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OF 2D Perfection: Now with Full Audio Experience! Why settle for just visuals when you can have the full package? 🎬💦 Support: 2D Artist: Hagen Toons 🔞 Audrey: Mimi Hung 💚🌷🔞NSFW VA and Sound Designer Maty: 𝔾𝕚𝕟𝕒 𝔾𝕒𝕝𝕠𝕣𝕖✨🔞 Guys: TheDickMagus 🪄 COMMISSIONS OPEN Tags: #originalcharacterart #voiceacted #soundon #2danimation #NSFW

🔞 AgnesTachyon🔞

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THIS GUY VIBE CODED A FULL CAPYBARA FOOD DELIVERY GAME IN 2 WEEKS WITH CLAUDE CODE you play as a capybara delivering food on a bike. orders stack on the back, you have a phone with apps in-game and the whole delivery system is realistic 2 weeks, zero game dev experience, and ENTIRELY AI generated the full stack: > claude code for all the code > three.js for the 3D engine > suno for original music > elevenlabs for sound effects and voice > GPT images-2 and grok for textures and illustrations > tripo3d for generating all the 3D assets the cinematics are all in-game too. he asked claude to build a cinematic editor with timeline controls, camera animation, and transitions. then he just placed the cameras himself his workflow was more planning than coding (obviously): > come up with the core mechanic > plan every feature using claude /plan mode > generate assets with AI tools > spend most of his time on the final polish, prop placement, and making the design feel right he said the human part is what most vibe coded games are missing. AI can generate everything but having taste for what looks good and what feels right is still on you the game is playable right now in the browser this is what vibe coding is actually capable of in the game dev space right now a year ago this would have taken a small team of developers, a sound designer, and an artist working together for months now one person with no experience can ship a polished playable game with story, music, and mechanics in 14 days the tools keep getting better and the barrier to making real games keeps getting lower

THIS GUY VIBE CODED A FULL CAPYBARA FOOD DELIVERY GAME IN 2 WEEKS WITH CLAUDE CODE you play as a capybara delivering food on a bike. orders stack on the back, you have a phone with apps in-game and the whole delivery system is realistic 2 weeks, zero game dev experience, and ENTIRELY AI generated the full stack: > claude code for all the code > three.js for the 3D engine > suno for original music > elevenlabs for sound effects and voice > GPT images-2 and grok for textures and illustrations > tripo3d for generating all the 3D assets the cinematics are all in-game too. he asked claude to build a cinematic editor with timeline controls, camera animation, and transitions. then he just placed the cameras himself his workflow was more planning than coding (obviously): > come up with the core mechanic > plan every feature using claude /plan mode > generate assets with AI tools > spend most of his time on the final polish, prop placement, and making the design feel right he said the human part is what most vibe coded games are missing. AI can generate everything but having taste for what looks good and what feels right is still on you the game is playable right now in the browser this is what vibe coding is actually capable of in the game dev space right now a year ago this would have taken a small team of developers, a sound designer, and an artist working together for months now one person with no experience can ship a polished playable game with story, music, and mechanics in 14 days the tools keep getting better and the barrier to making real games keeps getting lower

Om Patel

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Vibe Coding 3D Garment Software with ThreeJS : A Small Step For Me So, after modeling the human i did what any reasonable vibe coder would do, i asked codex how to get clothes for my models After it was done running subliminal ad campaigns for Marvelous Designer and CLO 3D, i asked it to explain their architecture to me and adapt it to my threejs app. Guess what it did? You damn right, it built the most basic shit interpretation you can think of. And this is the average interaction the Anti-AI coders have until they conclude that AI is slop and/or it can only work if you micro manage it on every line of code. Well, eons of humanities knowledge are now packaged in tiny silicon and transferred across the globe in realtime, available on tap. So anyways i just iterated quite a lot over it, told it repeatedly why it was bad (the initial one used rapier physics and a naive cloth simulation) We found out together that: 1. A ground truth document model is needed 2. The visual mesh in 3D should be triangulated from the 2D shape 3. The physical object is running independently through different solvers: - A fast proxy which is generated by reading all the bones in runtime and just inflating these areas with spheres and capsules - A medium quality proxy which resamples the human model and creates a lower-poly mesh for simulations - Full mesh simulation (can't run it, every simulation tick takes about 5 minutes on my machine) It ended the session by telling me that this is still crap because it runs everything on CPU (thanks, not that i care, but i guess we'll be fixing that?) Oh yea also built a 2D canvas editor with boolean operations so i can build cool stuff like ponchos. It also allows me to mark stitches between two objects, which is how the shirt in the video pulls towards the other half. The garment's properties and materials are not yet exposed, yes i know it looks very stiff like a poncho made from a persian rug, we're working on it, okay? So, yea, tbh this is another endless rabbit hole, let's go i guess

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robot

38,935 Aufrufe • vor 3 Monaten

Q. SEVENTEEN has been active for so long, if they already have so many experience, shouldn't they be able to take things easier? 🕺🏻: It's because they don't want to. They themselves don't like it. That's why people say "There's a reason they've lasted this long". Even now, SEVENTEEN members like HOSHI and DINO keep contacting me like this, "Hyung, are you working on our choreography right now?", "Hyung, should I go to the practice room?", "Should I film the demo?". They're the artist, but they're saying they'll film the demo themselves. So I actually have to stop them like, "Hey, don't come. The dancers will feel uncomfortable, and I feel pressured with you watching too". They're still full of passion to the point I have to tell them not to come, they haven't changed at all. I usually don't say these kind of things in front of them, You know how guys usually have that thing where you don't like to say "you're amazing" or stuff like that openly, especially when you're really close. But truly, as a person, I really respect/admire them. Woah, how can they become this famous and successful, yet still consistently maintain their humility and diligence? That's what I admire so much from them. Simply put, they didn't let success get into their head and become complacent, and that mindset comes through their energy of their performances #SEVENTEEN #세븐틴

Q. SEVENTEEN has been active for so long, if they already have so many experience, shouldn't they be able to take things easier? 🕺🏻: It's because they don't want to. They themselves don't like it. That's why people say "There's a reason they've lasted this long". Even now, SEVENTEEN members like HOSHI and DINO keep contacting me like this, "Hyung, are you working on our choreography right now?", "Hyung, should I go to the practice room?", "Should I film the demo?". They're the artist, but they're saying they'll film the demo themselves. So I actually have to stop them like, "Hey, don't come. The dancers will feel uncomfortable, and I feel pressured with you watching too". They're still full of passion to the point I have to tell them not to come, they haven't changed at all. I usually don't say these kind of things in front of them, You know how guys usually have that thing where you don't like to say "you're amazing" or stuff like that openly, especially when you're really close. But truly, as a person, I really respect/admire them. Woah, how can they become this famous and successful, yet still consistently maintain their humility and diligence? That's what I admire so much from them. Simply put, they didn't let success get into their head and become complacent, and that mindset comes through their energy of their performances #SEVENTEEN #세븐틴

svt contents

42,195 Aufrufe • vor 2 Monaten

#MilkPansa #mimiv #GirlRulesSeries 💚: Let me explain this first, Shasha as a character has always been very clear about who she is. She’s someone who loves freedom, really loves living freely. And when it comes to being in a relationship with someone, it takes time to think about it and to test her own feelings too. Another thing is, Shasha is single right now. Anyone who’s watched since Ep.1 would know that Shasha is single. She and Gorya only have an agreement, and it’s not related to a relationship. They never agreed to date in the first place. So in my opinion, Gorya is single and Shasha is single. They’re not in a committed relationship. Anyone who has watched the series would know that Shasha has been chasing Gorya a lot, right? But Gorya doesn’t like Shasha like that. So i think they’re both single and free. Neither of them is tied down, they can do whatever they want, that’s basically it. And when Shasha said she wanted to be friends, she genuinely wanted to be friends, just like you guys saw. For anyone who just started watching and might feel confused like “Why is Shasha like this? Why does she go around doing this or that?” i recommend going back to watch Ep.1. If you still don’t understand, you can watch the full version on iQIYI, it should explain the relationship between the two of them more clearly.

#MilkPansa #mimiv #GirlRulesSeries 💚: Let me explain this first, Shasha as a character has always been very clear about who she is. She’s someone who loves freedom, really loves living freely. And when it comes to being in a relationship with someone, it takes time to think about it and to test her own feelings too. Another thing is, Shasha is single right now. Anyone who’s watched since Ep.1 would know that Shasha is single. She and Gorya only have an agreement, and it’s not related to a relationship. They never agreed to date in the first place. So in my opinion, Gorya is single and Shasha is single. They’re not in a committed relationship. Anyone who has watched the series would know that Shasha has been chasing Gorya a lot, right? But Gorya doesn’t like Shasha like that. So i think they’re both single and free. Neither of them is tied down, they can do whatever they want, that’s basically it. And when Shasha said she wanted to be friends, she genuinely wanted to be friends, just like you guys saw. For anyone who just started watching and might feel confused like “Why is Shasha like this? Why does she go around doing this or that?” i recommend going back to watch Ep.1. If you still don’t understand, you can watch the full version on iQIYI, it should explain the relationship between the two of them more clearly.

sᴀᴘᴘʜᴏʀɪᴀ #แม่น้องกอหญ้า🍷

69,817 Aufrufe • vor 4 Monaten

Rick Rubin: "Make what you love, not what you think people will like" "If you want to live in a creative way, which will benefit everything in your life, be a better person in your family, do a better job starting a new business, it's all the same. I don't really know anything about music. It's more a way of looking at the world and wanting it to be the best it could possibly be. And doing whatever it takes to be the best it could possibly be." Rubin shares how his career happened: "From the beginning, I never thought any of the things I'm doing were possible or realistic. I just did things out of the love of them, thinking I would have real jobs. That my passion would be my hobby, and I'd have a job to support my hobby. And it just magically turned out different than that without me knowing it was possible." On why some things connect and others don't: "The stars line up at certain times for certain things to happen. Sometimes you can make something great, and it doesn't connect for whatever reason. Sometimes you make two things you think are the two best things you've ever made. One of them connects with the world. One of them doesn't. And it might not have anything to do with what's in the art. It might be that it came out the same day as something else. Or there was a bigger story at the time. There's so much to it that we don't understand." He continues: "All we can do is make something good and put it out and hope for the best. That's all there is. We never know why things work. Even if you make a piece of art and it works, you may not know why." On talent versus work ethic: "There are a lot of talented people who never make it because they don't have the work ethic. It's not just talent, talent's a piece. And you could argue for some people, the work ethic trumps the talent." Rubin explains what real collaboration is: "Having worked with a lot of bands, I see there's often this friction where people are trying to get their idea in. That's not a collaboration. A real collaboration is when everyone who's there is working together towards whatever is the best thing for the whole. Whether it's your idea or someone else's idea, it doesn't matter. If you're invested in the collaboration, you want the best idea to win. You don't want your idea to win." On what makes art great: "What makes it great is the personal. With all of its imperfections. With all of its quirkiness. That's what makes it great. How you see the world that's different from how everyone else sees the world. That's why you're an artist. That's your purpose in sharing your work with the world." He warns against being derivative: "There are these derivative voices where they're finding what they think other people want to hear, and they start saying it because they've heard other people say similar things that are now successful. Even if they have some short-term success doing that, it's not revolutionary. It doesn't change the world. It doesn't last. The people who you first see and you might not like that you come to like because you don't understand them at first, those are the ones that change the world. Those are the ones you dedicate your fandom to for life." Rubin shares his philosophy on taste: "You can't second-guess your own taste for what someone else is going to like. We're not smart enough to know what someone else is going to like. To make something thinking, 'Well, I don't really like it, but I think this group of people will like it,' it's a bad way to play the game of music or art. You have to do what's personal to you. Take it as far as you can go. Really push the boundaries. And people will resonate with it if they're supposed to resonate with it." He describes creativity as catching waves: "We're really talking about magic. The universe conspiring on our behalf if we let it. Being in this flow of catching these waves that anyone can catch. If you're trying to catch it, you're open to it, you see it coming, you take off on every chance you get. And sometimes the ride happens. It's remarkable how it happens. It doesn't come from preconception. It's not an idea. It's through the doing." Rubin explains how ideas exist in the universe: "Have you ever had that experience where you have an idea for something, you don't do it, and then six months later you see someone else has done it? It's not because they took your idea. It's that it's time for that, and you can act on it or not. The best artists are the ones who have the best antenna for this material that's available. It's coming through. The best comedians see the best jokes. They see them coming. We all live in the same world; the way you see it, you have the best joke because you see it best." He closes with how to stay open: "If we listen to what's going on around us, you can overhear a conversation in a coffee shop, and it is the setup for an idea you're working on. You hear a phrase you don't commonly use. My experience is: when you are open and looking for these clues in the world, they're happening all the time. And they're happening often right when you need them."

Rick Rubin: "Make what you love, not what you think people will like" "If you want to live in a creative way, which will benefit everything in your life, be a better person in your family, do a better job starting a new business, it's all the same. I don't really know anything about music. It's more a way of looking at the world and wanting it to be the best it could possibly be. And doing whatever it takes to be the best it could possibly be." Rubin shares how his career happened: "From the beginning, I never thought any of the things I'm doing were possible or realistic. I just did things out of the love of them, thinking I would have real jobs. That my passion would be my hobby, and I'd have a job to support my hobby. And it just magically turned out different than that without me knowing it was possible." On why some things connect and others don't: "The stars line up at certain times for certain things to happen. Sometimes you can make something great, and it doesn't connect for whatever reason. Sometimes you make two things you think are the two best things you've ever made. One of them connects with the world. One of them doesn't. And it might not have anything to do with what's in the art. It might be that it came out the same day as something else. Or there was a bigger story at the time. There's so much to it that we don't understand." He continues: "All we can do is make something good and put it out and hope for the best. That's all there is. We never know why things work. Even if you make a piece of art and it works, you may not know why." On talent versus work ethic: "There are a lot of talented people who never make it because they don't have the work ethic. It's not just talent, talent's a piece. And you could argue for some people, the work ethic trumps the talent." Rubin explains what real collaboration is: "Having worked with a lot of bands, I see there's often this friction where people are trying to get their idea in. That's not a collaboration. A real collaboration is when everyone who's there is working together towards whatever is the best thing for the whole. Whether it's your idea or someone else's idea, it doesn't matter. If you're invested in the collaboration, you want the best idea to win. You don't want your idea to win." On what makes art great: "What makes it great is the personal. With all of its imperfections. With all of its quirkiness. That's what makes it great. How you see the world that's different from how everyone else sees the world. That's why you're an artist. That's your purpose in sharing your work with the world." He warns against being derivative: "There are these derivative voices where they're finding what they think other people want to hear, and they start saying it because they've heard other people say similar things that are now successful. Even if they have some short-term success doing that, it's not revolutionary. It doesn't change the world. It doesn't last. The people who you first see and you might not like that you come to like because you don't understand them at first, those are the ones that change the world. Those are the ones you dedicate your fandom to for life." Rubin shares his philosophy on taste: "You can't second-guess your own taste for what someone else is going to like. We're not smart enough to know what someone else is going to like. To make something thinking, 'Well, I don't really like it, but I think this group of people will like it,' it's a bad way to play the game of music or art. You have to do what's personal to you. Take it as far as you can go. Really push the boundaries. And people will resonate with it if they're supposed to resonate with it." He describes creativity as catching waves: "We're really talking about magic. The universe conspiring on our behalf if we let it. Being in this flow of catching these waves that anyone can catch. If you're trying to catch it, you're open to it, you see it coming, you take off on every chance you get. And sometimes the ride happens. It's remarkable how it happens. It doesn't come from preconception. It's not an idea. It's through the doing." Rubin explains how ideas exist in the universe: "Have you ever had that experience where you have an idea for something, you don't do it, and then six months later you see someone else has done it? It's not because they took your idea. It's that it's time for that, and you can act on it or not. The best artists are the ones who have the best antenna for this material that's available. It's coming through. The best comedians see the best jokes. They see them coming. We all live in the same world; the way you see it, you have the best joke because you see it best." He closes with how to stay open: "If we listen to what's going on around us, you can overhear a conversation in a coffee shop, and it is the setup for an idea you're working on. You hear a phrase you don't commonly use. My experience is: when you are open and looking for these clues in the world, they're happening all the time. And they're happening often right when you need them."

Jaynit

109,182 Aufrufe • vor 4 Monaten

SHE'S DONE!!! Mario Kart 64 for the Sega Dreamcast is officially ready for public consumption, so here's a full 6+ minute video of gameplay, captured straight from my actual DC! Jnmartin has done it again! The footage you are watching shows every GP course in the game, including multiplayer footage as well. Yes, you can also save and load ghost files from the VMU! As this is our first release, I'm sure you will run into a minor bug here or there, especially given neither one of us could stress test 4 player very effectively using our hands and feet to drive... So be sure to open tickets for any minor issues you find... assuming you're playing on REAL HARDWARE. I can already tell you right now, emulators are having issues with this one! This was my first time getting to directly contribute to a jnmartin N64 port, and it was an absolute honor for me to be involved with his incredible work. There is nobody else who I have ever met with the cross-architecture knowledge of BOTH the Sega Dreamcast and Nintendo 64, combined with the raw grit, tenacity, and attention to detail required to pull this off and do the source material justice. Not only did I get to take my SH4ZAM library for DC math gainz out for a ride with MK64, but I also brought some new routines back from MK64 so everyone can use them! Finally, I got to be involved in laying the foundation for future jnmartin N64 ports, now that we have an optimized, accelerated audio and video back-end for various libultra functionality, including Fast3D. You can already see how much this has benefited future work based on how quickly jnmartin was able to get StarFox 64 up and running on DC... The man doesn't sleep, no. lol. I just wanted to thank everyone so much for the continued enthusiasm and support behind these ports. The support for our work and the Sega Dreamcast means the world to us! Thanks for helping to keep the dream alive! For instructions on how to build yourself a burnable CDI image or a DreamShell ISO for either your DC's SD card or IDE drive, please follow the README on the repository: NOTE: Windows users will need DreamSDK to build. My last-minute build fixes for DreamSDK are in this WIP branch here, which will probably be merged into the main branch tomorrow when jnmartin wakes up:

SHE'S DONE!!! Mario Kart 64 for the Sega Dreamcast is officially ready for public consumption, so here's a full 6+ minute video of gameplay, captured straight from my actual DC! Jnmartin has done it again! The footage you are watching shows every GP course in the game, including multiplayer footage as well. Yes, you can also save and load ghost files from the VMU! As this is our first release, I'm sure you will run into a minor bug here or there, especially given neither one of us could stress test 4 player very effectively using our hands and feet to drive... So be sure to open tickets for any minor issues you find... assuming you're playing on REAL HARDWARE. I can already tell you right now, emulators are having issues with this one! This was my first time getting to directly contribute to a jnmartin N64 port, and it was an absolute honor for me to be involved with his incredible work. There is nobody else who I have ever met with the cross-architecture knowledge of BOTH the Sega Dreamcast and Nintendo 64, combined with the raw grit, tenacity, and attention to detail required to pull this off and do the source material justice. Not only did I get to take my SH4ZAM library for DC math gainz out for a ride with MK64, but I also brought some new routines back from MK64 so everyone can use them! Finally, I got to be involved in laying the foundation for future jnmartin N64 ports, now that we have an optimized, accelerated audio and video back-end for various libultra functionality, including Fast3D. You can already see how much this has benefited future work based on how quickly jnmartin was able to get StarFox 64 up and running on DC... The man doesn't sleep, no. lol. I just wanted to thank everyone so much for the continued enthusiasm and support behind these ports. The support for our work and the Sega Dreamcast means the world to us! Thanks for helping to keep the dream alive! For instructions on how to build yourself a burnable CDI image or a DreamShell ISO for either your DC's SD card or IDE drive, please follow the README on the repository: NOTE: Windows users will need DreamSDK to build. My last-minute build fixes for DreamSDK are in this WIP branch here, which will probably be merged into the main branch tomorrow when jnmartin wakes up:

Falco Girgis

63,491 Aufrufe • vor 1 Jahr

I’m so tired of these endless comparisons. Tell me honestly, does it truly matter how much a brand’s items cost? Is love for an artist measured by the numbers on a price tag? Is pride defined by a price list? When Jungkook has a new collaboration, I don’t care who’s wearing what or who outdid whom, I write only about him. And you, by the way, do too. He partnered with Calvin Klein and you called it "oh, just mass market". Then you saw the scale and the way the brand treated him and suddenly you wanted the same for your artists. You dreamed of Chanel, but Chanel chose him. And he didn’t agree for the sake of a prestigious name. He agreed because he felt their history, their aesthetic, their spirit. Jungkook doesn’t accept everything that’s offered. He doesn’t work for status. He chooses what resonates with his inner self. Now it’s Hublot and once again the race begins. Rushing to Rolex, to Patek, asking them to make your artists ambassadors. But why? So you can compare again tomorrow? Sometimes it feels like you stand beside your artists for competition, not for them and there is so little warmth in that. True love celebrates without conditions and without the need to prove anything. Jungkook began working with brands later than the others and I was proud of him at every stage: while in 2023 others were flying to fashion weeks, he was going live from his room and my whole world shrank to the size of my phone screen. I didn’t care who was where, with whom, or how much. We already had what mattered most. We had him. We, his fans, have always had more. Not because of brands, not because of campaigns and certainly not because of flashy titles. We have more because we have Jungkook. A person who spent hours with us. Who sang live for us. Who cooked, laughed, fell asleep and woke up with us on stream. Who shared something real, unfiltered, unscripted, alive. His humanity. His talent. His open gaze and clear mind. His grace, his taste, his depth. That is what we value. Even if tomorrow all the brands disappear, all the campaigns, all the headlines, the most important thing will remain. Jungkook. He is an artist and he possesses what truly matters for a singer and what endures forever. Genuine talent, a beautiful voice and the ability to master it. Everything else is simply a beautiful backdrop. It does not define him. It only reflects his influence, his values, his relevance. The background does not elevate him. He elevates everything he touches. It’s unfortunate that no matter how much you speak about your artists’ unique talents, in the end you see only the backdrop. If that’s how you measure value, then a simple question remains: what will happen when the backdrop is gone? When the logos disappear. When the lights go out. When there are no comparison charts and no race for prestige. Will the voice remain? Will the stage remain? Will the artist remain on their own, without decoration? True talent is not afraid of silence. A real personality does not need support beams. Authenticity does not collapse without glitter. And if, without the backdrop, there is emptiness, then perhaps all along you were never admiring the artist. You were admiring the scenery around them. And that is the saddest difference of all. The real distinction is not in brands or price tags. It lies in the fact that Jungkook does not stand on decorations, the decorations stand on him. You can compete in contracts, calculate the cost of watches, and compare lists of brands. But you cannot outrun sincerity, surpass natural charisma, or outshine someone who is equally powerful in a stadium and in the quiet of his room. His strength is not external, it lies in what remains when everything else fades: the voice without a stage, the gaze without lights, the presence without noise. It cannot be built by contracts, bought, or engineered. It either exists or it doesn’t. That is the difference. And in that, no one will ever outrun #JUNGKOOK. WE LOVE YOU JUNGKOOK ♥️

𝕁𝕌ℕ𝔾𝕂𝕆𝕆𝕂 | ℂ𝕀𝕊 𝔽𝔸ℕ𝔹𝔸𝕊𝔼

50,474 Aufrufe • vor 6 Monaten

Pi was built when there were already agent harnesses around. Here’s why Mario Zechner(Mario Zechner), found them suboptimal and built Pi, a minimalist self-modifying agent: #1 - Mario initially was a believer in Claude Code: "I was a believer in Claude code because they were the first that packaged agentic search up in a really compelling package. And at the time that fit my workflow really well. Everything around the LLM was kind of nice and tidy and easy to understand. I was super happy. I was proselytising Claude code." #2 - Reverse engineering Claude Code highlighted the degradation that Mario felt as a user: "I personally like simple tools that are stable and that I can rely on. Even if they have non-deterministic parts, all the deterministic parts should be as stable as possible. That was just not the experience with Claude Code around summer 2025. They would take away your control of the context. They would inject stuff behind your back, which is bad. Then, your workflows stopped working because there's now a system reminder that you don't even see in the UI that would modify the behaviour of the model. They would also do this to the system prompt. I built a little service where I can track the progression or evolution of the system, prompt and tool definitions and, with every release, it was messing with stuff. That just messed with my workflows and I don't appreciate that." #3 - PI was built with an appreciation for simple and reliable tools: "If I commit to a development tool, I want it to be a stable, reliable thing like a hammer. I don't want my hammer to break a different spot every day. That's terrible. We need somebody who goes the full velocity kind of way. But I don't want to work with a tool like that."

Pi was built when there were already agent harnesses around. Here’s why Mario Zechner(Mario Zechner), found them suboptimal and built Pi, a minimalist self-modifying agent: #1 - Mario initially was a believer in Claude Code: "I was a believer in Claude code because they were the first that packaged agentic search up in a really compelling package. And at the time that fit my workflow really well. Everything around the LLM was kind of nice and tidy and easy to understand. I was super happy. I was proselytising Claude code." #2 - Reverse engineering Claude Code highlighted the degradation that Mario felt as a user: "I personally like simple tools that are stable and that I can rely on. Even if they have non-deterministic parts, all the deterministic parts should be as stable as possible. That was just not the experience with Claude Code around summer 2025. They would take away your control of the context. They would inject stuff behind your back, which is bad. Then, your workflows stopped working because there's now a system reminder that you don't even see in the UI that would modify the behaviour of the model. They would also do this to the system prompt. I built a little service where I can track the progression or evolution of the system, prompt and tool definitions and, with every release, it was messing with stuff. That just messed with my workflows and I don't appreciate that." #3 - PI was built with an appreciation for simple and reliable tools: "If I commit to a development tool, I want it to be a stable, reliable thing like a hammer. I don't want my hammer to break a different spot every day. That's terrible. We need somebody who goes the full velocity kind of way. But I don't want to work with a tool like that."

The Pragmatic Engineer

62,825 Aufrufe • vor 3 Monaten

VIVIZ WORLD TOUR: NEW LEGACY VIVIZ Performance team : 🎬 Artistic Director / Head Choreographer: kany choreography: LALALOVE ME •Intro / Shhh + Shhh Dance Break •Cliché •Love or Die •Hipnotic •Love Language •Milky Way •Untie •Tweet Tweet •Flashback •Maniac 💫 Assistant & Contributing Choreographer @janghyolynn — ( lalalove me , Cliché, Hipnotic, Love Language, Milky Way, Tweet Tweet, Love or Die, Flashback, Shhh) ✨ Additional choreography: ً — (Blue Clue, Overflow, Full Moon) noname — (Love Love Love, Bop Bop Bop) MR.PIYO — (Party Pop) Dancers : @daom_ing_ , 👾 @_sim_sky @hanabias_ 배한꿈 @_ash_sso @janghyolynn ⸻ Watching VIVIZ grow — not just as artists but as women, as storytellers, as performers — has been one of the most fulfilling experiences of my life. I remember the very first time we met, and now, two years later, here we are… standing on the other side of something so powerful. Thank you for trusting me with your art, your bodies, your stories. Thank you for letting me be part of this legacy. You moved with such grace, fire, and fearlessness — I love y’all more than words can say. To my dancers: I know I pushed you hard. I know momma kany put you through some though times … And for those moments, I’m sorry — truly. But please believe me when I say: every drop of sweat, every ounce of effort — it mattered. You shined and yall killed it !!! . You made this show what it is. You gave it your all, and I saw every bit of it. Thank you. I love you deeply. 💕 @janghyolynn — my partner in creative chaos — thank you for the countless sleepless nights, for showing up over and over again with your heart wide open. You are magic, and I’m always thankful for you. This might’ve been the quickest tour I’ve ever directed… and easily the most intense. But wow — the way it came together? Proof that when love, grit, and purpose meet, anything is possible. To the entire BPM crew, staff, and concert team — 수고하셨습니다. Special thank you to Jiwon @dlwlxn_1 and the concert + performance planning team — your support, patience, and hard work held this all together. #viviz #newlegacy #worldtour #kanychoreography

VIVIZ WORLD TOUR: NEW LEGACY VIVIZ Performance team : 🎬 Artistic Director / Head Choreographer: kany choreography: LALALOVE ME •Intro / Shhh + Shhh Dance Break •Cliché •Love or Die •Hipnotic •Love Language •Milky Way •Untie •Tweet Tweet •Flashback •Maniac 💫 Assistant & Contributing Choreographer @janghyolynn — ( lalalove me , Cliché, Hipnotic, Love Language, Milky Way, Tweet Tweet, Love or Die, Flashback, Shhh) ✨ Additional choreography: ً — (Blue Clue, Overflow, Full Moon) noname — (Love Love Love, Bop Bop Bop) MR.PIYO — (Party Pop) Dancers : @daom_ing_ , 👾 @_sim_sky @hanabias_ 배한꿈 @_ash_sso @janghyolynn ⸻ Watching VIVIZ grow — not just as artists but as women, as storytellers, as performers — has been one of the most fulfilling experiences of my life. I remember the very first time we met, and now, two years later, here we are… standing on the other side of something so powerful. Thank you for trusting me with your art, your bodies, your stories. Thank you for letting me be part of this legacy. You moved with such grace, fire, and fearlessness — I love y’all more than words can say. To my dancers: I know I pushed you hard. I know momma kany put you through some though times … And for those moments, I’m sorry — truly. But please believe me when I say: every drop of sweat, every ounce of effort — it mattered. You shined and yall killed it !!! . You made this show what it is. You gave it your all, and I saw every bit of it. Thank you. I love you deeply. 💕 @janghyolynn — my partner in creative chaos — thank you for the countless sleepless nights, for showing up over and over again with your heart wide open. You are magic, and I’m always thankful for you. This might’ve been the quickest tour I’ve ever directed… and easily the most intense. But wow — the way it came together? Proof that when love, grit, and purpose meet, anything is possible. To the entire BPM crew, staff, and concert team — 수고하셨습니다. Special thank you to Jiwon @dlwlxn_1 and the concert + performance planning team — your support, patience, and hard work held this all together. #viviz #newlegacy #worldtour #kanychoreography

Kany

37,681 Aufrufe • vor 1 Jahr

ᴀ ɴᴇᴡ ᴄʜᴀᴘᴛᴇʀ — ᴊᴏɪɴɪɴɢ ᴠᴇʀꜱᴇ Over the years, I’ve worn many hats in the art world: artist, non-profit director, curator, publisher, gallerist, and advisor to collectors and institutions. Though photography has been a throughline in much of that work, my interest in contemporary art more broadly reaches far and wide, continually pulling me toward practices that stretch perception and redefine possibility. While I’ve always been drawn to physical art – painting, mixed-media, artist books, etc. – my curiosity for digital art runs just as deep, and I've long been fascinated by the evolving ways we create and engage with art. Digital art has an unexpected tactility. Even when encountered on a screen or in ephemeral gallery installations, it often carries a material presence that’s hard to explain, yet deeply felt. That sense only intensified after 2020, when I became immersed in the world of web3, and blockchain’s implications for visual art really clicked (digital authenticity, ownership, provenance). New ways to make and to be a part of art also emerged during this time. Since then, I’ve been continually challenged and inspired by this new generation of artists, like witnessing a sort of on-chain Renaissance. Naturally, I started collecting and participating when and where I could, and my perspective and appreciation have only expanded and grown. As the space has evolved over this time, so too has a clear need: a dedicated, art-focused home for digital art, one that serves both seasoned collectors and the newly curious, cutting through noise with clarity and care. Most big platforms have drifted away from this vision, where the art itself can feel like an afterthought. verse has always stood out to me with a quiet confidence and a deep commitment to a more intentional, curated, artist and collector-centered approach that continues to resonate. Over the past year, I’ve naturally gravitated to using the platform more often – first, for discovering artists through gallery releases, and more recently through the thoughtful rollout of the beta secondary marketplace (the dedicated artist portfolios and organized gallery programs are a total game changer!). There is something here that not just works, but feels necessary. Which is why I’m thrilled to share that I will be joining verse to help to shape what comes next. I’ll be leading various secondary market efforts, including auctions and art advisory, as well as contributing ideas to help refine the product and collector experience as Verse grows into THE platform for digital art. The team is full of some of the hardest-working and most passionate people in the space, and there’s a commitment to preserving a focus on art while always buzzing with the possibility of what else can be built. It’s infectious. There are too many exciting things in the roadmap and I can’t spill those (yet). But, what’s coming? Chef’s kiss. One thing I can share today is that we’re kicking things off with something very special: an upcoming secondary market auction bringing together exceptional works from across the ecosystem. Some of you are already aware, or maybe heard about it on the Verse podcast. I’d love to hear from you (DMs are open), so please feel free to reach out if you’re thinking of parting with a piece or seeking something specific at the moment. This auction will be a celebration of where digital art is today and where it’s headed – with no eye-watering buyer’s premiums and collector-friendly terms that actually make more sense for web3. It’s truly by and for the community. Learn more below ↓

ᴀ ɴᴇᴡ ᴄʜᴀᴘᴛᴇʀ — ᴊᴏɪɴɪɴɢ ᴠᴇʀꜱᴇ Over the years, I’ve worn many hats in the art world: artist, non-profit director, curator, publisher, gallerist, and advisor to collectors and institutions. Though photography has been a throughline in much of that work, my interest in contemporary art more broadly reaches far and wide, continually pulling me toward practices that stretch perception and redefine possibility. While I’ve always been drawn to physical art – painting, mixed-media, artist books, etc. – my curiosity for digital art runs just as deep, and I've long been fascinated by the evolving ways we create and engage with art. Digital art has an unexpected tactility. Even when encountered on a screen or in ephemeral gallery installations, it often carries a material presence that’s hard to explain, yet deeply felt. That sense only intensified after 2020, when I became immersed in the world of web3, and blockchain’s implications for visual art really clicked (digital authenticity, ownership, provenance). New ways to make and to be a part of art also emerged during this time. Since then, I’ve been continually challenged and inspired by this new generation of artists, like witnessing a sort of on-chain Renaissance. Naturally, I started collecting and participating when and where I could, and my perspective and appreciation have only expanded and grown. As the space has evolved over this time, so too has a clear need: a dedicated, art-focused home for digital art, one that serves both seasoned collectors and the newly curious, cutting through noise with clarity and care. Most big platforms have drifted away from this vision, where the art itself can feel like an afterthought. verse has always stood out to me with a quiet confidence and a deep commitment to a more intentional, curated, artist and collector-centered approach that continues to resonate. Over the past year, I’ve naturally gravitated to using the platform more often – first, for discovering artists through gallery releases, and more recently through the thoughtful rollout of the beta secondary marketplace (the dedicated artist portfolios and organized gallery programs are a total game changer!). There is something here that not just works, but feels necessary. Which is why I’m thrilled to share that I will be joining verse to help to shape what comes next. I’ll be leading various secondary market efforts, including auctions and art advisory, as well as contributing ideas to help refine the product and collector experience as Verse grows into THE platform for digital art. The team is full of some of the hardest-working and most passionate people in the space, and there’s a commitment to preserving a focus on art while always buzzing with the possibility of what else can be built. It’s infectious. There are too many exciting things in the roadmap and I can’t spill those (yet). But, what’s coming? Chef’s kiss. One thing I can share today is that we’re kicking things off with something very special: an upcoming secondary market auction bringing together exceptional works from across the ecosystem. Some of you are already aware, or maybe heard about it on the Verse podcast. I’d love to hear from you (DMs are open), so please feel free to reach out if you’re thinking of parting with a piece or seeking something specific at the moment. This auction will be a celebration of where digital art is today and where it’s headed – with no eye-watering buyer’s premiums and collector-friendly terms that actually make more sense for web3. It’s truly by and for the community. Learn more below ↓

Shane Lavalette

10,406 Aufrufe • vor 1 Jahr

🙌Meet Artifig: A Figma Plugin to Generate Figma Plugins Do you use Figma and ever feel like this: - Your mind is bursting with plugin ideas, but you can't bring them to life because you don't know how to code? - You want to focus on design, but repetitive tasks keep slowing you down? - You dream of creating custom tools for your team, but lack the time or resources? I’ve been there too. That’s why I created Artifig. ✨ What is Artifig? Artifig is an AI-powered Figma plugin that empowers anyone to build their own Figma plugins using just natural language. No coding needed—simply describe what you want, and watch as your idea transforms into a fully functional, real-time plugin. 🚀 Redefining Figma Plugin Development The core philosophy of Artifig is simple: Designers often have countless ideas and creative visions, but many of them remain unrealized due to a lack of technical skills. We believe designers shouldn’t be limited by their inability to code. You should focus on creating, not be held back by technical barriers or repetitive tasks. Artifig takes you directly from "description" to "implementation." 🛠️ How Does It Work? 1. Describe Your Needs: Tell Artifig what you want, like “Create a skew transformation tool for objects, supporting horizontal and vertical skew with real-time preview functionality.” 2. Generate and Run the Plugin: Artifig instantly generates the plugin and runs it right within Figma. For example, the generated plugin can apply skew transformations to objects, precisely controlled via matrix transformations, with an intuitive user experience. 3. Optimize and Iteration: Need adjustments? Simply describe them, and Artifig will Iterating the plugin step by step. 4. Share Your Creations: Publish your plugins to the Artifig community, or remix plugins shared by others to build on their ideas. No learning curve. No complex steps. It’s as simple as that. 🌟 Key Features - Zero Barrier to Entry: No coding experience needed—any Figma user can create plugins effortlessly. - Multilingual Support: Works in multiple languages, including English, Chinese, French, Japanese, and German. - What-You-See-Is-What-You-Get: Generated plugins run in real-time, so you can quickly validate and refine your ideas. - Open and Flexible: The generated plugin code is 100% yours—modify it, distribute it, even use it commercially. - Global Community: Share your plugins, explore others’ creations, and publish your plugins to the Figma community. 🎯 Why is Artifig a Game-Changer? 1. No More Repetitive Work Let AI handle the tedious, time-consuming tasks: batch renaming layers, auto-aligning elements, or applying styles in bulk. All you need to do is say, “Import a PDF and arrange each image on the canvas with 20px spacing.” 2. Quickly Bring Ideas to Life From color contrast checks to data imports and custom components, all your “what if we could” ideas can now become plugins. Just one natural language description, and Artifig makes it happen. 3. Custom Tools for Your Team Build tailored tools for your team, creating unique solutions to streamline your workflow. 4. Not Just a Tool, But a Learning Experience Artifig explains the logic behind the code it generates, helping you understand Figma APIs and JavaScript. Today, you’re a designer; tomorrow, you could also be a design engineer. 🧑‍🚀👩🏻‍💻🥷🏻 Who is Artifig For? - Beginners: No development experience needed—just describe your ideas and let Artifig do the rest. - Experts: Save time and focus on high-value tasks while Artifig handles the repetitive work. - Learners: Use Artifig as a bridge to deepen your understanding of development. - Teams: Build custom tools to enhance collaboration and efficiency. 🎉 Ready to Get Started? I believe designers’ time and focus should be spent on creating, not on wrestling with complex tools. Artifig is the first step toward realizing this vision. Try Artifig now and experience an unprecedented flow of creativity!

🙌Meet Artifig: A Figma Plugin to Generate Figma Plugins Do you use Figma and ever feel like this: - Your mind is bursting with plugin ideas, but you can't bring them to life because you don't know how to code? - You want to focus on design, but repetitive tasks keep slowing you down? - You dream of creating custom tools for your team, but lack the time or resources? I’ve been there too. That’s why I created Artifig. ✨ What is Artifig? Artifig is an AI-powered Figma plugin that empowers anyone to build their own Figma plugins using just natural language. No coding needed—simply describe what you want, and watch as your idea transforms into a fully functional, real-time plugin. 🚀 Redefining Figma Plugin Development The core philosophy of Artifig is simple: Designers often have countless ideas and creative visions, but many of them remain unrealized due to a lack of technical skills. We believe designers shouldn’t be limited by their inability to code. You should focus on creating, not be held back by technical barriers or repetitive tasks. Artifig takes you directly from "description" to "implementation." 🛠️ How Does It Work? 1. Describe Your Needs: Tell Artifig what you want, like “Create a skew transformation tool for objects, supporting horizontal and vertical skew with real-time preview functionality.” 2. Generate and Run the Plugin: Artifig instantly generates the plugin and runs it right within Figma. For example, the generated plugin can apply skew transformations to objects, precisely controlled via matrix transformations, with an intuitive user experience. 3. Optimize and Iteration: Need adjustments? Simply describe them, and Artifig will Iterating the plugin step by step. 4. Share Your Creations: Publish your plugins to the Artifig community, or remix plugins shared by others to build on their ideas. No learning curve. No complex steps. It’s as simple as that. 🌟 Key Features - Zero Barrier to Entry: No coding experience needed—any Figma user can create plugins effortlessly. - Multilingual Support: Works in multiple languages, including English, Chinese, French, Japanese, and German. - What-You-See-Is-What-You-Get: Generated plugins run in real-time, so you can quickly validate and refine your ideas. - Open and Flexible: The generated plugin code is 100% yours—modify it, distribute it, even use it commercially. - Global Community: Share your plugins, explore others’ creations, and publish your plugins to the Figma community. 🎯 Why is Artifig a Game-Changer? 1. No More Repetitive Work Let AI handle the tedious, time-consuming tasks: batch renaming layers, auto-aligning elements, or applying styles in bulk. All you need to do is say, “Import a PDF and arrange each image on the canvas with 20px spacing.” 2. Quickly Bring Ideas to Life From color contrast checks to data imports and custom components, all your “what if we could” ideas can now become plugins. Just one natural language description, and Artifig makes it happen. 3. Custom Tools for Your Team Build tailored tools for your team, creating unique solutions to streamline your workflow. 4. Not Just a Tool, But a Learning Experience Artifig explains the logic behind the code it generates, helping you understand Figma APIs and JavaScript. Today, you’re a designer; tomorrow, you could also be a design engineer. 🧑‍🚀👩🏻‍💻🥷🏻 Who is Artifig For? - Beginners: No development experience needed—just describe your ideas and let Artifig do the rest. - Experts: Save time and focus on high-value tasks while Artifig handles the repetitive work. - Learners: Use Artifig as a bridge to deepen your understanding of development. - Teams: Build custom tools to enhance collaboration and efficiency. 🎉 Ready to Get Started? I believe designers’ time and focus should be spent on creating, not on wrestling with complex tools. Artifig is the first step toward realizing this vision. Try Artifig now and experience an unprecedented flow of creativity!

yancymin

21,222 Aufrufe • vor 1 Jahr

Watch this latest video from russian state TV. It will be shown at russia’s tribunal. It will be studied in history classes by your children and grand children. “You understand that this list [of territories to be conquered] is incomplete. Everyone understands that this list is incomplete.” “It doesn’t matter what you call it …denazification or demilitarisation. Call it whatever you want. Everyone knows what it really means …the restoration of the russian empire.” “There are some nations whose existence is pointless.” This is just one clip of thousands of hours of footage in which the hatred and genocidal intentions of russia are on full display. It’s all documented for history. He’s right when he says everyone already knows what is happening. This is your regular reminder that future generations will not be in any doubt that you know right now that russia is a genocidal imperial aggressor. It’s very open about it. Polling in russia shows russians overwhelmingly believe the goal of their war is territorial conquest, not any of the excuses peddled by its supporters abroad. All of us around the world will have no plausible deniability that we didn’t know what was going on. You can see these clips. You can see the dictator literally standing over imperial era maps, comparing himself to other tsars, and discussing the erasure of a sovereign nation. You can read endless, carefully documented testimonies from people who have escaped the horrors of russian occupation and its very clearly genocidal nature. You know about all this. You scrolled past it. History will judge what you do now based on the fact that you know. It’s the reason no one has ever expressed any confusion about russia’s talk of imperial conquest or its use of neo-nazis to achieve it. Not a single person has ever said: “wait, this doesn’t make sense if it’s just a special operation to denazify and demilitarise Ukraine”. No one has ever said that because, as russian TV makes clear, no one is in doubt about what all this is really about. Russian soldiers who feign ignorance of being invaders when they are captured actually have no problem boasting of their atrocities in intercepted phone calls. Academics who insist the war is in some way excusable are suddenly very articulate about why imperialism and genocide is wrong when russia is not doing it. They know. They have just chosen to support genocidal imperialism in this case. Don’t let them gaslight you with excuses. There’s one irony here though. Russia’s war is based on denying the agency of Ukrainians and all nations in the way of russia’s expansionist aggression. However, the key to ending this is for us to respect the agency of those who deny ours. Don’t think of them as brainwashed or too stupid to know what’s going on. Respect their agency as supporters of imperial genocide. They are responsible for everything they are doing and must face the consequences of that. One day, the chorus of propaganda offering excuses will fall silent, as it did during the Nuremberg tribunal. The horrors of russia’s genocidal crimes will be more fully documented. As after Nuremberg, no one in future will give a shit about the excuses offered in our era to deny or delay the defeat of the genocidal aggressor and bring its leaders to justice. Make sure you can look your children and grandchildren in the eye and tell them what you did now to help achieve that. Send this clip to The Hague, along with all the others. #SpecialTribunalNow

Watch this latest video from russian state TV. It will be shown at russia’s tribunal. It will be studied in history classes by your children and grand children. “You understand that this list [of territories to be conquered] is incomplete. Everyone understands that this list is incomplete.” “It doesn’t matter what you call it …denazification or demilitarisation. Call it whatever you want. Everyone knows what it really means …the restoration of the russian empire.” “There are some nations whose existence is pointless.” This is just one clip of thousands of hours of footage in which the hatred and genocidal intentions of russia are on full display. It’s all documented for history. He’s right when he says everyone already knows what is happening. This is your regular reminder that future generations will not be in any doubt that you know right now that russia is a genocidal imperial aggressor. It’s very open about it. Polling in russia shows russians overwhelmingly believe the goal of their war is territorial conquest, not any of the excuses peddled by its supporters abroad. All of us around the world will have no plausible deniability that we didn’t know what was going on. You can see these clips. You can see the dictator literally standing over imperial era maps, comparing himself to other tsars, and discussing the erasure of a sovereign nation. You can read endless, carefully documented testimonies from people who have escaped the horrors of russian occupation and its very clearly genocidal nature. You know about all this. You scrolled past it. History will judge what you do now based on the fact that you know. It’s the reason no one has ever expressed any confusion about russia’s talk of imperial conquest or its use of neo-nazis to achieve it. Not a single person has ever said: “wait, this doesn’t make sense if it’s just a special operation to denazify and demilitarise Ukraine”. No one has ever said that because, as russian TV makes clear, no one is in doubt about what all this is really about. Russian soldiers who feign ignorance of being invaders when they are captured actually have no problem boasting of their atrocities in intercepted phone calls. Academics who insist the war is in some way excusable are suddenly very articulate about why imperialism and genocide is wrong when russia is not doing it. They know. They have just chosen to support genocidal imperialism in this case. Don’t let them gaslight you with excuses. There’s one irony here though. Russia’s war is based on denying the agency of Ukrainians and all nations in the way of russia’s expansionist aggression. However, the key to ending this is for us to respect the agency of those who deny ours. Don’t think of them as brainwashed or too stupid to know what’s going on. Respect their agency as supporters of imperial genocide. They are responsible for everything they are doing and must face the consequences of that. One day, the chorus of propaganda offering excuses will fall silent, as it did during the Nuremberg tribunal. The horrors of russia’s genocidal crimes will be more fully documented. As after Nuremberg, no one in future will give a shit about the excuses offered in our era to deny or delay the defeat of the genocidal aggressor and bring its leaders to justice. Make sure you can look your children and grandchildren in the eye and tell them what you did now to help achieve that. Send this clip to The Hague, along with all the others. #SpecialTribunalNow

Bad Baltic Takes

1,087,181 Aufrufe • vor 2 Jahren