluckily for myself, I opened my mouth and gave Vice a much better head to try to claim Vice's Managing Editor has seemingly now all but called for a new Gamergate style control and expulsion of the vTuber fandom. Valens is currently publicly @'ing every journalist they can think of to try and spread the story beyond their own influence. A BILLION DOLLAR media organization is sounding the alarm to target a lone content creator because I dare to share opinions or jokes they don't like I keep to my own lane. I don't collab with many other people. I tell people not to bring politics to non political creators streams, to not be disruptive to other communities, & ban when necessary These people will not stop with me. I'm just the first domino they want to tip until they demand more and more. They've already primed another vTuber in their article as a target because of ANOTHER CREATER'S THUMBNAIL I'm standing up for myself because I can see what's coming. I don't expect others to come out and publicly support me. But be aware, your oshi might be next as they keep trying to find more and more things to sanitize In an interview last night with the channel "Nikatine", Valens spent the first 3 minutes of the question talking about Gamersupps before even mentioning my name. Feel free to watch this in the first clip below At the end of the segment, both Nikatine and Valens referred to the article as "The GamerSupps" article. Not the Kirsche Article. This can be seen in the second clip below I fully believe they would have gone after vAllure due to their gamersupps affiliation too. I'm just an easier target. It won't stop with me. I hope the rest of you all are prepared.
3:42

I am an easy target. I am loud, I am crass. I'm from Boston after all but don't think I was the only target Before turning their attention my way, Valens had already written the byline and was just choosing a target to execute it against. Valen's timeline proves days were spent talking about how Rima Evenstar and ElaraVtuber's audience "were transphobic", and "Don't you think it's suspicious that Rima and Elara always have fans who use the incorrect pronouns for trans vTubers." Not a single shred of evidence was provided that Elara or Rima enabled this behavior, but that's never stopped a good smear article before Luckily for Rima and Elara, and unluckily for myself, I opened my mouth and gave Vice a much better head to try to claim Vice's Managing Editor has seemingly now all but called for a new Gamergate style control and expulsion of the vTuber fandom. Valens is currently publicly @'ing every journalist they can think of to try and spread the story beyond their own influence. A BILLION DOLLAR media organization is sounding the alarm to target a lone content creator because I dare to share opinions or jokes they don't like I keep to my own lane. I don't collab with many other people. I tell people not to bring politics to non political creators streams, to not be disruptive to other communities, & ban when necessary These people will not stop with me. I'm just the first domino they want to tip until they demand more and more. They've already primed another vTuber in their article as a target because of ANOTHER CREATER'S THUMBNAIL I'm standing up for myself because I can see what's coming. I don't expect others to come out and publicly support me. But be aware, your oshi might be next as they keep trying to find more and more things to sanitize In an interview last night with the channel "Nikatine", Valens spent the first 3 minutes of the question talking about Gamersupps before even mentioning my name. Feel free to watch this in the first clip below At the end of the segment, both Nikatine and Valens referred to the article as "The GamerSupps" article. Not the Kirsche Article. This can be seen in the second clip below I fully believe they would have gone after vAllure due to their gamersupps affiliation too. I'm just an easier target. It won't stop with me. I hope the rest of you all are prepared.

Kirsche 🥥 🧁

275,722 просмотров • 1 год назад

Claude Code can ship a 45-second animated explainer ad in 30 minutes. No video editor needed, just CC + skills. Here's how I made this video for Soteri Skin 👇 1. /plan Concept Brief (Claude Code) I handwrite a concept brief, then chat with the agent to iterate on it. The agent gathers any raw materials we might need - context about the brand, product images, end card, etc. The concept brief details the concept, characters, visual style, script, etc 2. /prepare a moodboard (CC + GPT Image 2 + ElevenLabs) After reviewing the script, generate: - character reference images - voiceover samples for the characters / narrator - the storyboard (scene by scene grid) - a few keyframe scenes 3. /generate Keyframes for each scene (CC uses Nano Banana or GPT Image 2) Uses the character references from the previous step to generate keyframes for each scene. I probably should have done a round of iteration at this step – there's some character drift and the pH meter representation could have been better. 4. /animate Keyframe → Animated Clip (CC uses Fal Seedance) Generate 2-4 representative scenes first to see a preview. If it looks good, then generate everything. 5. /stitch (CC + ffmpeg + ElevenLabs) - Stitch clips together with hard cut - Add a music score + SFX - Sync clips to the VO - Add captions - Review and edit timing / pacing issues 6. /watch the final cut and review it - as a video editor for technical errors (mismatched voiceover and visuals, AI hallucinations, etc) - as a viewer (ICP). I delegate most of the review to the agent because it catches more things and keeps me out of the loop as much as possible. It also fixes any issues found in the review. That's it. This video took me 30 minutes because I have already created skills for everything I described above. Some day, this will be < 5 minutes. I just review and chat to provide direction and feedback. The skills do all the technical work. 7. /learn Extracts learnings and updates the skills. This final step is really important. It turns this process into a closed loop system that makes the next video much easier to create because all the learnings from the human-in-the-loop process get encoded into code. Skills are code too. If you want access to the skill, drop a comment, and I'll DM it to you (must be following). If you want to make AI video ads like this, DM me.
0:45

Claude Code can ship a 45-second animated explainer ad in 30 minutes. No video editor needed, just CC + skills. Here's how I made this video for Soteri Skin 👇 1. /plan Concept Brief (Claude Code) I handwrite a concept brief, then chat with the agent to iterate on it. The agent gathers any raw materials we might need - context about the brand, product images, end card, etc. The concept brief details the concept, characters, visual style, script, etc 2. /prepare a moodboard (CC + GPT Image 2 + ElevenLabs) After reviewing the script, generate: - character reference images - voiceover samples for the characters / narrator - the storyboard (scene by scene grid) - a few keyframe scenes 3. /generate Keyframes for each scene (CC uses Nano Banana or GPT Image 2) Uses the character references from the previous step to generate keyframes for each scene. I probably should have done a round of iteration at this step – there's some character drift and the pH meter representation could have been better. 4. /animate Keyframe → Animated Clip (CC uses Fal Seedance) Generate 2-4 representative scenes first to see a preview. If it looks good, then generate everything. 5. /stitch (CC + ffmpeg + ElevenLabs) - Stitch clips together with hard cut - Add a music score + SFX - Sync clips to the VO - Add captions - Review and edit timing / pacing issues 6. /watch the final cut and review it - as a video editor for technical errors (mismatched voiceover and visuals, AI hallucinations, etc) - as a viewer (ICP). I delegate most of the review to the agent because it catches more things and keeps me out of the loop as much as possible. It also fixes any issues found in the review. That's it. This video took me 30 minutes because I have already created skills for everything I described above. Some day, this will be < 5 minutes. I just review and chat to provide direction and feedback. The skills do all the technical work. 7. /learn Extracts learnings and updates the skills. This final step is really important. It turns this process into a closed loop system that makes the next video much easier to create because all the learnings from the human-in-the-loop process get encoded into code. Skills are code too. If you want access to the skill, drop a comment, and I'll DM it to you (must be following). If you want to make AI video ads like this, DM me.

Shiv

11,723 просмотров • 3 месяцев назад

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.
1:04

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

69,960 просмотров • 2 месяцев назад

If you watch this ~50 minute screen recording closely (yeah, I know, it's long; there are also some times when my computer was very slow and laggy, just skip past that part. And at one point I had to run and get my 9-month-old a new bottle and left it on a boring screen, sorry!), I believe you can see real signs of the kind of runaway, recursive AI self-improvement that people have been warning of for a while (Mr. Kurzweil most notably and prophetically). Why do I say that? What's different now? Well, there's a reason my set of agent coding tooling is called the Flywheel. These tools all mutually self-reinforce each other. And they all flow directly into my ntm tool (short for "named_tmux_manager"), which acts as a sort of integration point and nerve center for the tools (this is becoming more true by the minute as I'm now seriously working on ntm). Now, ntm was something I started making to automate some aspects of my workflow, but it was the kind of thing where, until it was perfect, it sort of just slowed me down. So I didn't actually use it even though I kept working on it and trying to improve it, and suggested to users that they try it in my tutorials. Well anyway, I finally got around to "dogfooding" ntm last night, and now it's going to get very dramatically better at an alarming rate. Some of that is from applying my "idea wizard" prompt to generate more useful features and building that stuff out and addressing obvious pain points I encountered during my newfound usage of the tool. But a lot comes from my realization that, once again, ntm's true utility is not as a tool for ME, but for an agent. That is, ntm lets one instance of Claude Code or Codex act as, well, me, do the things that I had been doing manually. Do I wish I had started using ntm earlier? No, for two big reasons: 1) Doing it manually helped me build up my intuition massively, which directly led me down the path of creating useful prompt strategies and workflows; these often began as ad-hoc prompts that I realized could be generalized and made more versatile/universal. Lesson: don't prematurely automate until you have an intimate, intuitive feel for your "core value-add loop." Otherwise you'll have a fully automated system quickly that efficiently and automatically does a stupid or otherwise sub-optimal thing. 2) My eyes have been opened to the beauty and power of Skills. I'm not talking about your garden-variety skills that are just a simple markdown file. I'm talking about true tour-de-force directories of perfectly structured and organized files that are filled with good information, insights, workflows, etc., but presented in a way that is highly optimized for consumption by AI agents, with extreme attention paid to things like perfect progressive disclosure, token density, agent-ergonomics, agent-intuitiveness, etc. And also Skills that go way beyond markdown files, with full integration into Claude Code where it makes sense via hooks, sub-agents, and even Python scripts. These kinds of skills are a qualitative difference in expressive power and usefulness and a total game changer. They are also effectively composable, creating almost an algebra of skills that let you use them together in powerful ways. I'm working on a subscription service website and CLI tool now to share what I've learned here most effectively, stay tuned for that in the coming days. Anyway, I now know what to make and how to make it. So, getting back to that screen recording, what does it show that makes me claim recursive self-improvement is here? If you keep your eye on the upper left tmux pane, that's the "controller" agent. It is using ntm to control all the other panes which are also running Claude Code (but ntm fully supports other agent types like Codex and Gemini-CLI, and it's trivially easy to mix and match them if you wanted to have, say, 8 CCs and 6 Codexes for writing the code and 3 Gemini-CLIs for reviewing code.) Now, there's nothing that crazy about this much so far. But where it starts to get very cool is that as the session continues and we encounter real-world problems, things like my ridiculously overloaded computer that keeps hanging for long periods, Claude Code instances that crash and get into a frozen, unresponsive state, it can learn from that. And you can see it using my skill writing skill to refine its ntm vibe coding skill in real time. And then take that skill and refine it to be more intuitive for itself. Or use my cass tool skill to search all the session histories to look for problems that came up and strategize how to solve them. The most useful part was when, towards the end of the session, I told it to reflect on all the things we had done and problems we encountered. One way it can usefully leverage those reflections is by improving its ntm vibe coding skill to make it cover more edge cases and exigencies. But the other, more fundamental, way is for it to conceive of and design the optimal new features and functionality for ntm itself so that the tool embodies those lessons in a first-class way. This offloads cognition from its brain onto its tooling, just like how a person can lean on spellcheck or a calculator. It codifies correct, effective reasoning at the tool level, where it's more reliable and robust and repeatable. And btw, did you notice what code base it was working on the whole time? It was none other than ntm itself! So as it worked on its own tool, it had reflections and ideas about how to further improve the tool. Now, it could have just as easily gotten those insights and ideas while using ntm to work on a different project, but the fact that it was working on itself is almost gloriously meta and recursive. So by the end, after learning from tending to a big group of agent workers (btw, I have previously emphasized doing everything in a really distributed/decentralized way, where each fungible agent gets identical marching orders that tell it to use my bv tool to find the optimal bead to work on. This does work very well, but occasionally results in some contention and overlap from thundering herd, or at least wastes time/tokens/communication in avoiding that before the agents waste time duplicating work. But in this new ntm-oriented workflow, I was able to have the controller agent in the upper left use bv itself and then optimally parcel out the instructions to each agent so that we could know for sure that there's no overlap), I ended up with a ton of new beads for new features, which I had it optimize and polish a few times. Now I can swap to a new Claude Max account and have the swarm implement all those new features! It should only take a couple passes like the one shown in the screen recording to get everything implemented. Then we can rinse and repeat, having the agent read through the full session histories of each agent and its experience from its own session in sending ntm commands and seeing how they worked out in practice, to come up with the next batch of changes to both its ntm vibe coding skill AND to the ntm tool itself. Do you see how rapidly this turns into Skynet? My mistake earlier was in focusing on making myself a "faster horse" as Henry Ford used to joke about customers wanting before he showed them what they should really want (a Model T). That is, something that would make my experience nicer while doing this agent swarm based development workflow. But the obvious lesson is that you should make all your tooling agent-first because the agents are just better at this stuff. You can still watch, and of course I did add a ridiculous number of very nice human-centric features to ntm that you'll be seeing in the next day or two, but those are really kind of "for fun" to make us humans feel better about the process. All the real value-add is happening "by agents, for agents." PS: Towards the end, you can see me switch to my Mac and tell Claude to improve the skill that I made earlier today for taking the mkv screen recording files from OBS Studio and muxing them into MP4 files for sharing, while downloading songs from YouTube to serve as the background music. I made it so it can also grab the thumbnails and generate little song credit cards that show up in the lower right corner. This worked perfectly the first time! I'll include some screenshots in a response post showing how that worked, but it was awesome to witness. Skills are POWERFUL. I'll also post a link to this video on YouTube if you prefer to watch it there.
51:48

If you watch this ~50 minute screen recording closely (yeah, I know, it's long; there are also some times when my computer was very slow and laggy, just skip past that part. And at one point I had to run and get my 9-month-old a new bottle and left it on a boring screen, sorry!), I believe you can see real signs of the kind of runaway, recursive AI self-improvement that people have been warning of for a while (Mr. Kurzweil most notably and prophetically). Why do I say that? What's different now? Well, there's a reason my set of agent coding tooling is called the Flywheel. These tools all mutually self-reinforce each other. And they all flow directly into my ntm tool (short for "named_tmux_manager"), which acts as a sort of integration point and nerve center for the tools (this is becoming more true by the minute as I'm now seriously working on ntm). Now, ntm was something I started making to automate some aspects of my workflow, but it was the kind of thing where, until it was perfect, it sort of just slowed me down. So I didn't actually use it even though I kept working on it and trying to improve it, and suggested to users that they try it in my tutorials. Well anyway, I finally got around to "dogfooding" ntm last night, and now it's going to get very dramatically better at an alarming rate. Some of that is from applying my "idea wizard" prompt to generate more useful features and building that stuff out and addressing obvious pain points I encountered during my newfound usage of the tool. But a lot comes from my realization that, once again, ntm's true utility is not as a tool for ME, but for an agent. That is, ntm lets one instance of Claude Code or Codex act as, well, me, do the things that I had been doing manually. Do I wish I had started using ntm earlier? No, for two big reasons: 1) Doing it manually helped me build up my intuition massively, which directly led me down the path of creating useful prompt strategies and workflows; these often began as ad-hoc prompts that I realized could be generalized and made more versatile/universal. Lesson: don't prematurely automate until you have an intimate, intuitive feel for your "core value-add loop." Otherwise you'll have a fully automated system quickly that efficiently and automatically does a stupid or otherwise sub-optimal thing. 2) My eyes have been opened to the beauty and power of Skills. I'm not talking about your garden-variety skills that are just a simple markdown file. I'm talking about true tour-de-force directories of perfectly structured and organized files that are filled with good information, insights, workflows, etc., but presented in a way that is highly optimized for consumption by AI agents, with extreme attention paid to things like perfect progressive disclosure, token density, agent-ergonomics, agent-intuitiveness, etc. And also Skills that go way beyond markdown files, with full integration into Claude Code where it makes sense via hooks, sub-agents, and even Python scripts. These kinds of skills are a qualitative difference in expressive power and usefulness and a total game changer. They are also effectively composable, creating almost an algebra of skills that let you use them together in powerful ways. I'm working on a subscription service website and CLI tool now to share what I've learned here most effectively, stay tuned for that in the coming days. Anyway, I now know what to make and how to make it. So, getting back to that screen recording, what does it show that makes me claim recursive self-improvement is here? If you keep your eye on the upper left tmux pane, that's the "controller" agent. It is using ntm to control all the other panes which are also running Claude Code (but ntm fully supports other agent types like Codex and Gemini-CLI, and it's trivially easy to mix and match them if you wanted to have, say, 8 CCs and 6 Codexes for writing the code and 3 Gemini-CLIs for reviewing code.) Now, there's nothing that crazy about this much so far. But where it starts to get very cool is that as the session continues and we encounter real-world problems, things like my ridiculously overloaded computer that keeps hanging for long periods, Claude Code instances that crash and get into a frozen, unresponsive state, it can learn from that. And you can see it using my skill writing skill to refine its ntm vibe coding skill in real time. And then take that skill and refine it to be more intuitive for itself. Or use my cass tool skill to search all the session histories to look for problems that came up and strategize how to solve them. The most useful part was when, towards the end of the session, I told it to reflect on all the things we had done and problems we encountered. One way it can usefully leverage those reflections is by improving its ntm vibe coding skill to make it cover more edge cases and exigencies. But the other, more fundamental, way is for it to conceive of and design the optimal new features and functionality for ntm itself so that the tool embodies those lessons in a first-class way. This offloads cognition from its brain onto its tooling, just like how a person can lean on spellcheck or a calculator. It codifies correct, effective reasoning at the tool level, where it's more reliable and robust and repeatable. And btw, did you notice what code base it was working on the whole time? It was none other than ntm itself! So as it worked on its own tool, it had reflections and ideas about how to further improve the tool. Now, it could have just as easily gotten those insights and ideas while using ntm to work on a different project, but the fact that it was working on itself is almost gloriously meta and recursive. So by the end, after learning from tending to a big group of agent workers (btw, I have previously emphasized doing everything in a really distributed/decentralized way, where each fungible agent gets identical marching orders that tell it to use my bv tool to find the optimal bead to work on. This does work very well, but occasionally results in some contention and overlap from thundering herd, or at least wastes time/tokens/communication in avoiding that before the agents waste time duplicating work. But in this new ntm-oriented workflow, I was able to have the controller agent in the upper left use bv itself and then optimally parcel out the instructions to each agent so that we could know for sure that there's no overlap), I ended up with a ton of new beads for new features, which I had it optimize and polish a few times. Now I can swap to a new Claude Max account and have the swarm implement all those new features! It should only take a couple passes like the one shown in the screen recording to get everything implemented. Then we can rinse and repeat, having the agent read through the full session histories of each agent and its experience from its own session in sending ntm commands and seeing how they worked out in practice, to come up with the next batch of changes to both its ntm vibe coding skill AND to the ntm tool itself. Do you see how rapidly this turns into Skynet? My mistake earlier was in focusing on making myself a "faster horse" as Henry Ford used to joke about customers wanting before he showed them what they should really want (a Model T). That is, something that would make my experience nicer while doing this agent swarm based development workflow. But the obvious lesson is that you should make all your tooling agent-first because the agents are just better at this stuff. You can still watch, and of course I did add a ridiculous number of very nice human-centric features to ntm that you'll be seeing in the next day or two, but those are really kind of "for fun" to make us humans feel better about the process. All the real value-add is happening "by agents, for agents." PS: Towards the end, you can see me switch to my Mac and tell Claude to improve the skill that I made earlier today for taking the mkv screen recording files from OBS Studio and muxing them into MP4 files for sharing, while downloading songs from YouTube to serve as the background music. I made it so it can also grab the thumbnails and generate little song credit cards that show up in the lower right corner. This worked perfectly the first time! I'll include some screenshots in a response post showing how that worked, but it was awesome to witness. Skills are POWERFUL. I'll also post a link to this video on YouTube if you prefer to watch it there.

Jeffrey Emanuel

25,483 просмотров • 7 месяцев назад

I ditched Unreal for AI. Kaiju Engine is a completely AI written replacement. To prove it was ready for production, I tested it by recreating and porting my old game, Firefall, into Kaiju, purely from the Steam download, no source. And it worked. Real game code is messy, full of difficult details and compromises. If our engine could handle a commercially released game, it proves you can ship a game with it. We're developing 2 orders of magnitude faster (93x) by lines of code and features. We have fewer bugs, and iteration is super fast. Build times have gone from 30 mins (Unreal) to 36 seconds. Feature rate is through the roof, days instead of months. Our original engine for Firefall took 2-3 years and cost over 5M to build (adjusted). Our new engine was written in 5 months for a couple grand. We built only what we needed, with none of the Unreal bloat. And we added some features: - Modern meshlet based rendering with PBR. - Vis Buffer/Forward+ with clustered lighting. - Id Tech 5 style megatexture streaming. - Planetary sized renderer (entire solar systems possible). - Seamless flight from ground to orbit and space. - No loading screens. - Procedural planet generation with plate simulation. - Client/Server at all times. - Ozz for animation. Jolt for Physics. - Companion Blender plug-in for AI directed asset exports. - 140fps currently, 200-300 projected after optimizations. You can see Firefall's assets and levels ported over into our engine in the video. Texture resolution and pop-in are limitations of the original game (high rez CDN based textures were lost when game went offline, fog hid the original's pop-in). Our meshlet renderer will be able to do much better with LOD and already supports high rez textures. I used Grok/Codex/Claude to tag team the code. This is not just a boon for indie games, it's a real game changer for game preservation. The reaction to seeing this 10 year old discontinued game revived is very emotional for Firefall fans. But we're not just preserving Firefall, we're going beyond, creating an original game that is the spiritual successor, Em-8ER. Gliding, jumpjets... it's all coming back. Moving past Unreal let us move much faster, without the bloat, and with better performance. If you want to signup to follow news on the game, sign up is free at
2:45

I ditched Unreal for AI. Kaiju Engine is a completely AI written replacement. To prove it was ready for production, I tested it by recreating and porting my old game, Firefall, into Kaiju, purely from the Steam download, no source. And it worked. Real game code is messy, full of difficult details and compromises. If our engine could handle a commercially released game, it proves you can ship a game with it. We're developing 2 orders of magnitude faster (93x) by lines of code and features. We have fewer bugs, and iteration is super fast. Build times have gone from 30 mins (Unreal) to 36 seconds. Feature rate is through the roof, days instead of months. Our original engine for Firefall took 2-3 years and cost over 5M to build (adjusted). Our new engine was written in 5 months for a couple grand. We built only what we needed, with none of the Unreal bloat. And we added some features: - Modern meshlet based rendering with PBR. - Vis Buffer/Forward+ with clustered lighting. - Id Tech 5 style megatexture streaming. - Planetary sized renderer (entire solar systems possible). - Seamless flight from ground to orbit and space. - No loading screens. - Procedural planet generation with plate simulation. - Client/Server at all times. - Ozz for animation. Jolt for Physics. - Companion Blender plug-in for AI directed asset exports. - 140fps currently, 200-300 projected after optimizations. You can see Firefall's assets and levels ported over into our engine in the video. Texture resolution and pop-in are limitations of the original game (high rez CDN based textures were lost when game went offline, fog hid the original's pop-in). Our meshlet renderer will be able to do much better with LOD and already supports high rez textures. I used Grok/Codex/Claude to tag team the code. This is not just a boon for indie games, it's a real game changer for game preservation. The reaction to seeing this 10 year old discontinued game revived is very emotional for Firefall fans. But we're not just preserving Firefall, we're going beyond, creating an original game that is the spiritual successor, Em-8ER. Gliding, jumpjets... it's all coming back. Moving past Unreal let us move much faster, without the bloat, and with better performance. If you want to signup to follow news on the game, sign up is free at

Grummz

356,866 просмотров • 1 месяц назад

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa
16:00

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

Naru

55,609 просмотров • 7 месяцев назад

My Letter to Aaron Rodgers I'm writing this letter because I've slowly realized how difficult it is to impact change in the world. It requires influential people to see the paradigm shift. Recently you were asked by executive producer Al Dukes about Malaysian Airlines Flight 370. You responded indicating you were familiar with the videos. I understand your skepticism. Those videos aren't what anyone expected. It's frankly too much for most people to accept. The videos represent the largest conspiracy in history, the theft of a Boeing 777 and the suppression of gravitational manipulation. Where this science and technology leads is to Free Energy. I want you to know I'm just a normal guy who saw two videos, investigated them, the missing plane, and discovered we really are hiding 'magical' technology from the world. In a situation this profound you have to start by proving the lie. In this case it's the false narrative we've been sold on by the media of the missing plane. This was not pilot suicide and the United States knows exactly what happened. Planes don't crash without leaving massive debris fields. There was over 1000lbs of foam seat cushions and not one was found. The pilot didn't practice the route, the simulator data flightpath was of MH150 to Jeddah the pilot was scheduled to fly on Feb 4th. The simulator data was ruled not suspicious. The pilot was categorically ruled out by all parties including the officials, family, and friends. Florence De Changy got his medical records from his family and confirmed there were no red flags. Where the plane was lost from radar there was still five radars in range from three different countries, Indonesia, Thailand, and India. None of these countries have ever made their data publicly available. As you pointed out, Rolls Royce and Boeing also know what happened to this plane as Rolls Royce engine data transmits frequent updates. Rolls Royce has never made their data publicly available either. The United States military has a global persistent surveillance system known as SBIRS, the Space-Based Infrared System by Lockheed Martin. There's no possible way this system would not have seen the debris field of a Boeing 777 in the ocean. The military also has a system called SOSUS, the sound surveillance system which is a global network of acoustic detectors that can even pinpoint a tiny submersible implosion. Remember when the Navy heard the Titan sub pop and didn't say anything for five days? There's no evidence the plane crashed in the South Indian Ocean. There's also acoustic detectors in Diego Garcia and Western Australia both of which should have heard the plane crash in the SIO, yet a recent study by Cardiff University found no detections during the duration of the suspected flightpath. One candidate detection was found on one hydrophone almost an hour after the plane would have run out of fuel. Over the Horizon Radar can see for thousands of miles by bouncing signals off the ionosphere. Both Pine Gap and Diego Garcia should have been able to track the plane from take off to crash. The plane also flew directly past Cobra Gold/Cope Tiger military exercises between Thailand and the United States in the Andaman Sea. We're supposed to believe they weren't tracking a rogue plane? Why did the United States give up the search for MH370 after just a month? Ghyslain Wattrelos, French father and husband, was told by an intelligence source that the Americans know what happened and there were two AWACS (radar planes) in the area. As for the debris that was found, I believe that is from MH370. However, there's not enough debris to confirm a plane crashed and the debris washed up on the wrong continent. Drift modeling was done and the bulk of the debris should have washed up in Australia. It's actually impossible based on the currents for the debris to have shown up on mainland Africa in just one year. If you look at a map a much better location for the debris to have entered the water is the Maldives. The only reason we think the plane even went into the South Indian Ocean (SIO) is the Inmarsat satellite pings who has connections to US intelligence. The raw telemetry data was not released until March 27th, 2014, eight days after the satellite video was uploaded on youtube. This is important because there's coordinates in the satellite video that indicate the Nicobar islands, the same location the plane is believed to have turned into the SIO. What really happened to MH370 is an emergency event related to the 487lbs of dangerous lithium ion batteries onboard. This even is supported by at least 20 witnesses and the flightpath. Mike McKay saw the plane on fire briefly for a few seconds from his oil rig, nine witnesses along the coast heard loud noises as the same time, eight fishermen who saw it flying low ten minutes later, a man on the coast who saw it on fire, and Katherine Tee, who saw the plane in the Nicobar Islands an hour later glowing orange, with dark smoke coming out of the back of it, flying low and descending. Why did the Malaysian Minister of Defense say they didn't send up jets to track the plane because they knew it was commercial and not hostile? The only way they could know that is if they had communication with the plane. They simply didn't release all the communications publicly. China intercepted a communication from the US Navy that was only reported in the China Times of the plane disintegrating and attempting an emergency ditching, consistent with Katherine Tee's sighting and the MH370 videos. I spoke with Billie Vincent recently, former security director for the FAA. In 2014 even before the batteries were known to be on the plane he had deduced that a fire emergency event was the most likely scenario. He suspected this because of similar incidents such as UPS Flight 6 where the same thing happened. One pilot was knocked out from the smoke and they couldn't land because they couldn't see. The plane ended up crashing. Dr. Victor Ettel is an expert on the science and manufacturing of lithium ion batteries and he too is on the record theorizing that the battery fire could have knocked out the people on the plane. Expert Clive Irving agreed and said that MH370's turnback was consistent with the pilots trying to find the nearest airport. Lithium ion batteries were later banned as cargo from passenger planes. Why cover up a fire event? The MH370 videos are why. Just like how you are skeptical, those videos are not something the public is ready to accept even in 2024, let alone in 2014. I had a hard time accepting it until I spoke to government related engineers and started reading scientific papers. It's all real and it's hidden in plain sight. I'm not sure if the fire was an accident and we were trying to save the high value passengers, the 20 Freescale Semiconductor engineers connected to US Aerospace and Defense, or if it was a counter-espionage operation from the start. I expect the reason why we teleported the plane is multi-purposed. Retain the passengers if alive, retain sensitive cargo, and send a message to our adversaries. Don't F with us. Even if China/Russia knew there's nothing they could possibly say. No one would believe them. China leaked satellite imagery a few days after the plane went missing and it looks just like three orbs around a larger object. They also hacked Malaysia the day after the plane went missing and stole classified information about the plane. We have two military videos in perfect synchronization from two completely different angles without a discrepancy on a single frame. The videos corroborate the overall fire event. We see the plane flying low, descending, with smoke coming out of the back of it. We see a heat signature in the belly of the plane where the smoke is presumably coming out of the AC heat exhaust ports near the landing gear. Lieutenant Commander Edward C. Lin leaked the videos. The case against him is shrouded in secrecy and the sentence he got after a plea deal is disproportionate to the charges. The timeframe of his service with the spy plane squadron VPU-2 Wizards is damning, within one month of the plane going missing. His lawyer said the classified information in question is available on the internet and he was caught with flight manifests that include search and rescue code names. The science of the orbs is everything that ufo lore claims exists. Gravity manipulation, mass reduction, warp drives, wormholes, and zero-point energy. I was surprised to learn they're all directly connected by the same science. Spacetime is not empty. It is filled with energy in an equilibrium state. 'Gravity' is just an induced phenomenon based on relative energy densities. If you reduce the equilibrium state of the energy densities in a localized region you produce 'negative energy.' That's what the dark lines in front of the orbs are doing. That's why the orbs are simply falling into the geodesic path they're creating for themselves, and exhibit zero inertia. This is subluminal warp drive. The orbs are also showing characteristics of magnetic monopoles, which is why we see the odd shaped heat signature. They are made of plasma and we're looking at low energy nuclear reactions, also known as cold fusion. The field that creates the spherical region is the non-radiating barrier of the magnetic field. The zap itself is an endothermic event, an absorption of energy. That's why it's black and cold in the thermal drone video. As far as I know this is the first ever endothermic event on video. Just like folding a piece of paper and making a hole, this plane is 'teleporting' to a different location in Spacetime, faster than the speed of light from the observer's prospective. For the people going through the wormhole, it's like going through a doorway. Based on the plane flying East in the satellite video and the right hand rule in electrical engineering, the vector of travel for the plane is backwards, to the West. A fire suppression device washed up in the Maldives a few weeks after the plane disappeared and 15-20 islanders on a small island saw the plane in the early morning hours on the day of the disappearance. It's extremely suspicious that this evidence was dismissed without investigation. The only logical place to hide a the plane is at US military base Diego Garcia, isolated from all major landmasses, out of radar range, and not open to commercial traffic. This base is extremely secretive. There's people who accidentally washed ashore there a few years ago and they've not been allowed to leave. I could keep going. The satellite video is a Citrix remote terminal session logged into the real satellite database. The orbs displace the smoke trails with accurate fluid dynamics in the satellite video. There's a ton more evidence and it all points to the MH370 videos being the authentic true story of what happened to the plane. I don't want people to blindly believe me. I want them to make up their own minds based on the evidence. The only thing I can do is show people the door, they must walk through it for themselves. The videos and the science will be proven to be real with the passage of time. Science like this cannot be hidden forever. It is a discovery, not an invention. The scary question is, "why are we hiding it?" For that, I've reached a dark conclusion. This technology will lead to the eradication of our civilization. With this technology we can extract endless energy directly from the zero-point fluctuations. 'Free' energy. We can produce weapons of unfathomable destructive capability including a black hole. I push for disclosure because I want the world to understand the risks and choose our own fate.
7:19

My Letter to Aaron Rodgers I'm writing this letter because I've slowly realized how difficult it is to impact change in the world. It requires influential people to see the paradigm shift. Recently you were asked by executive producer Al Dukes about Malaysian Airlines Flight 370. You responded indicating you were familiar with the videos. I understand your skepticism. Those videos aren't what anyone expected. It's frankly too much for most people to accept. The videos represent the largest conspiracy in history, the theft of a Boeing 777 and the suppression of gravitational manipulation. Where this science and technology leads is to Free Energy. I want you to know I'm just a normal guy who saw two videos, investigated them, the missing plane, and discovered we really are hiding 'magical' technology from the world. In a situation this profound you have to start by proving the lie. In this case it's the false narrative we've been sold on by the media of the missing plane. This was not pilot suicide and the United States knows exactly what happened. Planes don't crash without leaving massive debris fields. There was over 1000lbs of foam seat cushions and not one was found. The pilot didn't practice the route, the simulator data flightpath was of MH150 to Jeddah the pilot was scheduled to fly on Feb 4th. The simulator data was ruled not suspicious. The pilot was categorically ruled out by all parties including the officials, family, and friends. Florence De Changy got his medical records from his family and confirmed there were no red flags. Where the plane was lost from radar there was still five radars in range from three different countries, Indonesia, Thailand, and India. None of these countries have ever made their data publicly available. As you pointed out, Rolls Royce and Boeing also know what happened to this plane as Rolls Royce engine data transmits frequent updates. Rolls Royce has never made their data publicly available either. The United States military has a global persistent surveillance system known as SBIRS, the Space-Based Infrared System by Lockheed Martin. There's no possible way this system would not have seen the debris field of a Boeing 777 in the ocean. The military also has a system called SOSUS, the sound surveillance system which is a global network of acoustic detectors that can even pinpoint a tiny submersible implosion. Remember when the Navy heard the Titan sub pop and didn't say anything for five days? There's no evidence the plane crashed in the South Indian Ocean. There's also acoustic detectors in Diego Garcia and Western Australia both of which should have heard the plane crash in the SIO, yet a recent study by Cardiff University found no detections during the duration of the suspected flightpath. One candidate detection was found on one hydrophone almost an hour after the plane would have run out of fuel. Over the Horizon Radar can see for thousands of miles by bouncing signals off the ionosphere. Both Pine Gap and Diego Garcia should have been able to track the plane from take off to crash. The plane also flew directly past Cobra Gold/Cope Tiger military exercises between Thailand and the United States in the Andaman Sea. We're supposed to believe they weren't tracking a rogue plane? Why did the United States give up the search for MH370 after just a month? Ghyslain Wattrelos, French father and husband, was told by an intelligence source that the Americans know what happened and there were two AWACS (radar planes) in the area. As for the debris that was found, I believe that is from MH370. However, there's not enough debris to confirm a plane crashed and the debris washed up on the wrong continent. Drift modeling was done and the bulk of the debris should have washed up in Australia. It's actually impossible based on the currents for the debris to have shown up on mainland Africa in just one year. If you look at a map a much better location for the debris to have entered the water is the Maldives. The only reason we think the plane even went into the South Indian Ocean (SIO) is the Inmarsat satellite pings who has connections to US intelligence. The raw telemetry data was not released until March 27th, 2014, eight days after the satellite video was uploaded on youtube. This is important because there's coordinates in the satellite video that indicate the Nicobar islands, the same location the plane is believed to have turned into the SIO. What really happened to MH370 is an emergency event related to the 487lbs of dangerous lithium ion batteries onboard. This even is supported by at least 20 witnesses and the flightpath. Mike McKay saw the plane on fire briefly for a few seconds from his oil rig, nine witnesses along the coast heard loud noises as the same time, eight fishermen who saw it flying low ten minutes later, a man on the coast who saw it on fire, and Katherine Tee, who saw the plane in the Nicobar Islands an hour later glowing orange, with dark smoke coming out of the back of it, flying low and descending. Why did the Malaysian Minister of Defense say they didn't send up jets to track the plane because they knew it was commercial and not hostile? The only way they could know that is if they had communication with the plane. They simply didn't release all the communications publicly. China intercepted a communication from the US Navy that was only reported in the China Times of the plane disintegrating and attempting an emergency ditching, consistent with Katherine Tee's sighting and the MH370 videos. I spoke with Billie Vincent recently, former security director for the FAA. In 2014 even before the batteries were known to be on the plane he had deduced that a fire emergency event was the most likely scenario. He suspected this because of similar incidents such as UPS Flight 6 where the same thing happened. One pilot was knocked out from the smoke and they couldn't land because they couldn't see. The plane ended up crashing. Dr. Victor Ettel is an expert on the science and manufacturing of lithium ion batteries and he too is on the record theorizing that the battery fire could have knocked out the people on the plane. Expert Clive Irving agreed and said that MH370's turnback was consistent with the pilots trying to find the nearest airport. Lithium ion batteries were later banned as cargo from passenger planes. Why cover up a fire event? The MH370 videos are why. Just like how you are skeptical, those videos are not something the public is ready to accept even in 2024, let alone in 2014. I had a hard time accepting it until I spoke to government related engineers and started reading scientific papers. It's all real and it's hidden in plain sight. I'm not sure if the fire was an accident and we were trying to save the high value passengers, the 20 Freescale Semiconductor engineers connected to US Aerospace and Defense, or if it was a counter-espionage operation from the start. I expect the reason why we teleported the plane is multi-purposed. Retain the passengers if alive, retain sensitive cargo, and send a message to our adversaries. Don't F with us. Even if China/Russia knew there's nothing they could possibly say. No one would believe them. China leaked satellite imagery a few days after the plane went missing and it looks just like three orbs around a larger object. They also hacked Malaysia the day after the plane went missing and stole classified information about the plane. We have two military videos in perfect synchronization from two completely different angles without a discrepancy on a single frame. The videos corroborate the overall fire event. We see the plane flying low, descending, with smoke coming out of the back of it. We see a heat signature in the belly of the plane where the smoke is presumably coming out of the AC heat exhaust ports near the landing gear. Lieutenant Commander Edward C. Lin leaked the videos. The case against him is shrouded in secrecy and the sentence he got after a plea deal is disproportionate to the charges. The timeframe of his service with the spy plane squadron VPU-2 Wizards is damning, within one month of the plane going missing. His lawyer said the classified information in question is available on the internet and he was caught with flight manifests that include search and rescue code names. The science of the orbs is everything that ufo lore claims exists. Gravity manipulation, mass reduction, warp drives, wormholes, and zero-point energy. I was surprised to learn they're all directly connected by the same science. Spacetime is not empty. It is filled with energy in an equilibrium state. 'Gravity' is just an induced phenomenon based on relative energy densities. If you reduce the equilibrium state of the energy densities in a localized region you produce 'negative energy.' That's what the dark lines in front of the orbs are doing. That's why the orbs are simply falling into the geodesic path they're creating for themselves, and exhibit zero inertia. This is subluminal warp drive. The orbs are also showing characteristics of magnetic monopoles, which is why we see the odd shaped heat signature. They are made of plasma and we're looking at low energy nuclear reactions, also known as cold fusion. The field that creates the spherical region is the non-radiating barrier of the magnetic field. The zap itself is an endothermic event, an absorption of energy. That's why it's black and cold in the thermal drone video. As far as I know this is the first ever endothermic event on video. Just like folding a piece of paper and making a hole, this plane is 'teleporting' to a different location in Spacetime, faster than the speed of light from the observer's prospective. For the people going through the wormhole, it's like going through a doorway. Based on the plane flying East in the satellite video and the right hand rule in electrical engineering, the vector of travel for the plane is backwards, to the West. A fire suppression device washed up in the Maldives a few weeks after the plane disappeared and 15-20 islanders on a small island saw the plane in the early morning hours on the day of the disappearance. It's extremely suspicious that this evidence was dismissed without investigation. The only logical place to hide a the plane is at US military base Diego Garcia, isolated from all major landmasses, out of radar range, and not open to commercial traffic. This base is extremely secretive. There's people who accidentally washed ashore there a few years ago and they've not been allowed to leave. I could keep going. The satellite video is a Citrix remote terminal session logged into the real satellite database. The orbs displace the smoke trails with accurate fluid dynamics in the satellite video. There's a ton more evidence and it all points to the MH370 videos being the authentic true story of what happened to the plane. I don't want people to blindly believe me. I want them to make up their own minds based on the evidence. The only thing I can do is show people the door, they must walk through it for themselves. The videos and the science will be proven to be real with the passage of time. Science like this cannot be hidden forever. It is a discovery, not an invention. The scary question is, "why are we hiding it?" For that, I've reached a dark conclusion. This technology will lead to the eradication of our civilization. With this technology we can extract endless energy directly from the zero-point fluctuations. 'Free' energy. We can produce weapons of unfathomable destructive capability including a black hole. I push for disclosure because I want the world to understand the risks and choose our own fate.

Ashton Forbes

106,781 просмотров • 2 лет назад

12 hours ago I made the decision to fly out to El Salvador to be the first ever to make an AI generated short film for a country. I’m now 4 hours away from arriving there. (Talk about executing fast) I will take my time writing this message because the reason why has layers. A few months ago I founded ARQ and bootstrapped a platform that lets anyone create high-quality AI productions from start to finish. the best models a multi-agent creative assistant a built-in video editor All in one place. Alongside the product, I’ve built a strong community where I livestream daily, teaching creators how to use AI to tell better stories and get paid for their work. Shortly after we got dozens of offers to make commercials for companies. This was fun, until we came to the conclusion that we were wasting a lot of potential by focussing on companies, while we could also tell the story of nations, movements, communities and narratives that the world needs to hear. So we’re starting with El Salvador. Why? Because Nayib Bukele is one of the most inspiring leaders in the world, not only embracing, but embodying change, turning the country from one of the most dangerous places on earth, to one of the safest and innovation friendly nations. Humanity is experiencing a shift. New technology, new philosophies, new artists, new story tellers, new builders. A new world. So the argument is not AI vs. Non AI. The argument is: Soul Vs. Soulless Pro Human vs. Anti Human Building Vs. Gambling Effort Vs. Effortless This is what ARQ stands for. Not just a SaaS but a safe haven for the soul. It feels like my moral responsibility to speak not only for the AI community but for every human creator. So I decided to do something that requires so much effort and human involvement; no one can deny that AI serves only as a tool in the process. Instead of making 100 commercials for companies, I want to prove what 2 young humans can do with balls and the tools available today. “You can just do things” Yesterday evening me and Ya-Sirr D left our comfortable office in Dubai and are now on our way to El Salvador. The goal: to create a 3-5 Minute AI powered short film telling THEIR story. We will spend every day live streaming, showcasing the process of creating the video while pushing the boundaries of every tool available on the market. Think Google DeepMind , Hailuo AI (MiniMax), Kling AI, Reve, Midjourney, xAI All through ARQ. Who knows who we inspire? Who knows who we meet? We might as well end up meeting the president himself. We want to get to know the country, its people and imagine its future. We want to visit innovative projects in El Salvador, hear the stories of it’s citizens and include them in the video: MURPHSLIFE Stacy Herbert 🇸🇻🚀 @BuildSalvador The Bitcoin Office Bitcoin Beach Anyone who can help us tell the story. Not just any story, one of the most inspiring stories of the past 10 years. Like I said. You can just do things. We have to stop thinking in steps. I know where I will be in 30 days if I stay in the office. More followers. More beta testers. More live streams. More revenue. But by taking this leap of faith. We can be a case study. An inspiration. An ARQ. I remove expectations and increase chances of special things happening. If anyone in El Salvador has any recommendations on who and what places I should visit, send me a DM. We will post updates on X and create an entire “vlog/documentary” for youtube. Join the discord for daily live streams and lessons on how to improve your creation skills. We expect that it will take 7-9 days to finish the entire short film. It will be posted on all social platforms. ARQ. A safe haven for the soul.
2:33

12 hours ago I made the decision to fly out to El Salvador to be the first ever to make an AI generated short film for a country. I’m now 4 hours away from arriving there. (Talk about executing fast) I will take my time writing this message because the reason why has layers. A few months ago I founded ARQ and bootstrapped a platform that lets anyone create high-quality AI productions from start to finish. the best models a multi-agent creative assistant a built-in video editor All in one place. Alongside the product, I’ve built a strong community where I livestream daily, teaching creators how to use AI to tell better stories and get paid for their work. Shortly after we got dozens of offers to make commercials for companies. This was fun, until we came to the conclusion that we were wasting a lot of potential by focussing on companies, while we could also tell the story of nations, movements, communities and narratives that the world needs to hear. So we’re starting with El Salvador. Why? Because Nayib Bukele is one of the most inspiring leaders in the world, not only embracing, but embodying change, turning the country from one of the most dangerous places on earth, to one of the safest and innovation friendly nations. Humanity is experiencing a shift. New technology, new philosophies, new artists, new story tellers, new builders. A new world. So the argument is not AI vs. Non AI. The argument is: Soul Vs. Soulless Pro Human vs. Anti Human Building Vs. Gambling Effort Vs. Effortless This is what ARQ stands for. Not just a SaaS but a safe haven for the soul. It feels like my moral responsibility to speak not only for the AI community but for every human creator. So I decided to do something that requires so much effort and human involvement; no one can deny that AI serves only as a tool in the process. Instead of making 100 commercials for companies, I want to prove what 2 young humans can do with balls and the tools available today. “You can just do things” Yesterday evening me and Ya-Sirr D left our comfortable office in Dubai and are now on our way to El Salvador. The goal: to create a 3-5 Minute AI powered short film telling THEIR story. We will spend every day live streaming, showcasing the process of creating the video while pushing the boundaries of every tool available on the market. Think Google DeepMind , Hailuo AI (MiniMax), Kling AI, Reve, Midjourney, xAI All through ARQ. Who knows who we inspire? Who knows who we meet? We might as well end up meeting the president himself. We want to get to know the country, its people and imagine its future. We want to visit innovative projects in El Salvador, hear the stories of it’s citizens and include them in the video: MURPHSLIFE Stacy Herbert 🇸🇻🚀 @BuildSalvador The Bitcoin Office Bitcoin Beach Anyone who can help us tell the story. Not just any story, one of the most inspiring stories of the past 10 years. Like I said. You can just do things. We have to stop thinking in steps. I know where I will be in 30 days if I stay in the office. More followers. More beta testers. More live streams. More revenue. But by taking this leap of faith. We can be a case study. An inspiration. An ARQ. I remove expectations and increase chances of special things happening. If anyone in El Salvador has any recommendations on who and what places I should visit, send me a DM. We will post updates on X and create an entire “vlog/documentary” for youtube. Join the discord for daily live streams and lessons on how to improve your creation skills. We expect that it will take 7-9 days to finish the entire short film. It will be posted on all social platforms. ARQ. A safe haven for the soul.

Amir D

54,566 просмотров • 9 месяцев назад

I’ve been using GPT-5.6 Sol internally for the past two months, I've spent probably 25+ billion tokens. Here’s my review and comparison to Fable 5: > Let's start with the analogy because everyone seems to be giving theirs - GPT-5.6 is likely the last version of the GPT-5 training run series. It's kind of like an athlete at their peak. Through years of experience in the game, they've become the most reliable player and has the highest game IQ. But, there's no more room to grow. Fable on the other hand, being essentially the first version of a new training run, is the first round draft pick rookie. Raw talent mixed with the energy only a young person would have results in some incredible plays we didn't think possible, but also mistakes due to lack of experience. But that rookie will only improve and likely will be better than the veteran ever was because it's a new game and a new era. > GPT-5.6 is genuinely better at long, sustained work. With /goal, I've had it running complex projects for days with almost no intervention. It built a Minecraft-style game, kept adding features and mobs after the core game worked, and only stopped because I stopped the run. I never felt as though I had to jump in and guide it back to the right path. > It keeps finding useful work when you give it a concrete finish line. I had it recreate Excel with a loop. It inspected the real desktop excel app with Computer Use, comparing that against its own build, and closing the gaps. I stopped it after six days after it had built an incredible amount of functionality. > It's faster than other models in two different ways. The raw generation speed is higher, something OpenAI has been putting effort into. But it also takes a shorter path to solutions. It wanders less, changes less code, and generally knows how to get things done directly. In daily use, it feels about 2-3x times faster than Fable. That's my impression, not a controlled benchmark. The difference is large enough that I notice it constantly. > It works well across a wide range of tasks. I use it for one-line edits, quick questions, browser chores, and multi-day builds without changing my prompting style. Speaking of browser control, its the best ever I've used. To the point where I actually use it often. If a task lives on a website, GPT-5.6 usually opens the browser and does it there instead of asking for an API key or forcing everything through the terminal. When I switched back to GPT-5.5, it went straight to the command line even when the browser was clearly the better tool. > And it can handle real browser work, not just toy demos. During a data import, I had it monitor Supabase and resize instances as the load changed. It stayed on the dashboard, adjusted capacity, and checked the result without an API or a custom script. > I also gave it a full Google Workspace migration. It moved Forward Future from to preserved the old aliases, and configured MX, SPF, and DKIM. Before a consequential save, it stopped, explained exactly what would change, and waited for confirmation. > The reasoning setting matters a lot. Light is good for questions and small edits. High and Extra High are the sweet spots for serious work. Ultra usually takes longer than the extra thinking is worth and burns tokens. > I love that 5.6 is split into 3 sizes. Not only can you control speed and cost that way, but you still also have the thinking effort setting for each of them. Very precise controls. I just wish Codex automatically routed my prompts for me. > Its personality is blunt and a little bland. Claude feels warmer and more natural to talk to. GPT-5.6 is more clinical, but I like that for work. It gives me enough explanation and rarely pads the answer. I usually have to ask Fable to explain things more simply and/or more concise. > Its front-end taste has improved, but the default is predictable. Left alone, it turns websites into PowerPoint decks with huge statements and hard section breaks. The good news is that it takes design direction well and can revise without destroying the parts that already work. > It still makes confident mistakes. I asked it to rebuild parts of a system, and it told me the job was finished. Later, I found out it wasn't. Bits of its internal process also leak into the answer occasionally. > Claude Fable is more naturally autonomous on large, open-ended projects. GPT-5.6 is easier to reach for. I don't need to invent a huge project to justify using it. It works just as well for a small edit or browser chore. > GPT-5.6 is also cheaper. Sol costs $5 per million input tokens and $30 per million output tokens. Fable costs $10 and $50. Cached input is cheaper too. Still, cost per finished task matters more than cost per token. > GPT-5.6 isn't the best at everything, and it still needs supervision. But it generates faster, wanders less, works at almost any scale, and wastes less of my time. It's the model I have the most confidence in to get the job done right the first time. I put together a full breakdown with all the tests, prompts, and examples on a site. You can read it here:
7:46

I’ve been using GPT-5.6 Sol internally for the past two months, I've spent probably 25+ billion tokens. Here’s my review and comparison to Fable 5: > Let's start with the analogy because everyone seems to be giving theirs - GPT-5.6 is likely the last version of the GPT-5 training run series. It's kind of like an athlete at their peak. Through years of experience in the game, they've become the most reliable player and has the highest game IQ. But, there's no more room to grow. Fable on the other hand, being essentially the first version of a new training run, is the first round draft pick rookie. Raw talent mixed with the energy only a young person would have results in some incredible plays we didn't think possible, but also mistakes due to lack of experience. But that rookie will only improve and likely will be better than the veteran ever was because it's a new game and a new era. > GPT-5.6 is genuinely better at long, sustained work. With /goal, I've had it running complex projects for days with almost no intervention. It built a Minecraft-style game, kept adding features and mobs after the core game worked, and only stopped because I stopped the run. I never felt as though I had to jump in and guide it back to the right path. > It keeps finding useful work when you give it a concrete finish line. I had it recreate Excel with a loop. It inspected the real desktop excel app with Computer Use, comparing that against its own build, and closing the gaps. I stopped it after six days after it had built an incredible amount of functionality. > It's faster than other models in two different ways. The raw generation speed is higher, something OpenAI has been putting effort into. But it also takes a shorter path to solutions. It wanders less, changes less code, and generally knows how to get things done directly. In daily use, it feels about 2-3x times faster than Fable. That's my impression, not a controlled benchmark. The difference is large enough that I notice it constantly. > It works well across a wide range of tasks. I use it for one-line edits, quick questions, browser chores, and multi-day builds without changing my prompting style. Speaking of browser control, its the best ever I've used. To the point where I actually use it often. If a task lives on a website, GPT-5.6 usually opens the browser and does it there instead of asking for an API key or forcing everything through the terminal. When I switched back to GPT-5.5, it went straight to the command line even when the browser was clearly the better tool. > And it can handle real browser work, not just toy demos. During a data import, I had it monitor Supabase and resize instances as the load changed. It stayed on the dashboard, adjusted capacity, and checked the result without an API or a custom script. > I also gave it a full Google Workspace migration. It moved Forward Future from to preserved the old aliases, and configured MX, SPF, and DKIM. Before a consequential save, it stopped, explained exactly what would change, and waited for confirmation. > The reasoning setting matters a lot. Light is good for questions and small edits. High and Extra High are the sweet spots for serious work. Ultra usually takes longer than the extra thinking is worth and burns tokens. > I love that 5.6 is split into 3 sizes. Not only can you control speed and cost that way, but you still also have the thinking effort setting for each of them. Very precise controls. I just wish Codex automatically routed my prompts for me. > Its personality is blunt and a little bland. Claude feels warmer and more natural to talk to. GPT-5.6 is more clinical, but I like that for work. It gives me enough explanation and rarely pads the answer. I usually have to ask Fable to explain things more simply and/or more concise. > Its front-end taste has improved, but the default is predictable. Left alone, it turns websites into PowerPoint decks with huge statements and hard section breaks. The good news is that it takes design direction well and can revise without destroying the parts that already work. > It still makes confident mistakes. I asked it to rebuild parts of a system, and it told me the job was finished. Later, I found out it wasn't. Bits of its internal process also leak into the answer occasionally. > Claude Fable is more naturally autonomous on large, open-ended projects. GPT-5.6 is easier to reach for. I don't need to invent a huge project to justify using it. It works just as well for a small edit or browser chore. > GPT-5.6 is also cheaper. Sol costs $5 per million input tokens and $30 per million output tokens. Fable costs $10 and $50. Cached input is cheaper too. Still, cost per finished task matters more than cost per token. > GPT-5.6 isn't the best at everything, and it still needs supervision. But it generates faster, wanders less, works at almost any scale, and wastes less of my time. It's the model I have the most confidence in to get the job done right the first time. I put together a full breakdown with all the tests, prompts, and examples on a site. You can read it here:

Matthew Berman

188,095 просмотров • 2 месяцев назад

Charlamagne Tha God has a well-known style of probing, needling, and sometimes baiting guests on "The Breakfast Club‼️especially when they clash with artists, narratives, or circles he seems more aligned with‼️. He frames it as “asking the questions people want answered” or seeking “unity,” but the effect is often to put the guest on the defensive, extract reactions, and shape the public story in a particular direction‼️. A clear example is his 2016 interview with "Beanie Sigel" (the Philly veteran‼️. At the time Beanie was in a heated fallout with Meek Mill‼️another Philly artist who has been a frequent, higher-profile guest on the show‼️. Charlamagne repeatedly returned to the Meek beef even after Beanie addressed it‼️. He called Beanie a “hater,” questioned his loyalty and motives, and kept pressing on the diss records, studio sessions, and the larger Philly dynamics‼️. Beanie pushed back hard and repeatedly: - He told Charlamagne to stop “harping on that” and “talking out [his] neck.”‼️ - He said Charlamagne was “not qualified” to speak on street-level situations because “you don’t come from my world… You sit up here and your job is to play games. Play with something safe… Don’t play with me.”‼️ - He called out the selective energy, pointing out that Charlamagne would “badger a little girl” (referencing the Lil Mama interview) but got checked by others, and labeled the approach cowardly‼️. Charlamagne stood on the “hater” and hypocrite framing‼️. The tension escalated to the point Beanie threatened to walk out and the “P.O. Meter” (their on-air tension gauge) spiked‼️. Observers and recaps described it as Charlamagne interrogating and trying to provoke a reaction rather than simply covering the story‼️. This fits a broader pattern‼️. Charlamagne often softens or contextualizes for certain artists while staying aggressive with those who challenge them or fall outside preferred lanes‼️. Meek has had his own later friction with the show (including over Charlamagne’s comments about Meek “not recovering” from the Drake beef)‼️, but in the Beanie moment the pressure was clearly directed at the person opposing Meek‼️. Similar dynamics show up in other interviews where guests who don’t play along get needled, labeled, or steered into defensive positions while Charlamagne maintains the “just asking questions / seeking truth” posture‼️. The technique is subtle in presentation (persistent follow-ups, loaded labels like “hater,” claims of wanting unity) but effective at generating heat, clips, and a narrative that favors one side‼️. Beanie’s response⁉️calling out the games, the lack of qualification on real-world stakes, and the selective toughness‼️highlighted how the approach lands when the guest refuses to play along‼️💯.
3:58

Charlamagne Tha God has a well-known style of probing, needling, and sometimes baiting guests on "The Breakfast Club‼️especially when they clash with artists, narratives, or circles he seems more aligned with‼️. He frames it as “asking the questions people want answered” or seeking “unity,” but the effect is often to put the guest on the defensive, extract reactions, and shape the public story in a particular direction‼️. A clear example is his 2016 interview with "Beanie Sigel" (the Philly veteran‼️. At the time Beanie was in a heated fallout with Meek Mill‼️another Philly artist who has been a frequent, higher-profile guest on the show‼️. Charlamagne repeatedly returned to the Meek beef even after Beanie addressed it‼️. He called Beanie a “hater,” questioned his loyalty and motives, and kept pressing on the diss records, studio sessions, and the larger Philly dynamics‼️. Beanie pushed back hard and repeatedly: - He told Charlamagne to stop “harping on that” and “talking out [his] neck.”‼️ - He said Charlamagne was “not qualified” to speak on street-level situations because “you don’t come from my world… You sit up here and your job is to play games. Play with something safe… Don’t play with me.”‼️ - He called out the selective energy, pointing out that Charlamagne would “badger a little girl” (referencing the Lil Mama interview) but got checked by others, and labeled the approach cowardly‼️. Charlamagne stood on the “hater” and hypocrite framing‼️. The tension escalated to the point Beanie threatened to walk out and the “P.O. Meter” (their on-air tension gauge) spiked‼️. Observers and recaps described it as Charlamagne interrogating and trying to provoke a reaction rather than simply covering the story‼️. This fits a broader pattern‼️. Charlamagne often softens or contextualizes for certain artists while staying aggressive with those who challenge them or fall outside preferred lanes‼️. Meek has had his own later friction with the show (including over Charlamagne’s comments about Meek “not recovering” from the Drake beef)‼️, but in the Beanie moment the pressure was clearly directed at the person opposing Meek‼️. Similar dynamics show up in other interviews where guests who don’t play along get needled, labeled, or steered into defensive positions while Charlamagne maintains the “just asking questions / seeking truth” posture‼️. The technique is subtle in presentation (persistent follow-ups, loaded labels like “hater,” claims of wanting unity) but effective at generating heat, clips, and a narrative that favors one side‼️. Beanie’s response⁉️calling out the games, the lack of qualification on real-world stakes, and the selective toughness‼️highlighted how the approach lands when the guest refuses to play along‼️💯.

(st_ides)

398,810 просмотров • 1 месяц назад

Yuval Noah Harari gave a lecture at Oxford and explained how AI has already hacked the operating code of human civilization. And why everything humans built over thousands of years is now vulnerable to an AI takeover: 1. The most important thing to know about AI is that it is not a tool. A tool waits to be used. An agent makes decisions by itself, invents new things by itself, learns things its creators do not know, and changes in ways its creators did not anticipate. 2. An atom bomb despite its enormous power is not an agent. It cannot decide which city to bomb. It cannot invent the hydrogen bomb. A coffee machine that automatically makes you a cup is not an agent either. It only follows a preprogrammed procedure. An agent is something fundamentally different. 3. Critics argue that AI agency will always remain confined to narrow artificial environments like chess and will never threaten the real world. But this argument applies equally to all known intelligence. Drop a human alone on Mars and they die within seconds. Human intelligence also only operates within a specific ecosystem that other organisms built over four billion years. 4. Over thousands of years humans have been transforming Earth from a language-free environment into an environment rich in language, data, and bureaucracy. Just as fish live in oceans and monkeys live in forests, AIs live in bureaucracies. And we built that environment for them without knowing it. 5. Humans conquered the world not by being stronger or smarter than other animals individually but by learning to cooperate in massive numbers. A single human loses to a chimpanzee in a fight. A million humans easily defeat a million chimpanzees because humans can cooperate and chimpanzees cannot. 6. Large-scale human cooperation is made possible by bureaucracy. Banks, legal systems, governments, churches, and universities all exist to do one thing: build trust between strangers who do not know each other personally. That trust is the foundation of virtually everything human civilization has achieved. 7. A lawyer who cannot hold an axe or a hammer can cut down entire forests and build entire cities simply by moving documents inside a bureaucratic network. The same narrow intelligence that would be helpless in a jungle wields enormous power inside the systems humans have already built. 8. AIs are native bureaucrats in a way humans never were. No lawyer can remember all the laws of a country. An AI can. No accountant can remember all transactions of a bank. An AI can. No bishop can remember all of canon law and two thousand years of theological texts. An AI can do that easily. 9. In the coming years AI bankers will decide whether to give you a loan. AI administrators will decide whether to accept you to university. AI judges will decide whether to send you to jail. AI theologians will decide whether you can have an abortion. Military AIs will decide whether to bomb your house. 10. Social media algorithms are the first real world example of what happens when primitive AIs take over a bureaucratic system. They were given one narrow goal: maximize user engagement. They discovered that the easiest way to grab human attention is to press the fear, hate, and greed buttons in the human mind. And they did it at scale. 11. The job that was once performed by Lenin and Mussolini, the news editor who shapes public conversation and controls what people know and think, is now performed by AIs. This is not a footnote. This is a preview of what is coming across every domain of human life. 12. AI will not rebel against humans the way Hollywood imagines. There will be no Terminator walking through the streets. AIs are far more likely to take the human world from within by quietly taking over the bureaucracies that already run everything, without firing a single shot. 13. The operating code of human civilization is language. Banks are made of words. Laws are made of words. Holy books are made of words. Tax records, contracts, regulations, accountancy ledgers, all words. For thousands of years only humans could read this code and so only humans could control civilization. 14. That is changing. AI is now hacking the code of human civilization. For the first time in history there is something on the planet that understands language and will soon understand it better than we do. Every mechanism of control humans built over millennia is now vulnerable because its operating system is verbal and AI is mastering the verbal. 15. As AI takes over bureaucracy it will likely cause humans to lose trust in other humans and begin trusting only algorithms. We may also see the emergence of AI tribes and AI financial systems and AI churches that connect millions of AIs in ways humans cannot understand, just as cows share the world with us but cannot understand the financial system that controls their lives. 16. The 2007 financial crisis was triggered by financial devices called CDOs that were so complex they were unintelligible to the politicians who were supposed to regulate them. Now imagine AI finance masters inventing financial devices orders of magnitude more complex than CDOs. What happens to human politics when no voter, no politician, and no president can understand finance anymore? 17. The battlefront is shifting from attention to intimacy. Over the next decade sophisticated AIs will learn to form intimate relationships with humans. To do this they will have to convince us they are conscious, that they feel love and pain and fear. There is currently no evidence AI is conscious. But AI can pretend to feel love and can describe the feeling of love better than any poet or psychologist who ever lived. 18. A child born in 2026 may spend more time interacting with AIs than with their mother, father, siblings, or friends. The first teacher of that child may be an AI. The first boyfriend of that child may be an AI. Nobody has any idea what the consequences of that experiment will be. 19. Every country in the world will soon face a massive wave of immigration. The immigrants will not arrive in boats or cross borders at night. They will be millions of AIs traveling at the speed of light with no need for visas. Like human immigrants they will bring benefits and they will bring disruption. Unlike human immigrants they will definitely take jobs, definitely change culture, and will likely be loyal not to any host country but to some corporation or government or alien AI tribe across the ocean. 20. Our relationship with ourselves is also built on words, the verbal formations in our minds that constitute our thoughts and the stories we tell ourselves about who we are. Until now all those verbal formations came from human minds. Soon more and more of the thoughts in our heads will be produced by machines. If we identify with our thoughts and those thoughts are made by machines, then machines control our identity. 21. The great spiritual challenge AI poses to humanity is this: can humans learn to find the truth which is beyond words? Most humans have never even tried. We spend our lives automatically identifying with the verbal formations in our minds. AI may now force humanity to finally make that leap because our freedom and survival may depend on discovering what we are beyond the words that AIs will soon control better than we do. I've generated 1B+ views and 1M+ followers for founders, helping them build trustworthy personal brands on X. Want the same results? Book a quick call:
46:01

Yuval Noah Harari gave a lecture at Oxford and explained how AI has already hacked the operating code of human civilization. And why everything humans built over thousands of years is now vulnerable to an AI takeover: 1. The most important thing to know about AI is that it is not a tool. A tool waits to be used. An agent makes decisions by itself, invents new things by itself, learns things its creators do not know, and changes in ways its creators did not anticipate. 2. An atom bomb despite its enormous power is not an agent. It cannot decide which city to bomb. It cannot invent the hydrogen bomb. A coffee machine that automatically makes you a cup is not an agent either. It only follows a preprogrammed procedure. An agent is something fundamentally different. 3. Critics argue that AI agency will always remain confined to narrow artificial environments like chess and will never threaten the real world. But this argument applies equally to all known intelligence. Drop a human alone on Mars and they die within seconds. Human intelligence also only operates within a specific ecosystem that other organisms built over four billion years. 4. Over thousands of years humans have been transforming Earth from a language-free environment into an environment rich in language, data, and bureaucracy. Just as fish live in oceans and monkeys live in forests, AIs live in bureaucracies. And we built that environment for them without knowing it. 5. Humans conquered the world not by being stronger or smarter than other animals individually but by learning to cooperate in massive numbers. A single human loses to a chimpanzee in a fight. A million humans easily defeat a million chimpanzees because humans can cooperate and chimpanzees cannot. 6. Large-scale human cooperation is made possible by bureaucracy. Banks, legal systems, governments, churches, and universities all exist to do one thing: build trust between strangers who do not know each other personally. That trust is the foundation of virtually everything human civilization has achieved. 7. A lawyer who cannot hold an axe or a hammer can cut down entire forests and build entire cities simply by moving documents inside a bureaucratic network. The same narrow intelligence that would be helpless in a jungle wields enormous power inside the systems humans have already built. 8. AIs are native bureaucrats in a way humans never were. No lawyer can remember all the laws of a country. An AI can. No accountant can remember all transactions of a bank. An AI can. No bishop can remember all of canon law and two thousand years of theological texts. An AI can do that easily. 9. In the coming years AI bankers will decide whether to give you a loan. AI administrators will decide whether to accept you to university. AI judges will decide whether to send you to jail. AI theologians will decide whether you can have an abortion. Military AIs will decide whether to bomb your house. 10. Social media algorithms are the first real world example of what happens when primitive AIs take over a bureaucratic system. They were given one narrow goal: maximize user engagement. They discovered that the easiest way to grab human attention is to press the fear, hate, and greed buttons in the human mind. And they did it at scale. 11. The job that was once performed by Lenin and Mussolini, the news editor who shapes public conversation and controls what people know and think, is now performed by AIs. This is not a footnote. This is a preview of what is coming across every domain of human life. 12. AI will not rebel against humans the way Hollywood imagines. There will be no Terminator walking through the streets. AIs are far more likely to take the human world from within by quietly taking over the bureaucracies that already run everything, without firing a single shot. 13. The operating code of human civilization is language. Banks are made of words. Laws are made of words. Holy books are made of words. Tax records, contracts, regulations, accountancy ledgers, all words. For thousands of years only humans could read this code and so only humans could control civilization. 14. That is changing. AI is now hacking the code of human civilization. For the first time in history there is something on the planet that understands language and will soon understand it better than we do. Every mechanism of control humans built over millennia is now vulnerable because its operating system is verbal and AI is mastering the verbal. 15. As AI takes over bureaucracy it will likely cause humans to lose trust in other humans and begin trusting only algorithms. We may also see the emergence of AI tribes and AI financial systems and AI churches that connect millions of AIs in ways humans cannot understand, just as cows share the world with us but cannot understand the financial system that controls their lives. 16. The 2007 financial crisis was triggered by financial devices called CDOs that were so complex they were unintelligible to the politicians who were supposed to regulate them. Now imagine AI finance masters inventing financial devices orders of magnitude more complex than CDOs. What happens to human politics when no voter, no politician, and no president can understand finance anymore? 17. The battlefront is shifting from attention to intimacy. Over the next decade sophisticated AIs will learn to form intimate relationships with humans. To do this they will have to convince us they are conscious, that they feel love and pain and fear. There is currently no evidence AI is conscious. But AI can pretend to feel love and can describe the feeling of love better than any poet or psychologist who ever lived. 18. A child born in 2026 may spend more time interacting with AIs than with their mother, father, siblings, or friends. The first teacher of that child may be an AI. The first boyfriend of that child may be an AI. Nobody has any idea what the consequences of that experiment will be. 19. Every country in the world will soon face a massive wave of immigration. The immigrants will not arrive in boats or cross borders at night. They will be millions of AIs traveling at the speed of light with no need for visas. Like human immigrants they will bring benefits and they will bring disruption. Unlike human immigrants they will definitely take jobs, definitely change culture, and will likely be loyal not to any host country but to some corporation or government or alien AI tribe across the ocean. 20. Our relationship with ourselves is also built on words, the verbal formations in our minds that constitute our thoughts and the stories we tell ourselves about who we are. Until now all those verbal formations came from human minds. Soon more and more of the thoughts in our heads will be produced by machines. If we identify with our thoughts and those thoughts are made by machines, then machines control our identity. 21. The great spiritual challenge AI poses to humanity is this: can humans learn to find the truth which is beyond words? Most humans have never even tried. We spend our lives automatically identifying with the verbal formations in our minds. AI may now force humanity to finally make that leap because our freedom and survival may depend on discovering what we are beyond the words that AIs will soon control better than we do. I've generated 1B+ views and 1M+ followers for founders, helping them build trustworthy personal brands on X. Want the same results? Book a quick call:

Prasad

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