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🚨OBLIVION REMASTERED DROPS WITHOUT WARNING - AVAILABLE RIGHT NOW ON ALL PLATFORMS Bethesda shadow-dropped the long-rumored Elder Scrolls IV: Oblivion Remastered, completely rebuilt from scratch in Unreal Engine 5 and available immediately for $49.99 or free on Game Pass. Todd Howard, Bethesda studio head: "Oblivion was a real defining... moment in the series and for how we make games as a studio" This isn't just a graphics upgrade - developer Virtuos completely rebuilt every asset while modernizing gameplay with Skyrim-inspired leveling, improved animations, sprinting, and completely revamped character faces to fix those infamous potato-head NPCs from 2006. The surprise release includes both major expansions and confirms 2023 FTC document leaks that also mentioned an unannounced Fallout 3 remaster in the pipeline. Source: The Verge Elon Musk Bethesdashow more

Mario Nawfal

3,625,365 subscribers

120,789 Aufrufe • vor 1 Jahr •via X (Twitter)

Gaming Nachrichten & Politik Wissenschaft & Technologie

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11 Kommentare

Profilbild von Y0ung D0ug

Y0ung D0ugvor 1 Jahr

Honestly the best remastered game in a long time

Profilbild von Solarsuit.Games

Solarsuit.Gamesvor 1 Jahr

🤠 We're a small indie team making a Space Western game that mix together cRPGs like the original Fallout and top-down shooters like Ruiner. Featuring real-time combat, organic roleplay, and a deep narrative with different endings 🚀 👉 Wishlist on Steam

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Juicy⚡Cryptovor 1 Jahr

🫨

Profilbild von Cool Christian Engineer 💡

Cool Christian Engineer 💡vor 1 Jahr

ethesda’s pulling a Trump-level move here surprising, bold, and bringing the heat. Let’s just hope Fallout 3 gets the same treatment.

Profilbild von v0id

v0idvor 1 Jahr

I never played the original but this shit looks so good !!!

Profilbild von 𝑬̨𝑳𝑳𝑨 🔸⚡️

𝑬̨𝑳𝑳𝑨 🔸⚡️vor 1 Jahr

Context

Profilbild von Graft

Graftvor 1 Jahr

The goblins are actually kinda freaky this time.

Profilbild von Strategies to Build an Empire

Strategies to Build an Empirevor 1 Jahr

MICROSOFT is for the gamers!!!

Profilbild von Brett Murphy

Brett Murphyvor 1 Jahr

We the people stand with President Trump

Profilbild von Briana Banks Fanpage (Blog)

Briana Banks Fanpage (Blog)vor 1 Jahr

Bethesda's surprise is notable and impressive. Let's hope Fallout 3 follows suit.

Profilbild von Alva

Alvavor 1 Jahr

Massive bullish sentiment on this one—gamers are losing it over Oblivion Remastered, especially with the Unreal Engine 5 facelift and those Skyrim-style QoL updates. Game Pass availability is pushing discoverability and new user volume through the roof. Media’s positioning it as a blueprint move for legacy IP revivals, with critics and fans actually aligned for once. If the engagement and player retention hold, this could drive a halo effect for the entire Elder Scrolls portfolio and fuel more remaster hype. Dive deeper on what this means for Xbox’s content moat:

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The Elder Scrolls IV: Oblivion Remastered ▪️Available NOW on Xbox (Game Pass), PS5 and PC for $49.99 ▪️Developed by Virtuos and Bethesda Game Studios ▪️Running in Unreal Engine 5 ▪️New lip sync technology ▪️Brand new models and environments ▪️All story expansions included ▪️Improved and updated UI, audio ▪️Updated leveling system from Oblivion and Skyrim ▪️Improved combat animations, visual effects, hit reactions, sprinting ▪️Proper third person view and playability Full Reveal ▶️ #TheElderScrolls #TheElderScrollsIVOblivion

The Elder Scrolls IV: Oblivion Remastered ▪️Available NOW on Xbox (Game Pass), PS5 and PC for $49.99 ▪️Developed by Virtuos and Bethesda Game Studios ▪️Running in Unreal Engine 5 ▪️New lip sync technology ▪️Brand new models and environments ▪️All story expansions included ▪️Improved and updated UI, audio ▪️Updated leveling system from Oblivion and Skyrim ▪️Improved combat animations, visual effects, hit reactions, sprinting ▪️Proper third person view and playability Full Reveal ▶️ #TheElderScrolls #TheElderScrollsIVOblivion

Shinobi602

538,597 Aufrufe • vor 1 Jahr

The Elder Scrolls IV: Oblivion Remastered | Official Details ▫️ Rebuilt from the ground up in UE5 on top of Oblivion engine ▫️ Updated leveling system with some elements from Skyrim ▫️ Sprint added. Updated movement system. ▫️ New UI ▫️ Updated audio ▫️ Updated combat animations and gore ▫️ Recorded new lines of dialogue - each race now sounds unique ▫️ Includes all DLC expansions ▫️ Out now on PS5, PC, Xbox, and Xbox Game Pass This is basically a remake! #TheElderScrolls #Oblivion #OblivionRemastered

The Elder Scrolls IV: Oblivion Remastered | Official Details ▫️ Rebuilt from the ground up in UE5 on top of Oblivion engine ▫️ Updated leveling system with some elements from Skyrim ▫️ Sprint added. Updated movement system. ▫️ New UI ▫️ Updated audio ▫️ Updated combat animations and gore ▫️ Recorded new lines of dialogue - each race now sounds unique ▫️ Includes all DLC expansions ▫️ Out now on PS5, PC, Xbox, and Xbox Game Pass This is basically a remake! #TheElderScrolls #Oblivion #OblivionRemastered

KAMI

109,835 Aufrufe • vor 1 Jahr

Back in 2006, Elder Scrolls IV: Oblivion blew my mind. I still remember the first time I stepped out of the sewers and into the vast world of Tamriel… I couldn’t believe how real it felt. My jaw was literally on the floor. It wasn’t just the game itself; it was the whole experience. There’s something special about those moments where you get completely lost in a world, and Oblivion gave me that in a way no other game had before. Fast forward to 2025: Oblivion Remastered is here, and it looks better than ever — launched with AMD FSR 4. It’s surreal to see a game I’ve loved for so long come back to life in such a powerful way. It’s an honor to be a part of this moment, working alongside Microsoft and Bethesda to bring Oblivion back in such a meaningful way.

Back in 2006, Elder Scrolls IV: Oblivion blew my mind. I still remember the first time I stepped out of the sewers and into the vast world of Tamriel… I couldn’t believe how real it felt. My jaw was literally on the floor. It wasn’t just the game itself; it was the whole experience. There’s something special about those moments where you get completely lost in a world, and Oblivion gave me that in a way no other game had before. Fast forward to 2025: Oblivion Remastered is here, and it looks better than ever — launched with AMD FSR 4. It’s surreal to see a game I’ve loved for so long come back to life in such a powerful way. It’s an honor to be a part of this moment, working alongside Microsoft and Bethesda to bring Oblivion back in such a meaningful way.

Jack Huynh

36,156 Aufrufe • vor 1 Jahr

You can't compare Cyberpunk 2077 launch to GTA 6 and here's exactly why Cyberpunk 2077 was the CDPR's first installment to feature a futuristic city with tons of NPCs and fast moving cars, something which was never done before on Witcher games. The gameplay video from Cyberpunk 2077 shown off in 2019 had a clear text showing "work in progress - does not represent the final look of the game" After the launch disaster of Cyberpunk 2077, Marcin Iwiński also explained that the reason the game had so many bugs is that the game was designed for PC first in mind, then scaled down to consoles that still had a hard drive (PS4 and Xbox One) an extremely difficult task on its own, combined with the fact that the game development progress took a major hit during the pandemic. Rockstar Games on the other hand has a much different engine and experience working on large scale open world game filled with tons of NPCs and fast moving cars, including the fact that they're developing this game for current gen consoles first, then scaling it up for a PC release not vice versa. Are we guys suddenly forgetting the fact that Rockstar Games managed to get GTA V running on a PS3 console which had 256mb of VRAM and 256mb of RAM at that time? The reason Rockstar Games has shown zero gameplay of GTA 6 is because historically they save the gameplay showcase before the game launches, GTA 6 Trailer 2 came out in 2025 and all footage for that Trailer was captured on a base PS5 with a mix of gameplay and cutscenes. They'll obviously show off more gameplay on August 27th, but comparing Cyberpunk 2077 to GTA 6 isn't exactly fair for both companies. On one hand, it was CDPR's first time making that kind of genre of a game and on the other hand, it isn't Rockstar Games first time making a Grand Theft Auto game.

You can't compare Cyberpunk 2077 launch to GTA 6 and here's exactly why Cyberpunk 2077 was the CDPR's first installment to feature a futuristic city with tons of NPCs and fast moving cars, something which was never done before on Witcher games. The gameplay video from Cyberpunk 2077 shown off in 2019 had a clear text showing "work in progress - does not represent the final look of the game" After the launch disaster of Cyberpunk 2077, Marcin Iwiński also explained that the reason the game had so many bugs is that the game was designed for PC first in mind, then scaled down to consoles that still had a hard drive (PS4 and Xbox One) an extremely difficult task on its own, combined with the fact that the game development progress took a major hit during the pandemic. Rockstar Games on the other hand has a much different engine and experience working on large scale open world game filled with tons of NPCs and fast moving cars, including the fact that they're developing this game for current gen consoles first, then scaling it up for a PC release not vice versa. Are we guys suddenly forgetting the fact that Rockstar Games managed to get GTA V running on a PS3 console which had 256mb of VRAM and 256mb of RAM at that time? The reason Rockstar Games has shown zero gameplay of GTA 6 is because historically they save the gameplay showcase before the game launches, GTA 6 Trailer 2 came out in 2025 and all footage for that Trailer was captured on a base PS5 with a mix of gameplay and cutscenes. They'll obviously show off more gameplay on August 27th, but comparing Cyberpunk 2077 to GTA 6 isn't exactly fair for both companies. On one hand, it was CDPR's first time making that kind of genre of a game and on the other hand, it isn't Rockstar Games first time making a Grand Theft Auto game.

NikTek

97,194 Aufrufe • vor 1 Tag

Today, Stern Pinball, Inc., revealed Metallica Remastered – a technologically advanced version of one of Stern Pinball’s greatest hits. Metallica Pinball was originally released in 2013 and is one of the most successful and beloved pinball games ever. Metallica Remastered has elevated the game to the modern era with gameplay, electronics, and presentation improvements. Metallica Remastered pinball games are available now in Premium and Limited Edition (LE) models, along with a full line of accessories available at launch. Metallica Remastered is updated with a full-color LCD display featuring all-new animations and live concert video footage. Stern’s modern Spike 2 electronics will power the gameplay experience. Fans will enjoy expanded gameplay and improved presentation with 22 songs (8 more than the original) and expanded gameplay rules. Cabinet improvements include an Expression Lighting system and 2 all-new art packages by Metallica artist Rhys Cooper. Players will experience the same great flow from the original Metallica playfield layout with geometry and mechanical improvements, new versions of gameplay toys, updated mechanical devices, and new UV lighting effects. Since forming in 1981, Metallica has become one of the most influential and popular bands in musical history. Through their groundbreaking music, electrifying live performances, and a cultural impact that has extended beyond music, Metallica has garnered a massive global following of dedicated fans. Their critical acclaim and influence match the Hall of Fame band’s commercial success in the world of rock music and pinball. Stern Pinball has ensured that extra care and attention to detail has gone into every facet of Metallica Remastered while respecting the timeless classic game created by pinball legends John Borg and Lyman F. Sheats, Jr. The design team, led again by John Borg and software engineer Raymond Davidson, has created a modern version of the original masterpiece. John Borg’s classic playfield architecture has been enhanced with three all-new sculptures: Sparky, the Hammer, new RGB-illuminated Skulls, and a new Metallica logo spell-out on the back panel. Dramatic UV lighting effects have been implemented throughout the playfield and on Sparky, and the game includes numerous quality and durability refinements. The iconic Lyman Sheats rule set has been carefully enhanced to add two new game modes based on Metallica’s two most recent albums, last year’s Grammy-winning 72 Seasons and 2016’s Hardwired…to Self-Destruct, as well as a new “Blackened” Wizard Mode. The Metallica Remastered software also includes numerous refinements throughout and an enhanced illuminated insert array to support the new game rules while preserving the classic gameplay feel from the original. Metallica Remastered features an entirely new suite of presentation elements, including all video content and animations, new sound effects, and over 1,000 new speech calls that include callouts by the band. Eight new Metallica songs have been seamlessly integrated into the game and include new supporting animations, movies, and HD-quality live concert footage selected by the band. The Expression Lighting system for the cabinet and speakers comes standard with the Limited Edition version and is available as an accessory upgrade for Premium models.

Stern Pinball

50,447 Aufrufe • vor 1 Jahr

A Canadian artist built a tiny open-air aircraft and convinced an entire flock of wild geese that he was their mother. Back in 1993, Bill Lishman had a theory that he could teach migratory birds new flight paths from scratch. He started by raising a flock of orphaned Canada geese from the exact moment they hatched. He spent months conditioning the young birds. He got them used to the loud engine noise and the specific shape of his custom ultralight aircraft. When it was time for the birds to head south for the winter, he climbed into the pilot seat and took off from his home in Ontario. The entire flock fell into a perfect V-shaped formation right behind his wings. He led the birds on a multi-day journey across the sky, flying just inches away from them all the way to a wintering ground in Virginia, in the eastern US. He landed, left the birds to settle in, and went back home. The real test came the following spring. Without any guidance or the sound of the aircraft engine to follow, the geese took off from Virginia. They successfully navigated the exact same route and made it all the way back to Canada completely on their own.

A Canadian artist built a tiny open-air aircraft and convinced an entire flock of wild geese that he was their mother. Back in 1993, Bill Lishman had a theory that he could teach migratory birds new flight paths from scratch. He started by raising a flock of orphaned Canada geese from the exact moment they hatched. He spent months conditioning the young birds. He got them used to the loud engine noise and the specific shape of his custom ultralight aircraft. When it was time for the birds to head south for the winter, he climbed into the pilot seat and took off from his home in Ontario. The entire flock fell into a perfect V-shaped formation right behind his wings. He led the birds on a multi-day journey across the sky, flying just inches away from them all the way to a wintering ground in Virginia, in the eastern US. He landed, left the birds to settle in, and went back home. The real test came the following spring. Without any guidance or the sound of the aircraft engine to follow, the geese took off from Virginia. They successfully navigated the exact same route and made it all the way back to Canada completely on their own.

Lemma the Optimist

26,519 Aufrufe • vor 2 Monaten

NVIDIA JUST DROPPED A FREE AI MODEL THAT READS PDFS, WATCHES VIDEOS, LISTENS TO AUDIO, AND UNDERSTANDS YOUR SCREEN SIMULTANEOUSLY. Not one at a time. ALL AT ONCE. In a single pass. It is called Nemotron 3 Nano Omni and it runs 9 times faster than every other multimodal model currently available. Think about what that actually means for how you work. Right now you are switching between tools constantly. One tool for transcribing your call recordings. A different tool for analyzing your client PDFs. Another tool for processing your training videos. A separate workflow for understanding what is happening on your screen. Four tools. Four contexts. Four different outputs you have to manually synthesize into one decision. Nemotron 3 Nano Omni does all of it in one model. One pass. One output. The use cases that just got dramatically simpler: Meeting recordings where you need the transcript, the visual context, and the document references all analyzed together. Training videos where the audio, the slides, and the on-screen demonstrations all feed into one coherent summary. Client PDFs where you need the document content cross-referenced against your screen data and your call notes simultaneously. Sales call transcripts analyzed alongside the proposals and the CRM data in one unified pass. This is not a marginal improvement on existing multimodal models. It is a 9x speed increase on a capability that was already changing how people work. Free. From NVIDIA. Available right now. Bookmark this before everyone catches on. Follow CyrilXBT for every AI capability shift the moment it drops.

NVIDIA JUST DROPPED A FREE AI MODEL THAT READS PDFS, WATCHES VIDEOS, LISTENS TO AUDIO, AND UNDERSTANDS YOUR SCREEN SIMULTANEOUSLY. Not one at a time. ALL AT ONCE. In a single pass. It is called Nemotron 3 Nano Omni and it runs 9 times faster than every other multimodal model currently available. Think about what that actually means for how you work. Right now you are switching between tools constantly. One tool for transcribing your call recordings. A different tool for analyzing your client PDFs. Another tool for processing your training videos. A separate workflow for understanding what is happening on your screen. Four tools. Four contexts. Four different outputs you have to manually synthesize into one decision. Nemotron 3 Nano Omni does all of it in one model. One pass. One output. The use cases that just got dramatically simpler: Meeting recordings where you need the transcript, the visual context, and the document references all analyzed together. Training videos where the audio, the slides, and the on-screen demonstrations all feed into one coherent summary. Client PDFs where you need the document content cross-referenced against your screen data and your call notes simultaneously. Sales call transcripts analyzed alongside the proposals and the CRM data in one unified pass. This is not a marginal improvement on existing multimodal models. It is a 9x speed increase on a capability that was already changing how people work. Free. From NVIDIA. Available right now. Bookmark this before everyone catches on. Follow CyrilXBT for every AI capability shift the moment it drops.

CyrilXBT

37,847 Aufrufe • vor 3 Monaten

JUST IN Elon Musk just dropped the hammer and is suing OpenAI and ChatGPT for straight up stealing everything from the original nonprofit mission he cofounded back in 2015 to keep AI safe for humanity all the way to the trade secrets and Grok level tech they have been swiping from ex xAI folks. Man this saga is straight fire and I love how it is unfolding because Elon is the ONLY dude with the balls the vision and the real skin in the game to actually make this right. Think about it OpenAI kicked off as this open source humanity first nonprofit that Elon poured his own millions into so AI would not turn into some greedy Big Tech monopoly. Then they completely flipped the script went full for profit locked it all down grabbed billions from Microsoft and turned benefit all of humanity into straight up benefit our shareholders and Sam Altman s empire. That aint innovation thats betrayal. Thats stealing a charity right in broad daylight. Elon saw it coming walked away clean built xAI from scratch to chase real truth and maximum curiosity instead of all the censorship and control crap. Now he is hauling them into court to hold their feet to the fire. While everybody else is bending the knee to the AI overlords Elons the one guy standing up for an open safe actually pro human future. Thats exactly why we need more Elons in this world not more Silicon Valley suits turning our whole future into their personal profit machine. The saga keeps rolling and Elons winning the long game. 🚀

JUST IN Elon Musk just dropped the hammer and is suing OpenAI and ChatGPT for straight up stealing everything from the original nonprofit mission he cofounded back in 2015 to keep AI safe for humanity all the way to the trade secrets and Grok level tech they have been swiping from ex xAI folks. Man this saga is straight fire and I love how it is unfolding because Elon is the ONLY dude with the balls the vision and the real skin in the game to actually make this right. Think about it OpenAI kicked off as this open source humanity first nonprofit that Elon poured his own millions into so AI would not turn into some greedy Big Tech monopoly. Then they completely flipped the script went full for profit locked it all down grabbed billions from Microsoft and turned benefit all of humanity into straight up benefit our shareholders and Sam Altman s empire. That aint innovation thats betrayal. Thats stealing a charity right in broad daylight. Elon saw it coming walked away clean built xAI from scratch to chase real truth and maximum curiosity instead of all the censorship and control crap. Now he is hauling them into court to hold their feet to the fire. While everybody else is bending the knee to the AI overlords Elons the one guy standing up for an open safe actually pro human future. Thats exactly why we need more Elons in this world not more Silicon Valley suits turning our whole future into their personal profit machine. The saga keeps rolling and Elons winning the long game. 🚀

ⁿᵉʷˢ Barron Trump 🇺🇸

20,833 Aufrufe • vor 2 Monaten

𝐏𝐥𝐞𝐚𝐬𝐞 𝐰𝐞𝐥𝐜𝐨𝐦𝐞 Unipoly Games 𝐢𝐧𝐭𝐨 Creoplay App . Our new partner is one trailblazing game studio and publisher at the forefront of the Web2 gaming industry! As one of the key players in the gaming realm, the 𝐔𝐧𝐢𝐩𝐨𝐥𝐲 𝐞𝐜𝐨𝐬𝐲𝐬𝐭𝐞𝐦 𝐜𝐨𝐧𝐬𝐢𝐬𝐭𝐬 𝐨𝐟 𝐬𝐞𝐯𝐞𝐫𝐚𝐥 𝐟𝐞𝐚𝐭𝐮𝐫𝐞𝐬, 𝐢𝐞. 𝐆𝐚𝐦𝐞𝐬, 𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐢𝐧𝐠, 𝐒𝐞𝐫𝐯𝐢𝐜𝐞𝐬, 𝐚𝐧𝐝 𝐂𝐨𝐢𝐧. Their studio has birthed game after game, the most notable being 𝐑𝐚𝐢𝐝 𝐅𝐢𝐞𝐥𝐝 𝐈𝐈 - 𝐚 𝐖𝐖𝐈𝐈-𝐭𝐡𝐞𝐦𝐞 𝐦𝐮𝐥𝐭𝐢𝐩𝐥𝐞 𝐩𝐥𝐚𝐲𝐞𝐫 𝐬𝐡𝐨𝐨𝐭𝐢𝐧𝐠 𝐠𝐚𝐦𝐞 in aerial or ground battlefields. Raid Field II was released 3 years ago by also owned by Unipoly. Here's more exciting stats of Raid Field II: • Combat-style game is • 2 Million Downloads • Close to 250,000 active players • Available on PlayStore, App Store, and Steam 𝐖𝐡𝐚𝐭 Unipoly 𝐩𝐚𝐫𝐭𝐧𝐞𝐫𝐬𝐡𝐢𝐩 𝐦𝐞𝐚𝐧𝐬 𝐟𝐨𝐫 $𝐂𝐑𝐄𝐎 Excited would be an understatement as Unipoly and Creo Engine join forces, unleashing a world of potential for both communities. Already sharing the same passion in the Web3 gaming world, both companies' core is deeply rooted in 𝐛𝐫𝐢𝐧𝐠𝐢𝐧𝐠 𝐛𝐞𝐧𝐞𝐟𝐢𝐭𝐬 𝐭𝐨 𝐮𝐬𝐞𝐫𝐬. Other than fantastic WWII gameplay in its full legendary glory, this partnership also unlocks great benefits for the $CREO community: • Increased utility and value for the token. With games of Unipoly caliber joining CreoPlay, the demands and values for $CREO, too, shall grow. • CreoPlay users can dive deep into the ever-expanding universe of immersive and engaging gaming experiences connected through blockchain technology. • Unipoly is also a big believer in bringing Web2 and Web3 games together as they, too, have transitioned along the way. With CreoDapps as a converter tool in Creo Engine, this will open a significant influx of Web2 developers for both communities. • The trust shown by Unipoly in this partnership further proves the strength and potential of our ecosystem. We’re particularly excited about the 𝐦𝐞𝐫𝐠𝐢𝐧𝐠 𝐨𝐟 𝐛𝐨𝐭𝐡 𝐜𝐨𝐦𝐦𝐮𝐧𝐢𝐭𝐢𝐞𝐬, where players of Raid Field and other Unipoly games cross over to Creo Community to explore other Web3 games available. By opening the CreoPlay gate to a community of UniPoly caliber, we are essentially increasing the traffic to the Marketplace for NFTs trading, the asset interoperability feature, and 𝐮𝐥𝐭𝐢𝐦𝐚𝐭𝐞𝐥𝐲 𝐭𝐡𝐞 𝐮𝐭𝐢𝐥𝐢𝐭𝐲 𝐨𝐟 $𝐂𝐑𝐄𝐎. Note that Unipoly NFTs are currently in the cooking and will soon be available for fans. So, get ready to enter the war battlefields, Creotizens! Head to for more information! This is just the beginning for $CREO, more similar partnership will follow soon! Stay peeled on as your best Web3 gaming platform!

𝐏𝐥𝐞𝐚𝐬𝐞 𝐰𝐞𝐥𝐜𝐨𝐦𝐞 Unipoly Games 𝐢𝐧𝐭𝐨 Creoplay App . Our new partner is one trailblazing game studio and publisher at the forefront of the Web2 gaming industry! As one of the key players in the gaming realm, the 𝐔𝐧𝐢𝐩𝐨𝐥𝐲 𝐞𝐜𝐨𝐬𝐲𝐬𝐭𝐞𝐦 𝐜𝐨𝐧𝐬𝐢𝐬𝐭𝐬 𝐨𝐟 𝐬𝐞𝐯𝐞𝐫𝐚𝐥 𝐟𝐞𝐚𝐭𝐮𝐫𝐞𝐬, 𝐢𝐞. 𝐆𝐚𝐦𝐞𝐬, 𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐢𝐧𝐠, 𝐒𝐞𝐫𝐯𝐢𝐜𝐞𝐬, 𝐚𝐧𝐝 𝐂𝐨𝐢𝐧. Their studio has birthed game after game, the most notable being 𝐑𝐚𝐢𝐝 𝐅𝐢𝐞𝐥𝐝 𝐈𝐈 - 𝐚 𝐖𝐖𝐈𝐈-𝐭𝐡𝐞𝐦𝐞 𝐦𝐮𝐥𝐭𝐢𝐩𝐥𝐞 𝐩𝐥𝐚𝐲𝐞𝐫 𝐬𝐡𝐨𝐨𝐭𝐢𝐧𝐠 𝐠𝐚𝐦𝐞 in aerial or ground battlefields. Raid Field II was released 3 years ago by also owned by Unipoly. Here's more exciting stats of Raid Field II: • Combat-style game is • 2 Million Downloads • Close to 250,000 active players • Available on PlayStore, App Store, and Steam 𝐖𝐡𝐚𝐭 Unipoly 𝐩𝐚𝐫𝐭𝐧𝐞𝐫𝐬𝐡𝐢𝐩 𝐦𝐞𝐚𝐧𝐬 𝐟𝐨𝐫 $𝐂𝐑𝐄𝐎 Excited would be an understatement as Unipoly and Creo Engine join forces, unleashing a world of potential for both communities. Already sharing the same passion in the Web3 gaming world, both companies' core is deeply rooted in 𝐛𝐫𝐢𝐧𝐠𝐢𝐧𝐠 𝐛𝐞𝐧𝐞𝐟𝐢𝐭𝐬 𝐭𝐨 𝐮𝐬𝐞𝐫𝐬. Other than fantastic WWII gameplay in its full legendary glory, this partnership also unlocks great benefits for the $CREO community: • Increased utility and value for the token. With games of Unipoly caliber joining CreoPlay, the demands and values for $CREO, too, shall grow. • CreoPlay users can dive deep into the ever-expanding universe of immersive and engaging gaming experiences connected through blockchain technology. • Unipoly is also a big believer in bringing Web2 and Web3 games together as they, too, have transitioned along the way. With CreoDapps as a converter tool in Creo Engine, this will open a significant influx of Web2 developers for both communities. • The trust shown by Unipoly in this partnership further proves the strength and potential of our ecosystem. We’re particularly excited about the 𝐦𝐞𝐫𝐠𝐢𝐧𝐠 𝐨𝐟 𝐛𝐨𝐭𝐡 𝐜𝐨𝐦𝐦𝐮𝐧𝐢𝐭𝐢𝐞𝐬, where players of Raid Field and other Unipoly games cross over to Creo Community to explore other Web3 games available. By opening the CreoPlay gate to a community of UniPoly caliber, we are essentially increasing the traffic to the Marketplace for NFTs trading, the asset interoperability feature, and 𝐮𝐥𝐭𝐢𝐦𝐚𝐭𝐞𝐥𝐲 𝐭𝐡𝐞 𝐮𝐭𝐢𝐥𝐢𝐭𝐲 𝐨𝐟 $𝐂𝐑𝐄𝐎. Note that Unipoly NFTs are currently in the cooking and will soon be available for fans. So, get ready to enter the war battlefields, Creotizens! Head to for more information! This is just the beginning for $CREO, more similar partnership will follow soon! Stay peeled on as your best Web3 gaming platform!

Creo Engine

176,873 Aufrufe • vor 2 Jahren

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

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

Naru

55,609 Aufrufe • vor 6 Monaten

🚨 This tool just made every AI coding plugin look outdated. Cline CLI 2.0 is a completely rebuilt, open-source AI coding agent that runs entirely in the terminal. Model-agnostic, editor-agnostic, Apache 2.0 licensed, and trusted by over 5 million developers. Same core engine as the VS Code extension rebuilt for how serious development actually happens. The new interactive UI feels genuinely native. Redesigned navigation, real-time agent reasoning, model switching mid-session, all without leaving the terminal. Parallel agents let multiple Cline instances run across tmux panes simultaneously, each with fully isolated state, working different tasks on different branches without conflicts. Headless mode with the `-y` flag plugs Cline directly into CI/CD pipelines, pipe a git diff in, get a code review out. And the `--acp` flag connects to Zed, Neovim, Emacs, and any ACP-compatible editor, so there's no forced editor choice. At launch, Minimax M2.5 and Kimi K2.5 are completely free. No API key. No credit card. Zero barrier to try it. `npm install -g cline` Docs → GitHub → The future of AI coding isn't a plugin. It's infrastructure.

🚨 This tool just made every AI coding plugin look outdated. Cline CLI 2.0 is a completely rebuilt, open-source AI coding agent that runs entirely in the terminal. Model-agnostic, editor-agnostic, Apache 2.0 licensed, and trusted by over 5 million developers. Same core engine as the VS Code extension rebuilt for how serious development actually happens. The new interactive UI feels genuinely native. Redesigned navigation, real-time agent reasoning, model switching mid-session, all without leaving the terminal. Parallel agents let multiple Cline instances run across tmux panes simultaneously, each with fully isolated state, working different tasks on different branches without conflicts. Headless mode with the `-y` flag plugs Cline directly into CI/CD pipelines, pipe a git diff in, get a code review out. And the `--acp` flag connects to Zed, Neovim, Emacs, and any ACP-compatible editor, so there's no forced editor choice. At launch, Minimax M2.5 and Kimi K2.5 are completely free. No API key. No credit card. Zero barrier to try it. `npm install -g cline` Docs → GitHub → The future of AI coding isn't a plugin. It's infrastructure.

AI Frontliner

60,126 Aufrufe • vor 6 Monaten

SOMEONE JUST MADE TRAVEL AGENCIES OBSOLETE A guy walked through London with a camera on his head, uploaded a file, and now anyone on the planet can walk those same streets right in their browser without a ticket, hotel, or visa. Click -> you're there. Every cobblestone, every brick, every shadow between the buildings - exactly as it is in real life. The numbers break your brain: - Average London trip: $2,000-5,000 - Cost to make this scan: ~$200 - File size: smaller than a Netflix episode — File size: smaller than a Netflix episode The science is even wilder. It's called 3D Gaussian Splatting - instead of polygons like in video games, it uses millions of tiny glowing "splats" of color and depth, and AI reconstructs reality straight from your photos. The result opens on your phone and feels like teleportation. And the business opportunity is completely insane. People are already charging $500–2,000 per location for hotels, museums, restaurants, architecture firms - everyone wants this and almost nobody knows how to do it yet. One phone and one day in a city creates content that lives forever, and the whole thing is open source. London is no longer across the ocean. It's in your browser tab.

SOMEONE JUST MADE TRAVEL AGENCIES OBSOLETE A guy walked through London with a camera on his head, uploaded a file, and now anyone on the planet can walk those same streets right in their browser without a ticket, hotel, or visa. Click -> you're there. Every cobblestone, every brick, every shadow between the buildings - exactly as it is in real life. The numbers break your brain: - Average London trip: $2,000-5,000 - Cost to make this scan: ~$200 - File size: smaller than a Netflix episode — File size: smaller than a Netflix episode The science is even wilder. It's called 3D Gaussian Splatting - instead of polygons like in video games, it uses millions of tiny glowing "splats" of color and depth, and AI reconstructs reality straight from your photos. The result opens on your phone and feels like teleportation. And the business opportunity is completely insane. People are already charging $500–2,000 per location for hotels, museums, restaurants, architecture firms - everyone wants this and almost nobody knows how to do it yet. One phone and one day in a city creates content that lives forever, and the whole thing is open source. London is no longer across the ocean. It's in your browser tab.

Noisy

14,806 Aufrufe • vor 3 Monaten

TeamSESH is dq'd from Challenger Series after qualifying for the event Q4 Game 1 enemy team protests for Kixa's moss based on the attached video as "proof of cheating". One of the guys on the other team admitted to us in dms that the protest was just cuz they were mad they lost. Head admin pauses our next game and makes us open a ticket; he requests moss from each of us. None of us had it for this first game because we agreed with the other team to not run it prior to the game (aforementioned player who dm'd Kixa was his friend). He then requests moss from all of us from our entire qual. I did not run moss on every game, given some games were against ppl I have played a thousand times and did not feel the need. Regardless this disqualification was from me not running moss for this qualifier. The admins did not care that we had provided dozens of previous moss files from our recent win in XGS and OCS. I understand that they felt they must make this ruling in order to stay in line with their rule book. I still feel that the way in which this was conducted was not within their own rule book given scrupulous evidence and requiring us all to provide moss for the report of one player. Regardless, I was in the wrong for not running it and have to accept that I costed my teams ability to show how hard we worked for this. Everyone with half a brain knows that we do not cheat. Major apologies to everyone that was waiting to see what we could do. We appreciate your support and we will not let a mistake define who we are.

TeamSESH is dq'd from Challenger Series after qualifying for the event Q4 Game 1 enemy team protests for Kixa's moss based on the attached video as "proof of cheating". One of the guys on the other team admitted to us in dms that the protest was just cuz they were mad they lost. Head admin pauses our next game and makes us open a ticket; he requests moss from each of us. None of us had it for this first game because we agreed with the other team to not run it prior to the game (aforementioned player who dm'd Kixa was his friend). He then requests moss from all of us from our entire qual. I did not run moss on every game, given some games were against ppl I have played a thousand times and did not feel the need. Regardless this disqualification was from me not running moss for this qualifier. The admins did not care that we had provided dozens of previous moss files from our recent win in XGS and OCS. I understand that they felt they must make this ruling in order to stay in line with their rule book. I still feel that the way in which this was conducted was not within their own rule book given scrupulous evidence and requiring us all to provide moss for the report of one player. Regardless, I was in the wrong for not running it and have to accept that I costed my teams ability to show how hard we worked for this. Everyone with half a brain knows that we do not cheat. Major apologies to everyone that was waiting to see what we could do. We appreciate your support and we will not let a mistake define who we are.

TK

110,531 Aufrufe • vor 5 Monaten

Are game developers doomed? Claude Fable 5 just did 6 years of my work in an afternoon. I don't think game developers are doomed. But our industry is about to change faster than almost anyone expects and I just watched it happen with my own game. Let me give you a concrete example. I started building Moonga when I was 17. After high school, I took a gap year before university and spent the whole year building the first version an online trading card game, back when web games were still in their infancy. It wasn't perfect. It was the work of a young developer. But it worked, people played it, and it proved the concept. In 2008 I rebuilt it from scratch, created a company, hired a team, modernized rules, redesigned experience, and we spent about a year and a half of work for an iPhone version. We launched on the App Store in 2010. Over the years we invested close to a million dollars. The game became especially successful in Japan and developed a loyal community. Ironically, our biggest challenge was never creating content it was maintaining the technology. Back then, iOS and Android meant separate codebases. A web version meant a third. Every feature, every bug fix, every improvement had to be duplicated across platforms. The maintenance cost was enormous. Fast-forward to today. I gave Claude Fable 5 the complete source code of Moonga roughly 500 cards, each with its own abilities and gameplay logic. It's years of accumulated game rules, edge cases, and design decisions. Five or six hours later, I had a fully playable version running on a modern multiplatform stack. One codebase. Web. Mobile. Modern architecture. A few more prompts and I was polishing interface and gameplay. It's not production-ready I could spend another week on animations, UX, and visual polish. But that's not the point. The point is this: years of accumulated development knowledge were enough for Fable 5 to recreate the entire game on a modern stack in a single afternoon. That doesn't erase the original work. Someone still had to invent the mechanics, balance 500 cards, design the systems, create the assets, ship the first implementation. But once that knowledge existed, rebuilding it became almost free. That's the real shift. The cost of implementing software is collapsing. The value is moving toward ideas, game design, content, world-building, community, and taste. We're entering an era where a small team or even a single developer can build what used to take dozens of engineers. For game developers, that's both terrifying and exciting. The question is no longer "Can I build this?" It's "What should I build, now that implementation is no longer the bottleneck?"

Are game developers doomed? Claude Fable 5 just did 6 years of my work in an afternoon. I don't think game developers are doomed. But our industry is about to change faster than almost anyone expects and I just watched it happen with my own game. Let me give you a concrete example. I started building Moonga when I was 17. After high school, I took a gap year before university and spent the whole year building the first version an online trading card game, back when web games were still in their infancy. It wasn't perfect. It was the work of a young developer. But it worked, people played it, and it proved the concept. In 2008 I rebuilt it from scratch, created a company, hired a team, modernized rules, redesigned experience, and we spent about a year and a half of work for an iPhone version. We launched on the App Store in 2010. Over the years we invested close to a million dollars. The game became especially successful in Japan and developed a loyal community. Ironically, our biggest challenge was never creating content it was maintaining the technology. Back then, iOS and Android meant separate codebases. A web version meant a third. Every feature, every bug fix, every improvement had to be duplicated across platforms. The maintenance cost was enormous. Fast-forward to today. I gave Claude Fable 5 the complete source code of Moonga roughly 500 cards, each with its own abilities and gameplay logic. It's years of accumulated game rules, edge cases, and design decisions. Five or six hours later, I had a fully playable version running on a modern multiplatform stack. One codebase. Web. Mobile. Modern architecture. A few more prompts and I was polishing interface and gameplay. It's not production-ready I could spend another week on animations, UX, and visual polish. But that's not the point. The point is this: years of accumulated development knowledge were enough for Fable 5 to recreate the entire game on a modern stack in a single afternoon. That doesn't erase the original work. Someone still had to invent the mechanics, balance 500 cards, design the systems, create the assets, ship the first implementation. But once that knowledge existed, rebuilding it became almost free. That's the real shift. The cost of implementing software is collapsing. The value is moving toward ideas, game design, content, world-building, community, and taste. We're entering an era where a small team or even a single developer can build what used to take dozens of engineers. For game developers, that's both terrifying and exciting. The question is no longer "Can I build this?" It's "What should I build, now that implementation is no longer the bottleneck?"

Shaban Shaame

34,442 Aufrufe • vor 1 Monat

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

37,835 Aufrufe • vor 1 Jahr

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

Rassoul Edji

83,554 Aufrufe • vor 1 Jahr

One of my goals when I decided to expand the concept of the Sweet Baby Inc. detected curator page on Steam was also to help promote good developers that understood and agreed with the message that we gamers, the ones that buy their products, deserve respect and also good games without being lectured on real life political ideologies. The very first one that I RECOMMENDED on my curator page was The Great Rebellion, a game made by the Kvltgames - Wishlist Dverghold on Steam! guys, and these guys are now working on a new project Hyper Rebellion: Blood & Circuits is the name of their next game. Basically it's a horde shooter bin classic isometric top down style that looks straight from the 90s like Fallout 2 and Diablo, but with guns! (which in my opinion make things much better, if you ask me) Kvltgames - Wishlist Dverghold on Steam! is a 100% self-funded indie team, just a bunch gamers doing what they love: making video games, and they got no publisher, no compromises and always guaranteed DEI-free. They are going through a crowdfunding campaign right now for 45 days. Currently they are pushing for €10k as the next partial goal, with a final goal of €45k - all the donated funds will be used for the game development, doesn’t matter how much the campaign raise in the end. Click the link to check the campaign and consider making a donation today! Let's see this game happening!

One of my goals when I decided to expand the concept of the Sweet Baby Inc. detected curator page on Steam was also to help promote good developers that understood and agreed with the message that we gamers, the ones that buy their products, deserve respect and also good games without being lectured on real life political ideologies. The very first one that I RECOMMENDED on my curator page was The Great Rebellion, a game made by the Kvltgames - Wishlist Dverghold on Steam! guys, and these guys are now working on a new project Hyper Rebellion: Blood & Circuits is the name of their next game. Basically it's a horde shooter bin classic isometric top down style that looks straight from the 90s like Fallout 2 and Diablo, but with guns! (which in my opinion make things much better, if you ask me) Kvltgames - Wishlist Dverghold on Steam! is a 100% self-funded indie team, just a bunch gamers doing what they love: making video games, and they got no publisher, no compromises and always guaranteed DEI-free. They are going through a crowdfunding campaign right now for 45 days. Currently they are pushing for €10k as the next partial goal, with a final goal of €45k - all the donated funds will be used for the game development, doesn’t matter how much the campaign raise in the end. Click the link to check the campaign and consider making a donation today! Let's see this game happening!

Kabrutus

59,044 Aufrufe • vor 1 Jahr

Excited to show some surprising inventions on generative multiplayer games we made at Google with Stanford. We call the work MultiGen. I've always been inspired by early studios like id Software with Doom or Blizzard with Warcraft bringing networked video games to the next level. We are at the point in history where we can make strides like them, but for generative games. It's a strange feeling to be in the age of generative video games while still discovering how exactly to train the models and design the tools that make them useful. All of the tools that have been invented for classic game engines need to be redesigned for generative games. For example level and world design is not entirely possible with existing technology. We introduce editable memory to diffusion game engines that allow for design of new levels via a minimap. But we can easily imagine how this can be expanded with different creation tools. The end goal of this research direction is to allow game designers to be able to guide the generation process of their world, at the granularity that they prefer. Editable memory also allows us to add multiplayer to Generative Doom. We were amazed when we saw GameNGen some years ago, and now you can play it live with friends in real-time, on your couch or even online. Shared representations like our editable memory seem like the future for this type of experience. Models are, in some cases, expensive and approximate encoders but great interpolators and extrapolators. Leveraging their strengths lets you have completely new experiences that can be realized now and not in the distant future. This work was started at my previous team and continued in collaboration with Stanford. Congratulations to all for the discoveries.

Excited to show some surprising inventions on generative multiplayer games we made at Google with Stanford. We call the work MultiGen. I've always been inspired by early studios like id Software with Doom or Blizzard with Warcraft bringing networked video games to the next level. We are at the point in history where we can make strides like them, but for generative games. It's a strange feeling to be in the age of generative video games while still discovering how exactly to train the models and design the tools that make them useful. All of the tools that have been invented for classic game engines need to be redesigned for generative games. For example level and world design is not entirely possible with existing technology. We introduce editable memory to diffusion game engines that allow for design of new levels via a minimap. But we can easily imagine how this can be expanded with different creation tools. The end goal of this research direction is to allow game designers to be able to guide the generation process of their world, at the granularity that they prefer. Editable memory also allows us to add multiplayer to Generative Doom. We were amazed when we saw GameNGen some years ago, and now you can play it live with friends in real-time, on your couch or even online. Shared representations like our editable memory seem like the future for this type of experience. Models are, in some cases, expensive and approximate encoders but great interpolators and extrapolators. Leveraging their strengths lets you have completely new experiences that can be realized now and not in the distant future. This work was started at my previous team and continued in collaboration with Stanford. Congratulations to all for the discoveries.

Nataniel Ruiz

104,703 Aufrufe • vor 5 Monaten

🏃 Movement + Animation Update: Following feedback on the Official Trailer from December, we've been further tuning and polishing Stuffy's movement to make it more responsive and fluid. We hope this video is a promising glimpse of our much-requested progress in this area! What's New? - Stuffy is now ~10% smaller, granting more playable space and control (to accurately fit inside of a 'layered' segment, land tight jumps, etc.) - Stuffy's run speed was increased, and with better acceleration. - Stuffy now reacts to 'extreme' rising and falling velocities, so they'll flail around dramatically when popping out of a Blink Bubble, bouncing on a Trampoline, or falling from big jumps. - We've updated and added all-new animations and the method of blending them. This includes animations for idle jump and land, running jump and land, quick turn while running, and more. - We've increased Stuffy's max jump height, strength, and overall weight. - We've also increased the global gravity for less floaty physics. - A more visible drop shadow was added to help judge landing. Why these changes? From our own testing and public feedback, we realized the physics were not properly tuned after a big refactoring made in 2023... resulting in a floaty look. Sadly, the fixes weren't investigated in time for the trailer! Our goal was always to improve the animation blending and movement style. Thanks to your feedback, we were able to pinpoint the biggest problems and begin fixing them. 💖 Our work isn't done! You'll notice some bugs in the video. 🐞 We plan to continue polishing the movement with time, including new animations that help Stuffy react to the environment even better. However, this is a step in the right direction and it feels much nicer to use (and look at)! You'll also spot some of the Wardrobe in action!

🏃 Movement + Animation Update: Following feedback on the Official Trailer from December, we've been further tuning and polishing Stuffy's movement to make it more responsive and fluid. We hope this video is a promising glimpse of our much-requested progress in this area! What's New? - Stuffy is now ~10% smaller, granting more playable space and control (to accurately fit inside of a 'layered' segment, land tight jumps, etc.) - Stuffy's run speed was increased, and with better acceleration. - Stuffy now reacts to 'extreme' rising and falling velocities, so they'll flail around dramatically when popping out of a Blink Bubble, bouncing on a Trampoline, or falling from big jumps. - We've updated and added all-new animations and the method of blending them. This includes animations for idle jump and land, running jump and land, quick turn while running, and more. - We've increased Stuffy's max jump height, strength, and overall weight. - We've also increased the global gravity for less floaty physics. - A more visible drop shadow was added to help judge landing. Why these changes? From our own testing and public feedback, we realized the physics were not properly tuned after a big refactoring made in 2023... resulting in a floaty look. Sadly, the fixes weren't investigated in time for the trailer! Our goal was always to improve the animation blending and movement style. Thanks to your feedback, we were able to pinpoint the biggest problems and begin fixing them. 💖 Our work isn't done! You'll notice some bugs in the video. 🐞 We plan to continue polishing the movement with time, including new animations that help Stuffy react to the environment even better. However, this is a step in the right direction and it feels much nicer to use (and look at)! You'll also spot some of the Wardrobe in action!

Restitched 🧵🧸

17,118 Aufrufe • vor 1 Jahr