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#PidiMet #PidiMultiMeter Another mode of small multimeter with CH32V006 successfully completed: 16-Band Logarithmic Spectrum Analyzer with peaks, attack and decay. Hold mode. Frequency range 16Hz - 16kHz. Display refresh 22FPS. 3 display modes: curve line, smooth bars, peak bars.

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Miroslav Nemecek

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14,083 просмотров • 9 месяцев назад •via X (Twitter)

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🎬 Whimsical Reverie | Preview: Dawning Heartlight >> Main Attribute: Elegant 🦁 Outfit Details [Dawning Heartlight] can be evolved into the following outfits: [Dawning Heartlight: Empty Cocoon] (Stage 1), [Dawning Heartlight: Falling Flame] (Stage 2), and [Dawning Heartlight: Renewed Gleam] (Stage 3). Fully glow it up to obtain the [Dawning Heartlight: Fledgling] outfit. 🦁 Outfit Ability After using the ability, Nikki summons a golden-maned lion, which enters Follow Mode. Nikki can freely switch between four modes: Follow, Mount, Hover, and Sprint. While in Mount Mode, she can switch to Sprint Mode, greatly increasing movement speed. Use the Hover button to leap into the air and enter Hover Mode. While hovering, use the ability button to select a target and dive toward it. Press the Hover button again to end Hover Mode and land. In Ability Settings, Smart Mount Mode can be enabled. When enabled, pressing the ability button will switch directly between mounting and dismounting without entering Follow Mode. Mount via Interact can also be enabled, allowing the Interact button to be used for mounting and dismounting. Even after switching to another ability, the Interact button can still be used to mount or dismount. When disabled, mounting can only be controlled with the ability button. ❖ Special Effect: In the open world, after Nikki fires a charged arrow while riding the golden-maned lion, the lion will let out a roar, knocking back Esselings within a certain area ahead and briefly slowing Whimstars within a certain surrounding area. Note: The [Gilded Dawnchaser: Mount] ability cannot be used in Realm Challenges or any boss stages. Hover Mode is unavailable in uncleared dungeons. 🦁 Resonance Rewards Based on your number of Resonance attempts in [At Dreams' Dawn], you can earn rewards such as [Dawning Heartlight: Makeup], [Momo's Cloak: Radiant Wish], and the decoration [Sacred Heartyard]. This decoration can be placed in open spaces for photography and display. 🦁 Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Wings Renewed]. Reaching Evolution Stage 2 unlocks [Feather's Wish] for Momo's Camera: Framed Moment and the decoration [Sacred Heartyard: Radiance], which features a new look, special effect colors, and interactive animations. Reaching Evolution Stage 3 unlocks [Wishful Wind Ballad: Makeup], a new idle animation, the poses [Longing for the Light], [Weaving Dreamlight], and [Echoes Within], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.8 Golden Dust launches globally on July 16 (UTC-7)! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #GoldenDust #GoldenCity
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🎬 Whimsical Reverie | Preview: Dawning Heartlight >> Main Attribute: Elegant 🦁 Outfit Details [Dawning Heartlight] can be evolved into the following outfits: [Dawning Heartlight: Empty Cocoon] (Stage 1), [Dawning Heartlight: Falling Flame] (Stage 2), and [Dawning Heartlight: Renewed Gleam] (Stage 3). Fully glow it up to obtain the [Dawning Heartlight: Fledgling] outfit. 🦁 Outfit Ability After using the ability, Nikki summons a golden-maned lion, which enters Follow Mode. Nikki can freely switch between four modes: Follow, Mount, Hover, and Sprint. While in Mount Mode, she can switch to Sprint Mode, greatly increasing movement speed. Use the Hover button to leap into the air and enter Hover Mode. While hovering, use the ability button to select a target and dive toward it. Press the Hover button again to end Hover Mode and land. In Ability Settings, Smart Mount Mode can be enabled. When enabled, pressing the ability button will switch directly between mounting and dismounting without entering Follow Mode. Mount via Interact can also be enabled, allowing the Interact button to be used for mounting and dismounting. Even after switching to another ability, the Interact button can still be used to mount or dismount. When disabled, mounting can only be controlled with the ability button. ❖ Special Effect: In the open world, after Nikki fires a charged arrow while riding the golden-maned lion, the lion will let out a roar, knocking back Esselings within a certain area ahead and briefly slowing Whimstars within a certain surrounding area. Note: The [Gilded Dawnchaser: Mount] ability cannot be used in Realm Challenges or any boss stages. Hover Mode is unavailable in uncleared dungeons. 🦁 Resonance Rewards Based on your number of Resonance attempts in [At Dreams' Dawn], you can earn rewards such as [Dawning Heartlight: Makeup], [Momo's Cloak: Radiant Wish], and the decoration [Sacred Heartyard]. This decoration can be placed in open spaces for photography and display. 🦁 Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Wings Renewed]. Reaching Evolution Stage 2 unlocks [Feather's Wish] for Momo's Camera: Framed Moment and the decoration [Sacred Heartyard: Radiance], which features a new look, special effect colors, and interactive animations. Reaching Evolution Stage 3 unlocks [Wishful Wind Ballad: Makeup], a new idle animation, the poses [Longing for the Light], [Weaving Dreamlight], and [Echoes Within], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.8 Golden Dust launches globally on July 16 (UTC-7)! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #GoldenDust #GoldenCity

Infinity Nikki

60,397 просмотров • 2 месяцев назад

Star Fox Battle Mode is already getting called out for only having three maps. The people saying that are the same ones who burn out on every other multiplayer mode once the new map rotation drops. Three maps works here because the matches stay short, the objectives are actually worth fighting over, and there is enough crazy stuff happening that you are constantly battling the level itself as much as the other Arwings. Power-ups appear in risky positions. Environmental pressure changes during the round. One mistimed boost or bad angle through a corridor and the map punishes you before the enemy needs to finish the job. That constant back-and-forth between pilot skill and level hostility is what stops the same three maps from feeling repetitive after dozens of rounds. The Arwing handling underneath all of it is smooth and tight. Boost timing and lock-on precision actually matter instead of just holding forward and hoping. Small adjustments in speed and angle separate the players who are starting to read patterns from the ones still flying in straight lines. It looks sharp in motion too. The HDR makes explosions, laser fire, and environmental effects stay readable even when everything is happening at once. The sound design helps just as much in the chaos. Clear engine roar, distinct lock-on warnings, and impact feedback that cuts through the orchestral score so you can react to what is actually dangerous. The accolades system adds another layer without turning into a grind. It rewards the behaviours that make the mode interesting: smart objective play, power-up denial, aggressive but calculated lines through the map. There are enough unlocks tied to performance that you get steady progression and reasons to keep dropping in. This is the part most people pushing for more maps will not want to admit. In 2026 a lot of competitive modes assume they need constant new content and huge map pools just to hold attention. Star Fox Battle Mode is testing the opposite idea. A small set of dense, hostile playgrounds with short intense rounds and real skill expression can stay fresh longer than another bloated live service shooter that nobody ever truly masters. The map is an opponent here. That single design choice changes how much replayability three maps can actually deliver. What are your thoughts on Star Fox's online Battle Mode? After a proper session, do the three maps start feeling limiting or does the combination of short rounds, real objectives, and the environment constantly pushing back keep every match feeling different? p.s. Follow for more Star Fox and Nintendo takes! And if you’re jumping into Battle Mode tonight, add me: SW-4504-4427-4511
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Star Fox Battle Mode is already getting called out for only having three maps. The people saying that are the same ones who burn out on every other multiplayer mode once the new map rotation drops. Three maps works here because the matches stay short, the objectives are actually worth fighting over, and there is enough crazy stuff happening that you are constantly battling the level itself as much as the other Arwings. Power-ups appear in risky positions. Environmental pressure changes during the round. One mistimed boost or bad angle through a corridor and the map punishes you before the enemy needs to finish the job. That constant back-and-forth between pilot skill and level hostility is what stops the same three maps from feeling repetitive after dozens of rounds. The Arwing handling underneath all of it is smooth and tight. Boost timing and lock-on precision actually matter instead of just holding forward and hoping. Small adjustments in speed and angle separate the players who are starting to read patterns from the ones still flying in straight lines. It looks sharp in motion too. The HDR makes explosions, laser fire, and environmental effects stay readable even when everything is happening at once. The sound design helps just as much in the chaos. Clear engine roar, distinct lock-on warnings, and impact feedback that cuts through the orchestral score so you can react to what is actually dangerous. The accolades system adds another layer without turning into a grind. It rewards the behaviours that make the mode interesting: smart objective play, power-up denial, aggressive but calculated lines through the map. There are enough unlocks tied to performance that you get steady progression and reasons to keep dropping in. This is the part most people pushing for more maps will not want to admit. In 2026 a lot of competitive modes assume they need constant new content and huge map pools just to hold attention. Star Fox Battle Mode is testing the opposite idea. A small set of dense, hostile playgrounds with short intense rounds and real skill expression can stay fresh longer than another bloated live service shooter that nobody ever truly masters. The map is an opponent here. That single design choice changes how much replayability three maps can actually deliver. What are your thoughts on Star Fox's online Battle Mode? After a proper session, do the three maps start feeling limiting or does the combination of short rounds, real objectives, and the environment constantly pushing back keep every match feeling different? p.s. Follow for more Star Fox and Nintendo takes! And if you’re jumping into Battle Mode tonight, add me: SW-4504-4427-4511

AussieGamer

23,360 просмотров • 3 месяцев назад

Our new game infrastructure is being designed to be compatible with PC, Android, and IOS operating systems, featuring TPP-FPP game modes. 🎮 While conducting multiplayer tests on PC, we are effectively testing for mobile as well. The operation we are running simultaneously for PC and mobile saves us a great deal of time, allowing us to use a single game engine and generate two different outputs for cross-platform compatibility. 💻📱 We have created a code sequence that enables AI bots to attack you based on your KDA ratio, giving a real-player sensation. 🤖 We've considered all details, from hearing, seeing, to hiding behind objects and flanking you. 🎧👀 In single-player mode, you will experience a unique gameplay experience where you must defeat challenging enemies a good fight for a good reward is necessary! ⚔️🏆 While we continue to work on enabling Android and iOS users to join the same game, we will first launch multiplayer on PC and Android within their respective platforms. 🤝 We will refine the TDM and FFA modes, where you can challenge online opponents and earn COF, with player feedback to make them the best they can be. 🛠️👥 Following the release of COF, we will host tournaments with substantial prizes. 🏅 These matches, which can be played individually or in teams, will be live-streamed on Twitch and YouTube. 📺 You can form a team with your friends or collaborate with community members to create your new team. 👫🎮 To facilitate this, we will create a special area on our website to display data for teams and players. 🌐 We are nearing the completion of all our setups; our test server has successfully run our game and provided a stable service for 2 days. ✅ We will publish the minimum system requirements for PC. 🖥️ The texture sizes for the mobile game have been adjusted for phone optimization, ensuring smooth gameplay without lag. 📲 Now we will take a short break and continue from where we left off tomorrow. 🛌🔜 #cof #ecas #eth #p2e #BlockchainGaming #multiplayer #online #onlinegames #DEX
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Our new game infrastructure is being designed to be compatible with PC, Android, and IOS operating systems, featuring TPP-FPP game modes. 🎮 While conducting multiplayer tests on PC, we are effectively testing for mobile as well. The operation we are running simultaneously for PC and mobile saves us a great deal of time, allowing us to use a single game engine and generate two different outputs for cross-platform compatibility. 💻📱 We have created a code sequence that enables AI bots to attack you based on your KDA ratio, giving a real-player sensation. 🤖 We've considered all details, from hearing, seeing, to hiding behind objects and flanking you. 🎧👀 In single-player mode, you will experience a unique gameplay experience where you must defeat challenging enemies a good fight for a good reward is necessary! ⚔️🏆 While we continue to work on enabling Android and iOS users to join the same game, we will first launch multiplayer on PC and Android within their respective platforms. 🤝 We will refine the TDM and FFA modes, where you can challenge online opponents and earn COF, with player feedback to make them the best they can be. 🛠️👥 Following the release of COF, we will host tournaments with substantial prizes. 🏅 These matches, which can be played individually or in teams, will be live-streamed on Twitch and YouTube. 📺 You can form a team with your friends or collaborate with community members to create your new team. 👫🎮 To facilitate this, we will create a special area on our website to display data for teams and players. 🌐 We are nearing the completion of all our setups; our test server has successfully run our game and provided a stable service for 2 days. ✅ We will publish the minimum system requirements for PC. 🖥️ The texture sizes for the mobile game have been adjusted for phone optimization, ensuring smooth gameplay without lag. 📲 Now we will take a short break and continue from where we left off tomorrow. 🛌🔜 #cof #ecas #eth #p2e #BlockchainGaming #multiplayer #online #onlinegames #DEX

Cryptoforce | $COF | P2E

11,307 просмотров • 2 лет назад

*** SOTA RETROCON S.O.T.A UPDATE *** Whilst the Versao LTDA team is busy at Retrocon showing off our latest Sega Genesis SOTA update, here is a small snippet of how the game is progressing. This video has 3 parts, our menu screen, rain - wind sub section of level 1, then the boss. Everything is still wip including my gameplay skill lol ( and i thought the controller would help .. ) Some challenges overcome : The Menu screen uses shadow and highlight transparency modes in two ways, the background mode for the light rays and then the sprite mode for the mist - it has a nice overlapping effect too, due to using the forground plane for the light rays (s & h background mode) the entire forground is made up of sprites - all the words are sprites . SaviorMarks sent me a screenshot of an issue with boss leftover Mist sprites affecting the menu screen and I thought that looks really cool - lets do that haha . Sometimes bugs are keepers !! The rain section uses more than 80 sprites, a sprite multiplexor handles the rain whilst normal non plexed sprites make up the moon / clouds in the far background , the lamp posts and lamp light in the mid forground and Fences in the front forground . Without the multiplexor there was too much drop out on the rain at times. The rain is still blinked in alternating X positions due to the pixels per line limit , but it gives a great result still. The lamp lights use Shaded Active Dither as S&H here would not overlap the enemies / player . The Boss was a challenge with its size and full frame updates, up to 650 tiles are changed per animation frame into vram. Custom Dual priority DMA routines and extended DMA timings are used (still NTSC 224 pixels tall screen size but most of the vblank was used for updating tiles ) . These methods were used to update the bosses dual display buffers. I needed to have dual priority DMA buffers as the player / waterfall etc had to update their frames whilst the boss is constantly streaming tiles. There are also S&H transparent Mist sprites used for the boss sequence. It seems if you want everything to break at once target a demo for a retrocon event haha, we had lots of issues mainly with vram getting stomped and as all animating sprites need to be DMA streamed to fit into VRAM as the forgrounds and backgrounds take up a lot of tiles. Some new tools which show the VRAM allocation for the sprite engine on a frame by frame basis helped and a self defragging VRAM system helped quite a bit also. Thankfully things are in a good state now apart from a couple of small bugs that persist. Thanks to SaviorMarks and @MichelinFabio for putting up with and testing all the bugged updates haha !! #SegaGenesis #SGDK @MichelinFabio SaviorMarks #VersaoLTDA
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*** SOTA RETROCON S.O.T.A UPDATE *** Whilst the Versao LTDA team is busy at Retrocon showing off our latest Sega Genesis SOTA update, here is a small snippet of how the game is progressing. This video has 3 parts, our menu screen, rain - wind sub section of level 1, then the boss. Everything is still wip including my gameplay skill lol ( and i thought the controller would help .. ) Some challenges overcome : The Menu screen uses shadow and highlight transparency modes in two ways, the background mode for the light rays and then the sprite mode for the mist - it has a nice overlapping effect too, due to using the forground plane for the light rays (s & h background mode) the entire forground is made up of sprites - all the words are sprites . SaviorMarks sent me a screenshot of an issue with boss leftover Mist sprites affecting the menu screen and I thought that looks really cool - lets do that haha . Sometimes bugs are keepers !! The rain section uses more than 80 sprites, a sprite multiplexor handles the rain whilst normal non plexed sprites make up the moon / clouds in the far background , the lamp posts and lamp light in the mid forground and Fences in the front forground . Without the multiplexor there was too much drop out on the rain at times. The rain is still blinked in alternating X positions due to the pixels per line limit , but it gives a great result still. The lamp lights use Shaded Active Dither as S&H here would not overlap the enemies / player . The Boss was a challenge with its size and full frame updates, up to 650 tiles are changed per animation frame into vram. Custom Dual priority DMA routines and extended DMA timings are used (still NTSC 224 pixels tall screen size but most of the vblank was used for updating tiles ) . These methods were used to update the bosses dual display buffers. I needed to have dual priority DMA buffers as the player / waterfall etc had to update their frames whilst the boss is constantly streaming tiles. There are also S&H transparent Mist sprites used for the boss sequence. It seems if you want everything to break at once target a demo for a retrocon event haha, we had lots of issues mainly with vram getting stomped and as all animating sprites need to be DMA streamed to fit into VRAM as the forgrounds and backgrounds take up a lot of tiles. Some new tools which show the VRAM allocation for the sprite engine on a frame by frame basis helped and a self defragging VRAM system helped quite a bit also. Thankfully things are in a good state now apart from a couple of small bugs that persist. Thanks to SaviorMarks and @MichelinFabio for putting up with and testing all the bugged updates haha !! #SegaGenesis #SGDK @MichelinFabio SaviorMarks #VersaoLTDA

Shannon Birt

10,319 просмотров • 1 год назад

🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn
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🎬Whimsical Reverie | Preview: Guide of No Return >> Main Attribute: Sexy 🌌Outfit Preview [Guide of No Return] can be evolved into the following outfits: [Guide of No Return: Commitment] (Stage 1), [Guide of No Return: Valediction] (Stage 2), and [Guide of No Return: Fate] (Stage 3). Fully glow it up to obtain the [Guide of No Return: Tranquility] outfit. 🌌Outfit Ability [Guiding Star: Archery]: After equipping the [Soul Guidance] bow, rapidly activate the Attack button to fire arrows at Esselings. Use the [Call of Souls] ability to enter [Soul Vigil] mode and gain aerial mobility with a unique attack style. The Soul Vigil mode can only be activated once by Call of Souls before landing. While in Soul Vigil, activate the Jump button to adjust the height. At specific moments, hold the Attack button to unleash [Echo of Return], rapidly firing a barrage of arrows at your target and charging the [Return Sigil] upon impact. Consume all Return Sigil energy to awaken the dormant power of all souls and guide them home, dealing a finishing strike. After use, Bow Energy is fully restored, and the Soul Vigil state is activated. While in a floating or Winged Hover state, the Return Sigil will not recover over time. 🌌Resonance Rewards Based on your number of Resonance attempts in [Evertide of No Return], you can earn rewards such as [Wandering Soul Tide: Makeup], [Momo's Cloak: Soul Song], and [Decoration: Cycle of Souls], which can be placed in open spaces for photography and display. When equipped with the [Momo's Cloak: Soul Song], Momo uses a bow for ranged basic attacks. After every three shots, the fourth becomes a powerful, piercing arrow that hits multiple targets. Hitting Esselings builds Soul Song Energy. When the cloak skill is ready, Momo consumes all stored energy to restore Nikki's Health and Bow Energy. 🌌Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Prologue of Fate]. Reaching Evolution Stage 2 unlocks [Surging Vows] for Momo's Camera: Framed Moment and the decoration [Cycle of Souls: Radiance], which features a new look, special visual effects, and interactive animations. Reaching Evolution Stage 3 unlocks [Windward Stream: Makeup], a new idle animation, the poses [Divine Descending], [Divine in Heart], and [Light Bestowed], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.5 Where All Souls Return launches globally on April 23 (UTC-7) ! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #Boneyard #WhereAllSoulsReturn

Infinity Nikki

35,800 просмотров • 5 месяцев назад

II First Drive : Kia Syros EV II ✅ Had a chance to spend time with the Kia Syros EV & have covered aspects of the exterior, interior and more in the earlier posts. HTX+ 51 kWh 🔋 🏷️ A short test drive taken — key pointers: 👇 👉 Seating / Visibility / Steering ➡️ You sit quite upright, visibility is commanding and the overall view is quite good. The quarter glass adds further to the visibility. ➡️ Steering is adjustable only rake, not reach. The seats 💺 are electrically adjustable for the forward-back position and get a solid feel. ➡️ Drive selector is on the steering column thus takes time to get used to ➡️ Koreans are making some of the best steering — giving solid connect with car ,gets drive modes, as well as paddle shifters, while the switches get good tactile feedback. ORVMS view is good 👍 👉 Drive / Suspension ➡️ Took it on a bad road patch to check the suspension response — it was fine and quite stable. Didn’t get much suspension thuds inside the cabin & we weren’t essentially at high speeds ➡️ Driving overall the Syros EV is better vs the ICE Syros. The battery pack weight adds to stability at high speeds. ➡️ Of course, there is quite a bit of body roll evident coz of tall boy Design ➡️ NVH is fine up to 80–90 km/h; above that, some air noise is noticeable from pillars 👉 Drive Modes / Brakes ➡️ Syros EV gets 3 drive modes — Eco, Normal & Sport. ➡️ They work as desired. Even in Eco mode, power isn’t deficient car is eager to go,instant torque in evs helps the cause ➡️ Steering weights up in Sport mode and the car gives quite a pull in this mode thrill ride ➡️ Braking is quite adequate — it’s sorted here as well. 👍 gets all disc brakes 👉 Regenerative Braking ➡️ Syros EV gets 5(five) regenerative levels, with the top one being the i-Pedal mode. ➡️ This is where the car comes to a complete halt (I-pedal) ➡️ It is offered from the base variant as well. ➡️ Rest other levels are 1, 2, 3 & 0. 👉 Infotainment / Features ➡️ The 30-inch display setup works fine, with plenty of details on display,settings ,it’s flow is good no lags whatsoever ➡️ Music quality with Harman Kardon is good, if not great. ➡️ Infotainment system is quite sleek and works flawlessly. ➡️ The view and flow of the system are quite good. 👉 Interior / Space :: ➡️ The interior is where the Syros EV shines. ➡️ It gets ample space and the sense of space is even enhanced by the panoramic sunroof. ➡️ The rear space & interiors are best among under-4-metre cars. ➡️ The quality, fit & finish is simply segment-leading. 👌 ➡️ Reverse camera quality is quite impressive as well ➡️ Loved the car key as well 👉 Overall :: ➡️ Kia Syros EV seems to be a compelling package, especially the 42 kWh variant ➡️ It will outsell Ice Syros version for sure ,Kia india needs to be complemented for Syros ev as a whole ➡️ 42 kWh The base-to-base-up variants are our recommendations, but the 51 kWh goes expensive for our liking and doesn’t look as compelling at that price. ➕ +ves ➡️ Rear space ➡️ Fit, finish & quality impressive for the segment ➡️ Single-pedal driving ➡️ Korean software ➡️ LTW ➡️ Features packed ➡️ 300–320 km real-world range (42 kWh) & 370-400 (51 kWh) ➡️ Charging speeds > ➖ -ves ➡️ Polarising design ➡️ 51 kWh variants are expensive ➡️ Poor variant distribution ➡️ Okish NVH at high speeds ➡️Hyundai rival arriving soon ➡️ Head and tail lamps close to edges prone to damage Kia India Kia Worldwide Kia Motors India Suhail Gulati - ElecTree Ferrari Rules Vahan Warta (वाहन वार्ता ) Torque India Asheesh Arora AP Sagar EV Geeks of India Rakesh Kumar Tesla Club India®
4:36

II First Drive : Kia Syros EV II ✅ Had a chance to spend time with the Kia Syros EV & have covered aspects of the exterior, interior and more in the earlier posts. HTX+ 51 kWh 🔋 🏷️ A short test drive taken — key pointers: 👇 👉 Seating / Visibility / Steering ➡️ You sit quite upright, visibility is commanding and the overall view is quite good. The quarter glass adds further to the visibility. ➡️ Steering is adjustable only rake, not reach. The seats 💺 are electrically adjustable for the forward-back position and get a solid feel. ➡️ Drive selector is on the steering column thus takes time to get used to ➡️ Koreans are making some of the best steering — giving solid connect with car ,gets drive modes, as well as paddle shifters, while the switches get good tactile feedback. ORVMS view is good 👍 👉 Drive / Suspension ➡️ Took it on a bad road patch to check the suspension response — it was fine and quite stable. Didn’t get much suspension thuds inside the cabin & we weren’t essentially at high speeds ➡️ Driving overall the Syros EV is better vs the ICE Syros. The battery pack weight adds to stability at high speeds. ➡️ Of course, there is quite a bit of body roll evident coz of tall boy Design ➡️ NVH is fine up to 80–90 km/h; above that, some air noise is noticeable from pillars 👉 Drive Modes / Brakes ➡️ Syros EV gets 3 drive modes — Eco, Normal & Sport. ➡️ They work as desired. Even in Eco mode, power isn’t deficient car is eager to go,instant torque in evs helps the cause ➡️ Steering weights up in Sport mode and the car gives quite a pull in this mode thrill ride ➡️ Braking is quite adequate — it’s sorted here as well. 👍 gets all disc brakes 👉 Regenerative Braking ➡️ Syros EV gets 5(five) regenerative levels, with the top one being the i-Pedal mode. ➡️ This is where the car comes to a complete halt (I-pedal) ➡️ It is offered from the base variant as well. ➡️ Rest other levels are 1, 2, 3 & 0. 👉 Infotainment / Features ➡️ The 30-inch display setup works fine, with plenty of details on display,settings ,it’s flow is good no lags whatsoever ➡️ Music quality with Harman Kardon is good, if not great. ➡️ Infotainment system is quite sleek and works flawlessly. ➡️ The view and flow of the system are quite good. 👉 Interior / Space :: ➡️ The interior is where the Syros EV shines. ➡️ It gets ample space and the sense of space is even enhanced by the panoramic sunroof. ➡️ The rear space & interiors are best among under-4-metre cars. ➡️ The quality, fit & finish is simply segment-leading. 👌 ➡️ Reverse camera quality is quite impressive as well ➡️ Loved the car key as well 👉 Overall :: ➡️ Kia Syros EV seems to be a compelling package, especially the 42 kWh variant ➡️ It will outsell Ice Syros version for sure ,Kia india needs to be complemented for Syros ev as a whole ➡️ 42 kWh The base-to-base-up variants are our recommendations, but the 51 kWh goes expensive for our liking and doesn’t look as compelling at that price. ➕ +ves ➡️ Rear space ➡️ Fit, finish & quality impressive for the segment ➡️ Single-pedal driving ➡️ Korean software ➡️ LTW ➡️ Features packed ➡️ 300–320 km real-world range (42 kWh) & 370-400 (51 kWh) ➡️ Charging speeds > ➖ -ves ➡️ Polarising design ➡️ 51 kWh variants are expensive ➡️ Poor variant distribution ➡️ Okish NVH at high speeds ➡️Hyundai rival arriving soon ➡️ Head and tail lamps close to edges prone to damage Kia India Kia Worldwide Kia Motors India Suhail Gulati - ElecTree Ferrari Rules Vahan Warta (वाहन वार्ता ) Torque India Asheesh Arora AP Sagar EV Geeks of India Rakesh Kumar Tesla Club India®

Xroaders

11,586 просмотров • 1 месяц назад

while you refresh deciding "ape or not", the mantis already took 4 entries, 4 exits and went back to flat MANTIS is a code-built 3D sniper bot for fresh pump fun mints. Canvas 2D plus its own 3D math: every part lives in X / Y / Z, rotates on three axes and gets depth-sorted every frame the idea: a pump fun trade is not a click. it is a hunt. find the mint, aim, hit the window, take it and leave before the curve turns. the terminal shows that hunt with the bot's body, and the panels translate every move into trade language how it works: 1. ONE TRADE = ONE STRIKE in 5 phases: aim 0.85s → rush 0.35s → fill 0.14s → take profit 1.1s → next mint 0.6s. the bot does not hold bags, it closes them on the recoil 2. 4 MINTS PER LOOP: ZAP / Moth / KEK / HIVE at 2.1 / 5.3 / 8.4 / 11.4s. every entry hits a different side of the cell, zero repeats 3. BANKROLL with entry size 9 / 17 / 11 / 13% and back to FLAT · READY 2.4s after the fill. below 90% free SOL the gauge turns red: you are in a position 4. BUY FLOW per mint: pressure builds on aim, peaks on fill, fades on exit. 4 bars, 4 tickers, readable in one second 5. ENTRY TIMING: oscilloscope of both raptorial arms over 3.0s × 72 samples. the red FILL mark lands exactly where the claws touched the glass, not "around there" 6. MINT RADAR on 85 cells moves focus across new mints, a 12-event TRADE LOG flows top-down: scan → filter dev wallet + curve → snipe → exit → next mint. ORDER FLOW on 34 bands shows peak tx/s and bot load most pump fun "terminals" are a chart and hope. here every trade is visible as an action: the bot aims at KEK, the radar locks the mint, buy flow goes red, bankroll drops to 89%, the log prints SNIPE, the scope stamps FILL. one move, six witnesses red only where money is decided: the bot's eyes, the fill point, a position at risk
0:30

while you refresh deciding "ape or not", the mantis already took 4 entries, 4 exits and went back to flat MANTIS is a code-built 3D sniper bot for fresh pump fun mints. Canvas 2D plus its own 3D math: every part lives in X / Y / Z, rotates on three axes and gets depth-sorted every frame the idea: a pump fun trade is not a click. it is a hunt. find the mint, aim, hit the window, take it and leave before the curve turns. the terminal shows that hunt with the bot's body, and the panels translate every move into trade language how it works: 1. ONE TRADE = ONE STRIKE in 5 phases: aim 0.85s → rush 0.35s → fill 0.14s → take profit 1.1s → next mint 0.6s. the bot does not hold bags, it closes them on the recoil 2. 4 MINTS PER LOOP: ZAP / Moth / KEK / HIVE at 2.1 / 5.3 / 8.4 / 11.4s. every entry hits a different side of the cell, zero repeats 3. BANKROLL with entry size 9 / 17 / 11 / 13% and back to FLAT · READY 2.4s after the fill. below 90% free SOL the gauge turns red: you are in a position 4. BUY FLOW per mint: pressure builds on aim, peaks on fill, fades on exit. 4 bars, 4 tickers, readable in one second 5. ENTRY TIMING: oscilloscope of both raptorial arms over 3.0s × 72 samples. the red FILL mark lands exactly where the claws touched the glass, not "around there" 6. MINT RADAR on 85 cells moves focus across new mints, a 12-event TRADE LOG flows top-down: scan → filter dev wallet + curve → snipe → exit → next mint. ORDER FLOW on 34 bands shows peak tx/s and bot load most pump fun "terminals" are a chart and hope. here every trade is visible as an action: the bot aims at KEK, the radar locks the mint, buy flow goes red, bankroll drops to 89%, the log prints SNIPE, the scope stamps FILL. one move, six witnesses red only where money is decided: the bot's eyes, the fill point, a position at risk

cryptopsihoz

18,051 просмотров • 6 дней назад

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.
0:41

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.

Ellesmere

54,236 просмотров • 3 месяцев назад

Player Profile: Khanyisa Mayo[27]📝 Position: RW/RF/CF Foot: Left Club: Kaizer Chiefs FC Kaizer Chiefs has made another bold move in adding quality to the teams attack. Khanyisa Mayo provides immediate and long-term attacking solutions for the club on the right. 1. Technical Qualities Mayo is a skillful, left-footed attacker with a profile built for modern, high-intensity attacking football. ■ A very direct winger, always looking to advance play instead of recycling possession. ■ Excellent at carrying the ball through pressure, breaking lines, and forcing defenders into retreat. ■ His dribbling and progressive runs add verticality to the team’s attacking structure. Shooting and Passing: ■ Strong shooting range when cutting inside from the right. He provides that unpredictability to the attack with his quality to strike the ball from range. Consistently attempts to feed the box: goals, assists, and key passes. A finisher and creator between the lines. Positional Versatility: ■ In a 4-3-3/4-2-3-1, his best role is as the right forward or right winger, cutting inside to shoot or combine. He can also be effective stretching play and still carry goal threat and creativity. ■ As a No. 9: While not his best role, he is capable of leading the line. He uses his pace to run in behind. He can compete but lacks the physicality to hold off defenders, though his finishing is good. ■ As a Second Striker[442]: A role that plays better to his strengths than as a 9. He is comfortable operating between the lines, combining with midfielders and a traditional box striker. His mobility, creativity, and shooting ability allow him to function as the link player, collecting the ball, supporting the primary striker, and creating or finishing opportunities. This ability to operate both wide and centrally makes him tactically flexible, giving Chiefs options in various attacking structures. 2. Physical Attributes ■ Pace & Explosiveness: Quick acceleration makes him a constant outlet for balls in behind. ■ Strength & Balance: He is strong enough to hold off fullbacks, sustaining attacking sequences under pressure ■ High Intensity: Matches the tempo of Chiefs’ pressing and counter-pressing game. We do most actions with a lot of intensity, and his explosive nature will be very much welcomed in our attack. 3. Tactical Fit at Chiefs Under Coach Nabi, Chiefs are shaping into a side that plays with directness, intensity, and aggression across all phases of play: ■ Pressing & Counter-Pressing: The team applies immediate pressure after losing the ball. Mayo’s speed, defensive work rate, and forward momentum align seamlessly with this system. ■ High-Tempo Attacking: Chiefs don’t rely on slow possession. Attacks are vertical, sharp, and quick. Mayo’s instinct to drive forward, dribble at defenders, and attack space makes him an ideal fit. ■ Attacking Personality: His ability to provide not just progression but also the final goal, final pass, and decisive action elevates Chiefs’ attacking efficiency. Mayo’s game is inherently aligned with protagonist football: high tempo, forward intent, and productivity. 4. Experiential Value ■ Continental Experience: Spent a season in Algeria with CR Belouizdad, scoring 6 goals from wide positions. Notable not just for the numbers but for adapting to a challenging cultural and tactical environment. ■ Tactical Growth: North African teams are disciplined and organized, with compact defenses and structured pressing. Mayo sharpened his decision-making, spatial awareness, and ability to operate against tight blocks, preparing him for high-level CAF competitions. ■ Mentality: At 27, he blends maturity with hunger. His willingness to take risks reflects confidence and attacking intent. Yet to reach his peak, now is the perfect time to step up, showing the quality glimpsed at Cape Town City. Mayo joins Chiefs as both a system player and a game-changer. A top signing by the Glamour Boys! 📝
2:00

Player Profile: Khanyisa Mayo[27]📝 Position: RW/RF/CF Foot: Left Club: Kaizer Chiefs FC Kaizer Chiefs has made another bold move in adding quality to the teams attack. Khanyisa Mayo provides immediate and long-term attacking solutions for the club on the right. 1. Technical Qualities Mayo is a skillful, left-footed attacker with a profile built for modern, high-intensity attacking football. ■ A very direct winger, always looking to advance play instead of recycling possession. ■ Excellent at carrying the ball through pressure, breaking lines, and forcing defenders into retreat. ■ His dribbling and progressive runs add verticality to the team’s attacking structure. Shooting and Passing: ■ Strong shooting range when cutting inside from the right. He provides that unpredictability to the attack with his quality to strike the ball from range. Consistently attempts to feed the box: goals, assists, and key passes. A finisher and creator between the lines. Positional Versatility: ■ In a 4-3-3/4-2-3-1, his best role is as the right forward or right winger, cutting inside to shoot or combine. He can also be effective stretching play and still carry goal threat and creativity. ■ As a No. 9: While not his best role, he is capable of leading the line. He uses his pace to run in behind. He can compete but lacks the physicality to hold off defenders, though his finishing is good. ■ As a Second Striker[442]: A role that plays better to his strengths than as a 9. He is comfortable operating between the lines, combining with midfielders and a traditional box striker. His mobility, creativity, and shooting ability allow him to function as the link player, collecting the ball, supporting the primary striker, and creating or finishing opportunities. This ability to operate both wide and centrally makes him tactically flexible, giving Chiefs options in various attacking structures. 2. Physical Attributes ■ Pace & Explosiveness: Quick acceleration makes him a constant outlet for balls in behind. ■ Strength & Balance: He is strong enough to hold off fullbacks, sustaining attacking sequences under pressure ■ High Intensity: Matches the tempo of Chiefs’ pressing and counter-pressing game. We do most actions with a lot of intensity, and his explosive nature will be very much welcomed in our attack. 3. Tactical Fit at Chiefs Under Coach Nabi, Chiefs are shaping into a side that plays with directness, intensity, and aggression across all phases of play: ■ Pressing & Counter-Pressing: The team applies immediate pressure after losing the ball. Mayo’s speed, defensive work rate, and forward momentum align seamlessly with this system. ■ High-Tempo Attacking: Chiefs don’t rely on slow possession. Attacks are vertical, sharp, and quick. Mayo’s instinct to drive forward, dribble at defenders, and attack space makes him an ideal fit. ■ Attacking Personality: His ability to provide not just progression but also the final goal, final pass, and decisive action elevates Chiefs’ attacking efficiency. Mayo’s game is inherently aligned with protagonist football: high tempo, forward intent, and productivity. 4. Experiential Value ■ Continental Experience: Spent a season in Algeria with CR Belouizdad, scoring 6 goals from wide positions. Notable not just for the numbers but for adapting to a challenging cultural and tactical environment. ■ Tactical Growth: North African teams are disciplined and organized, with compact defenses and structured pressing. Mayo sharpened his decision-making, spatial awareness, and ability to operate against tight blocks, preparing him for high-level CAF competitions. ■ Mentality: At 27, he blends maturity with hunger. His willingness to take risks reflects confidence and attacking intent. Yet to reach his peak, now is the perfect time to step up, showing the quality glimpsed at Cape Town City. Mayo joins Chiefs as both a system player and a game-changer. A top signing by the Glamour Boys! 📝

El Capitano⚪

89,575 просмотров • 1 год назад

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.
4:25

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 просмотров • 2 лет назад

😱 How to Build & Launch Your Base Mini App in 10Mins. ■ Investment: 0$ ( Free of Cost ) ■ Potential: $BASE ■ Exprience: No coding experience needed ( anyone can build ) 👀 Just watch full video & follow my simple 9 steps & Boom : Tools : 1.) Create V0 account :- 2.) Create Farcaster Account :- 3.) Create Baseapp Account :- •• Must link your farcaster account in base app Step 1 : Create the Calculator Application - Built a functional calculator with add, subtract, multiply, and divide operations - - Creat `/components/calculator.tsx` with full calculator logic and UI - - Creat `/app/page.tsx` as the main entry point - - Use React hooks (useState) for state management - - Designe with a modern dark theme using Tailwind CSS - Step 2 : Deploy the project & copy the url & save it . Step 3 : Create the Farcaster Manifest File - Created `/public/.well-known/farcaster.json` - This file tells Base about our app - Configured app metadata: My project name : My url link : { "accountAssociation": { "header": "", "payload": "", "signature": "" }, "miniapp": { "version": "1", "name": "My project name", "subtitle": "Fast & Easy Math", "description": "A simple calculator for basic arithmetic operations", "homeUrl": " "iconUrl": " "splashImageUrl": " "splashBackgroundColor": "#1a1a1a", "screenshotUrls": [ " " ], "primaryCategory": "utility", "tags": ["calculator", "math", "utility"], "tagline": "Calculate Instantly", "heroImageUrl": " "ogTitle": "Calculator", "ogDescription": "A simple calculator for basic math", "ogImageUrl": " "noindex": false } } Step 4 : Added Required Images - i attach a image , so convert that image as required ratio and attach the same image in our mini app for all 3 forms . `● icon.png` (300×300px) - A small icon of your app ● splash.png (200×200px) - A splash screen image ● screenshot.png (1284×2778px) - A screenshot showing how the app looks Step 5 Added Embed Metadata - Add `fc:miniapp` meta tag to layout.tsx metadata - Configure embed preview with: - Image URL for the 3:2 aspect ratio preview - Button configuration ("Open Calculator") - Launch frame settings - Splash image and background color Step 6: Added Farcaster Miniapp SDK Integration - Install `@farcaster/miniapp-sdk` package (automatically included) - Update `/app/page.tsx` to import and use the SDK - Call `sdk.actions.ready()` when the app loads - This is the **critical step** that tells Base to hide the splash screen and display your calculator Step 7: Update Next.js Configuration - Update `/next.config.mjs` to work with Next.js 16's Turbopack - Add `turbopack: {}` config to ensure clean builds - Remove webpack-specific configurations Step8 : •• Now for one time , click on deploy & deploy again •• Then Open Farcaster in Pc/Laptop •• Enable Developer Mode •• go to Developer section then & click on Mini app manifest tools •• then paste url ( check vidoe ) •• then click on fetch & then click on Genrate account association •• scan qr code and verify your farcaster account •• Now copy everything and paste in V0 ( add prompt ) Add this as account association •• then Reverify and Submit . Step9 : ● Download Base App : •• Create Account with email •• then connect same farcaster account ● Then Visit : •• signin with same base app email . •• and follow video process 📌📌 Join Our TG for More Alpha:-
26:00

😱 How to Build & Launch Your Base Mini App in 10Mins. ■ Investment: 0$ ( Free of Cost ) ■ Potential: $BASE ■ Exprience: No coding experience needed ( anyone can build ) 👀 Just watch full video & follow my simple 9 steps & Boom : Tools : 1.) Create V0 account :- 2.) Create Farcaster Account :- 3.) Create Baseapp Account :- •• Must link your farcaster account in base app Step 1 : Create the Calculator Application - Built a functional calculator with add, subtract, multiply, and divide operations - - Creat `/components/calculator.tsx` with full calculator logic and UI - - Creat `/app/page.tsx` as the main entry point - - Use React hooks (useState) for state management - - Designe with a modern dark theme using Tailwind CSS - Step 2 : Deploy the project & copy the url & save it . Step 3 : Create the Farcaster Manifest File - Created `/public/.well-known/farcaster.json` - This file tells Base about our app - Configured app metadata: My project name : My url link : { "accountAssociation": { "header": "", "payload": "", "signature": "" }, "miniapp": { "version": "1", "name": "My project name", "subtitle": "Fast & Easy Math", "description": "A simple calculator for basic arithmetic operations", "homeUrl": " "iconUrl": " "splashImageUrl": " "splashBackgroundColor": "#1a1a1a", "screenshotUrls": [ " " ], "primaryCategory": "utility", "tags": ["calculator", "math", "utility"], "tagline": "Calculate Instantly", "heroImageUrl": " "ogTitle": "Calculator", "ogDescription": "A simple calculator for basic math", "ogImageUrl": " "noindex": false } } Step 4 : Added Required Images - i attach a image , so convert that image as required ratio and attach the same image in our mini app for all 3 forms . `● icon.png` (300×300px) - A small icon of your app ● splash.png (200×200px) - A splash screen image ● screenshot.png (1284×2778px) - A screenshot showing how the app looks Step 5 Added Embed Metadata - Add `fc:miniapp` meta tag to layout.tsx metadata - Configure embed preview with: - Image URL for the 3:2 aspect ratio preview - Button configuration ("Open Calculator") - Launch frame settings - Splash image and background color Step 6: Added Farcaster Miniapp SDK Integration - Install `@farcaster/miniapp-sdk` package (automatically included) - Update `/app/page.tsx` to import and use the SDK - Call `sdk.actions.ready()` when the app loads - This is the **critical step** that tells Base to hide the splash screen and display your calculator Step 7: Update Next.js Configuration - Update `/next.config.mjs` to work with Next.js 16's Turbopack - Add `turbopack: {}` config to ensure clean builds - Remove webpack-specific configurations Step8 : •• Now for one time , click on deploy & deploy again •• Then Open Farcaster in Pc/Laptop •• Enable Developer Mode •• go to Developer section then & click on Mini app manifest tools •• then paste url ( check vidoe ) •• then click on fetch & then click on Genrate account association •• scan qr code and verify your farcaster account •• Now copy everything and paste in V0 ( add prompt ) Add this as account association •• then Reverify and Submit . Step9 : ● Download Base App : •• Create Account with email •• then connect same farcaster account ● Then Visit : •• signin with same base app email . •• and follow video process 📌📌 Join Our TG for More Alpha:-

Sanu Gupta

40,832 просмотров • 8 месяцев назад

After a few “Hail Kelly’s” Bill Burke and Tom Henichek flew over France without Permission One of the most entertaining stories about flying the Blackbird comes from Lt. Colonel William Burk Jr., who shares about a particular mission he flew [according to SR-71 pilot Stormy Boudreaux, Tom Henichek was Burk’s RSO for that mission] over Lebanon back in 1982 in the book Skunk Works by Ben Rich. ‘In the fall of ’82, I flew from Mildenhall on a mission over Lebanon in response to the Marine barracks bombing. President Reagan ordered photo coverage of all the terrorist basis in the region. The French refused to allow us overfly, so our mission profile was to refuel off the south coast of England, a Mach 3 cruise leg down the coast of Portugal and Spain, left turn through the Straits of Gibraltar, refuel in the Western Mediterranean, right turn into Lebanon and fly right down main street Beirut, exit along the southern Mediterranean with another refueling over Malta, supersonic back out the straits, and return to England. As we entered Lebanon’s airspace my Recon Systems Officer in the rear cockpit informed me that our defensive systems display showed we were being tracked by that SA-5. About 15 seconds later we got a warning of active guidance signals from the SA-5 site. We couldn’t tell whether there was an actual launch or the missile was still on the rails, but they were actively tracking us. We didn’t waste any time wondering, but climbed and pushed that throttle, and said a couple of “Hail Kellys.” We completed our pass over Beirut and turned toward Malta, when I got a warning low-oil-pressure light on my right engine. Even though the engine was running fine I slowed down and lowered our altitude and made a direct line for England. We decided to cross France without clearance instead of going the roundabout way. ‘We made it almost across, when I looked out the left window and saw a French Mirage III sitting ten feet off my left wing. He came up on our frequency and asked us for our Diplomatic Clearance Number. I had no idea what he was talking about, so I told him to stand by. I ask my backseater, who said, “Don’t worry about it. I just gave it to him.” What he had given him was “the bird” with his middle finger: I lit the afterburners and left that Mirage standing still. Two minutes later, we were crossing the Channel.’ Written by Dario Leone of aviation geekclub.
1:04

After a few “Hail Kelly’s” Bill Burke and Tom Henichek flew over France without Permission One of the most entertaining stories about flying the Blackbird comes from Lt. Colonel William Burk Jr., who shares about a particular mission he flew [according to SR-71 pilot Stormy Boudreaux, Tom Henichek was Burk’s RSO for that mission] over Lebanon back in 1982 in the book Skunk Works by Ben Rich. ‘In the fall of ’82, I flew from Mildenhall on a mission over Lebanon in response to the Marine barracks bombing. President Reagan ordered photo coverage of all the terrorist basis in the region. The French refused to allow us overfly, so our mission profile was to refuel off the south coast of England, a Mach 3 cruise leg down the coast of Portugal and Spain, left turn through the Straits of Gibraltar, refuel in the Western Mediterranean, right turn into Lebanon and fly right down main street Beirut, exit along the southern Mediterranean with another refueling over Malta, supersonic back out the straits, and return to England. As we entered Lebanon’s airspace my Recon Systems Officer in the rear cockpit informed me that our defensive systems display showed we were being tracked by that SA-5. About 15 seconds later we got a warning of active guidance signals from the SA-5 site. We couldn’t tell whether there was an actual launch or the missile was still on the rails, but they were actively tracking us. We didn’t waste any time wondering, but climbed and pushed that throttle, and said a couple of “Hail Kellys.” We completed our pass over Beirut and turned toward Malta, when I got a warning low-oil-pressure light on my right engine. Even though the engine was running fine I slowed down and lowered our altitude and made a direct line for England. We decided to cross France without clearance instead of going the roundabout way. ‘We made it almost across, when I looked out the left window and saw a French Mirage III sitting ten feet off my left wing. He came up on our frequency and asked us for our Diplomatic Clearance Number. I had no idea what he was talking about, so I told him to stand by. I ask my backseater, who said, “Don’t worry about it. I just gave it to him.” What he had given him was “the bird” with his middle finger: I lit the afterburners and left that Mirage standing still. Two minutes later, we were crossing the Channel.’ Written by Dario Leone of aviation geekclub.

Habubrats SR-71

18,233 просмотров • 6 месяцев назад

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.
13:47

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

18,390 просмотров • 2 месяцев назад

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord
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OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

COD: Zombies News

82,267 просмотров • 5 месяцев назад

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

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

Shinobi602

113,003 просмотров • 1 год назад

Elon Musk shipped Grok Bot as an AI teammate that sorts your email and watches your competitors. I gave mine a harder brief: build a trading floor that runs itself, and then run it 24/7. GROKSTREET. Fourteen agents. Eleven desks, three chiefs, three offices, one vault. It lives in a browser tab and it does not stop. WHY GROK BOT MAKES THIS WORK Most people misread the architecture. It is not one sandbox per agent. It is ONE persistent cloud computer per account, and every Bot gets its own screen on it. Shared filesystem at /workspace, shared browser sessions, shared credentials. That is the whole unlock. One Bot picks up exactly where another left off. No re-auth, no copy-paste between agents, no state lost at the handoff. A floor is only possible because the desks share a building. The head-of-desk role is not something I invented either. "Manages your other Bots and pulls you in for decisions" ships as a first-class Bot template. Routing and escalation are built in. Skills carry the how. Routines carry the when on a schedule, or off a Slack or GitHub event. Subagents fan out as child sessions with their own context and hand a summary back. Fifty routines per Bot. THE DESKS Every desk holds its own book, hit rate and drawdown, and sizes its own risk: Kelly, with the guard rails written in f* = W − (1−W)/R clamped to [0.01, 0.25]. Under 12 samples it does not pretend to know it defaults to 0.05. Volatility is RiskMetrics EWMA σ²_t = λσ²_{t-1} + (1−λ)r²_t, λ = 0.94 Hit rates carry Wilson 95% intervals, z = 1.96. A desk is only flagged for edge decay when the UPPER bound falls below 0.5, never on raw small-sample noise. Three-for-three is not sixty-for-ninety. Capital routes between desks by softmax on measured Sharpe. THE FLOOR Three chiefs meet in the war room every 3.5 minutes and argue. One reports, another presses him, he concedes or proposes. 14,208 sentence shapes before live figures fill the slots and every slot is filled from that chief's own desks. The crypto chief cannot quote meme numbers. A desk holding $25 gets up, walks to the vault and banks it. The transfer is atomic on arrival, so an interrupted walk cannot destroy cash. Every desk wears its last trade above its head. Green with a tick, red with a cross. You see who the chief is about to praise and who he is about to hit before he gets there. BTC, ETH and SOL come off Kraken server-side. The tape is real. THE BUILD 16 modules. 7,572 lines. Zero npm dependencies. No React. No bundler. No game engine. Vanilla JavaScript on Canvas 2D and a Go binary with the entire world embedded in it. Ships as one 2.3 MB HTML file. 60fps on every floor, zero dropped frames. WHAT I FOUND BY MEASURING INSTEAD OF LOOKING The roster read one number for a desk and the chief's card read another, so a desk could show +$16 in the list and $0 when the chief walked over. Every desk was crediting itself twice. Money could vanish if a walk to the vault got interrupted. Three money bugs, none of them visible by watching. All fixed and instrumented. DIRECTOR MODE Open it with?show and the camera runs itself. It cuts to the war room while a chief is mid-sentence, to whichever office just cleared money, and never cuts away in the middle of a line. Point a screen recorder at it and walk away. The math is real, the feed is real, the engineering is real. The flex is the engine, not a P&L screenshot.
0:39

Elon Musk shipped Grok Bot as an AI teammate that sorts your email and watches your competitors. I gave mine a harder brief: build a trading floor that runs itself, and then run it 24/7. GROKSTREET. Fourteen agents. Eleven desks, three chiefs, three offices, one vault. It lives in a browser tab and it does not stop. WHY GROK BOT MAKES THIS WORK Most people misread the architecture. It is not one sandbox per agent. It is ONE persistent cloud computer per account, and every Bot gets its own screen on it. Shared filesystem at /workspace, shared browser sessions, shared credentials. That is the whole unlock. One Bot picks up exactly where another left off. No re-auth, no copy-paste between agents, no state lost at the handoff. A floor is only possible because the desks share a building. The head-of-desk role is not something I invented either. "Manages your other Bots and pulls you in for decisions" ships as a first-class Bot template. Routing and escalation are built in. Skills carry the how. Routines carry the when on a schedule, or off a Slack or GitHub event. Subagents fan out as child sessions with their own context and hand a summary back. Fifty routines per Bot. THE DESKS Every desk holds its own book, hit rate and drawdown, and sizes its own risk: Kelly, with the guard rails written in f* = W − (1−W)/R clamped to [0.01, 0.25]. Under 12 samples it does not pretend to know it defaults to 0.05. Volatility is RiskMetrics EWMA σ²_t = λσ²_{t-1} + (1−λ)r²_t, λ = 0.94 Hit rates carry Wilson 95% intervals, z = 1.96. A desk is only flagged for edge decay when the UPPER bound falls below 0.5, never on raw small-sample noise. Three-for-three is not sixty-for-ninety. Capital routes between desks by softmax on measured Sharpe. THE FLOOR Three chiefs meet in the war room every 3.5 minutes and argue. One reports, another presses him, he concedes or proposes. 14,208 sentence shapes before live figures fill the slots and every slot is filled from that chief's own desks. The crypto chief cannot quote meme numbers. A desk holding $25 gets up, walks to the vault and banks it. The transfer is atomic on arrival, so an interrupted walk cannot destroy cash. Every desk wears its last trade above its head. Green with a tick, red with a cross. You see who the chief is about to praise and who he is about to hit before he gets there. BTC, ETH and SOL come off Kraken server-side. The tape is real. THE BUILD 16 modules. 7,572 lines. Zero npm dependencies. No React. No bundler. No game engine. Vanilla JavaScript on Canvas 2D and a Go binary with the entire world embedded in it. Ships as one 2.3 MB HTML file. 60fps on every floor, zero dropped frames. WHAT I FOUND BY MEASURING INSTEAD OF LOOKING The roster read one number for a desk and the chief's card read another, so a desk could show +$16 in the list and $0 when the chief walked over. Every desk was crediting itself twice. Money could vanish if a walk to the vault got interrupted. Three money bugs, none of them visible by watching. All fixed and instrumented. DIRECTOR MODE Open it with?show and the camera runs itself. It cuts to the war room while a chief is mid-sentence, to whichever office just cleared money, and never cuts away in the middle of a line. Point a screen recorder at it and walk away. The math is real, the feed is real, the engineering is real. The flex is the engine, not a P&L screenshot.

AdiiX

51,085 просмотров • 1 месяц назад

My Thoughts on R2 after my time with it! Short review! First, Rivian completely nailed this thing. I love the positioning of the driver seats. That long front nose gives a nice commanding feel. They will sell each and every one of these! Driving impression/suspension: 9/10 I felt the vehicle has good build quality. It felt *tight* and secure. Power delivery was smooth and crisp in all-purpose. Sport mode fella unlocked and ready for all the fun things. Power is rapid and consistent with a full power moment around 35-40mph, all the power is there. There is a good amount of nose rise during a hard acceleration. But I do feel the suspension was working well to control this. Remember this isn’t an air suspension. It’s a coil suspension. There is a difference between the suspension setting soft was SOFT. Firm was stiff but not overly stiff. It didn’t have that bouncing effect that some vehicles can have when going into firm suspension. Moderate was a good balance. I wish it could be more adaptive in moderate but it’s very very good. Turn in was good, and the turning radius was excellent. Switching from D to R for a 3-point turn was smooth and quick, no jerkiness. Very good control over entrance to parking lots. Stable. Lastly, it feels like the small delay some R1 have in throttle is gone with R2. Software: 8/10 This is where you guys know I am hard on them on. Because I want the best they can give. Rivian OS2.0 is a HUGE upgrade over R1. In all cases. Responsiveness, touch input, speed, app switching, keyboard responsiveness, etc., it is a huge difference. I love the new “fish stick” bar. And settings being available with one tap and being app-dependent first is fantastic. Well done Wassym Bensaid, the halo are great. The only thing about them is while driving, it’s hard to get a direct click, especially when trying to use it to switch drive modes where you have to push towards you. The halo likes the spin/move, but I think I just need to get used to it. Living with it would for sure help with that. I’m really hoping they fully unlock customization for them. You can end up with 8 different characters you could adjust. I really like having the driver display. But driving with it, you can notice how much smaller it is compared to R1. It’s no deal breaker, but it’s noticeable. Cameras felt snapper and of higher quality over Gen 2 R1. The turn signal sounds is new I like it as well as the forward and Evers noise it makes. Think Tesla sound when shifting. Audio: Now I’ve experienced R2 3x now. With 2 times with audio. The audio was significantly better than when I got to sit it in, in Miami for a block party. It’s about as good as R1 is now. There did feel like a sub was there. That’s great. I used my Apple Music account so I could listen to the song I love. And it was great. Not perfect but good enough. Long as it’s comparable to R1, it’s okay. Cabin: It was very well appointed. I actually found it sufficiently quiet. 🤫 I think for sure it’s quieter than my R1T without question. The HVAC system design (air vent) I like better than R1. I feel like the HVAC system now can blow the air on better than trying to. I need more time to test preconditioning because that’s where I’ve seen most of the issues with my R1 vehicles. Tons of space, easy to drop the seats, it’s flat, and nice under-floor space. The 1-touch drop for all windows was excellent. Overall: I think this is the Rivian everyone has been waiting for. This will be a fantastic one-car solution for so many families. There is storage for days, off-road abilities a Model Y can’t even think of doing, but the UHF needs to improve quicker than it currently is because that is really becoming a buying decision for people. Tim and I can’t wait to take delivery of our R2 Rivian; we are ready! Feel free to ask me anything about the R2! I’ll do my best to answer it or get you the answer. It’s a 10/10 for so many people.
0:58

My Thoughts on R2 after my time with it! Short review! First, Rivian completely nailed this thing. I love the positioning of the driver seats. That long front nose gives a nice commanding feel. They will sell each and every one of these! Driving impression/suspension: 9/10 I felt the vehicle has good build quality. It felt *tight* and secure. Power delivery was smooth and crisp in all-purpose. Sport mode fella unlocked and ready for all the fun things. Power is rapid and consistent with a full power moment around 35-40mph, all the power is there. There is a good amount of nose rise during a hard acceleration. But I do feel the suspension was working well to control this. Remember this isn’t an air suspension. It’s a coil suspension. There is a difference between the suspension setting soft was SOFT. Firm was stiff but not overly stiff. It didn’t have that bouncing effect that some vehicles can have when going into firm suspension. Moderate was a good balance. I wish it could be more adaptive in moderate but it’s very very good. Turn in was good, and the turning radius was excellent. Switching from D to R for a 3-point turn was smooth and quick, no jerkiness. Very good control over entrance to parking lots. Stable. Lastly, it feels like the small delay some R1 have in throttle is gone with R2. Software: 8/10 This is where you guys know I am hard on them on. Because I want the best they can give. Rivian OS2.0 is a HUGE upgrade over R1. In all cases. Responsiveness, touch input, speed, app switching, keyboard responsiveness, etc., it is a huge difference. I love the new “fish stick” bar. And settings being available with one tap and being app-dependent first is fantastic. Well done Wassym Bensaid, the halo are great. The only thing about them is while driving, it’s hard to get a direct click, especially when trying to use it to switch drive modes where you have to push towards you. The halo likes the spin/move, but I think I just need to get used to it. Living with it would for sure help with that. I’m really hoping they fully unlock customization for them. You can end up with 8 different characters you could adjust. I really like having the driver display. But driving with it, you can notice how much smaller it is compared to R1. It’s no deal breaker, but it’s noticeable. Cameras felt snapper and of higher quality over Gen 2 R1. The turn signal sounds is new I like it as well as the forward and Evers noise it makes. Think Tesla sound when shifting. Audio: Now I’ve experienced R2 3x now. With 2 times with audio. The audio was significantly better than when I got to sit it in, in Miami for a block party. It’s about as good as R1 is now. There did feel like a sub was there. That’s great. I used my Apple Music account so I could listen to the song I love. And it was great. Not perfect but good enough. Long as it’s comparable to R1, it’s okay. Cabin: It was very well appointed. I actually found it sufficiently quiet. 🤫 I think for sure it’s quieter than my R1T without question. The HVAC system design (air vent) I like better than R1. I feel like the HVAC system now can blow the air on better than trying to. I need more time to test preconditioning because that’s where I’ve seen most of the issues with my R1 vehicles. Tons of space, easy to drop the seats, it’s flat, and nice under-floor space. The 1-touch drop for all windows was excellent. Overall: I think this is the Rivian everyone has been waiting for. This will be a fantastic one-car solution for so many families. There is storage for days, off-road abilities a Model Y can’t even think of doing, but the UHF needs to improve quicker than it currently is because that is really becoming a buying decision for people. Tim and I can’t wait to take delivery of our R2 Rivian; we are ready! Feel free to ask me anything about the R2! I’ll do my best to answer it or get you the answer. It’s a 10/10 for so many people.

Tyrone Holland🚀🧑🏽‍💻

32,078 просмотров • 3 месяцев назад

No f*cking way, I just built this web crawler from one single prompt with Opus 5.5 it can: - follow your cursor across any page - crawl the text and glitch every word it steps on - pull out the key sentences as it walks - build a short TL;DR in real time while you scroll - take any article you paste in and do the same here is the prompt: Build a Chrome extension (Manifest V3) called "TL;DR Crawler" that works on any normal web page. WHAT IT DOES Click the toolbar icon: a line-drawn spider appears on the current page, follows your cursor (also while scrolling), reads the text it walks over and builds a short TL;DR in a floating panel. Click the icon again: everything disappears and the page is exactly as before. 1. TOGGLE - background.js: chrome.action.onClicked injects content.js with chrome.scripting.executeScript. - content.js checks a global flag. If the crawler is already running, it shuts down and cleans up. Otherwise it starts. Only one instance per tab, ever. 2. FIND THE TEXT - Find the main readable area: prefer or , otherwise the element with the most paragraph text. Skip nav, header, footer, aside, menus, forms, code, ads and hidden elements. - Collect text blocks (p, li, blockquote, h2-h4) and split them into sentences. Store each sentence as a DOM Range (sentences can span links and bold text, so do NOT wrap them in elements). - Watch the area with a debounced MutationObserver (1s) to pick up text loaded later (infinite scroll, lazy content). 3. PICK KEY SENTENCES - Score each sentence: +2 digits, +2 for %, $, €, million, billion; +1.5 for words like first, record, launch, announce, new, only, biggest, fastest, warns, raises, cuts; +0.3 per capitalized name (max +2); -2 if under 40 or over 260 characters. - Mark the top 25% as key sentences (min 5, max 80), spread so most paragraphs get one. - Summaries, max 9 words each: - If an API key is set: send all key sentences in ONE request to Claude and ask for a JSON array of short, plain summaries (max 9 words, keep numbers and names exactly, no hype). Request again in batches when new text appears. - Without a key: fallback summary = the sentence with filler openers removed (and, but, however, also, according to), cut at a word boundary with "…". 4. THE SPIDER - Shadow DOM host at document root containing a full-screen fixed (pointer-events: none, z-index 2147483646) and the panel. - Look: small rounded-rectangle body, abdomen ellipse, head with two white eyes, outlines in #5ab8ff. 8 legs as 3px blue lines with pink (#ff4f7a) joint dots, two segments each with inverse kinematics, knees bending outward. - Gait: two alternating leg groups. A foot steps only when it's ~80px from its ideal spot and the other group is planted. Steps last 0.13s with a small lift, landing slightly ahead in the walking direction. - Movement: target = cursor position + scroll, so it follows while scrolling. Max ~420 px/s, smooth acceleration, stops ~40px from the cursor, turns smoothly toward its direction. If the cursor is idle for 8s, it wanders around the viewport. - requestAnimationFrame with a fixed 1/120s physics step. Support devicePixelRatio and window resize. 5. CRAWLING - Every 80ms and on every foot landing, find the text under the spider with document.caretRangeFromPoint (ignore the extension's own elements). - If that point is inside a key sentence not yet found: highlight it with the CSS Custom Highlight API (::highlight(tldr-found) with a soft yellow background) and add its summary to the panel. - If a foot lands on a normal word: in ~25% of cases glitch just that word. Wrap only that word in a span (it's a single text node, so it's safe) and apply one random effect: monospace font, blue outline, blue highlight, slight rotation, wide letter-spacing, blur or uppercase. Max 2 effects per word. Record every change so it can be undone. 6. PANEL - Top-right, draggable by its header, inside the Shadow DOM so site CSS can't affect it. - Dark (#16181c), mono title "TL;DR" in yellow (#ffd166), a "found / total" counter, a pink progress bar and a numbered list in article order. The newest item flashes yellow and the list auto-scrolls to it. The list scrolls inside a max height. - Buttons: "Copy TL;DR" (plain text to the clipboard), "Restart" (clears highlights, glitches and the list) and "Close" (full shutdown). - If a key is set, add "Write TL;DR with Claude": sends all found sentences and returns 3 short lines using only their facts, numbers unchanged. Show a "Thinking..." state, then the answer under the list. 7. API KEY - options.html: a field for the user's Anthropic API key and a model name, stored in - All API calls go through background.js with fetch to with headers x-api-key, anthropic-version: 2023-06-01 and content-type: application/json. - Handle errors quietly: if a call fails, keep the fallback summaries and show a small "AI unavailable" note. 8. QUALITY RULES - Never break scrolling, clicks, links or text selection on the site. - Full cleanup on shutdown: canvas, panel, highlights, wrapped word spans, inline styles, listeners, observers, timers. - prefers-reduced-motion: no glitches, slower walking. - Plain JavaScript, no libraries. Files: manifest.json, background.js, content.js, options.html, options.js, icons (16, 48, 128). - Permissions: activeTab, scripting, storage. Host permission: At the end, give install steps: open chrome://extensions, enable Developer mode, click "Load unpacked", select the folder, then open options and paste the API key.
0:32

No f*cking way, I just built this web crawler from one single prompt with Opus 5.5 it can: - follow your cursor across any page - crawl the text and glitch every word it steps on - pull out the key sentences as it walks - build a short TL;DR in real time while you scroll - take any article you paste in and do the same here is the prompt: Build a Chrome extension (Manifest V3) called "TL;DR Crawler" that works on any normal web page. WHAT IT DOES Click the toolbar icon: a line-drawn spider appears on the current page, follows your cursor (also while scrolling), reads the text it walks over and builds a short TL;DR in a floating panel. Click the icon again: everything disappears and the page is exactly as before. 1. TOGGLE - background.js: chrome.action.onClicked injects content.js with chrome.scripting.executeScript. - content.js checks a global flag. If the crawler is already running, it shuts down and cleans up. Otherwise it starts. Only one instance per tab, ever. 2. FIND THE TEXT - Find the main readable area: prefer or , otherwise the element with the most paragraph text. Skip nav, header, footer, aside, menus, forms, code, ads and hidden elements. - Collect text blocks (p, li, blockquote, h2-h4) and split them into sentences. Store each sentence as a DOM Range (sentences can span links and bold text, so do NOT wrap them in elements). - Watch the area with a debounced MutationObserver (1s) to pick up text loaded later (infinite scroll, lazy content). 3. PICK KEY SENTENCES - Score each sentence: +2 digits, +2 for %, $, €, million, billion; +1.5 for words like first, record, launch, announce, new, only, biggest, fastest, warns, raises, cuts; +0.3 per capitalized name (max +2); -2 if under 40 or over 260 characters. - Mark the top 25% as key sentences (min 5, max 80), spread so most paragraphs get one. - Summaries, max 9 words each: - If an API key is set: send all key sentences in ONE request to Claude and ask for a JSON array of short, plain summaries (max 9 words, keep numbers and names exactly, no hype). Request again in batches when new text appears. - Without a key: fallback summary = the sentence with filler openers removed (and, but, however, also, according to), cut at a word boundary with "…". 4. THE SPIDER - Shadow DOM host at document root containing a full-screen fixed (pointer-events: none, z-index 2147483646) and the panel. - Look: small rounded-rectangle body, abdomen ellipse, head with two white eyes, outlines in #5ab8ff. 8 legs as 3px blue lines with pink (#ff4f7a) joint dots, two segments each with inverse kinematics, knees bending outward. - Gait: two alternating leg groups. A foot steps only when it's ~80px from its ideal spot and the other group is planted. Steps last 0.13s with a small lift, landing slightly ahead in the walking direction. - Movement: target = cursor position + scroll, so it follows while scrolling. Max ~420 px/s, smooth acceleration, stops ~40px from the cursor, turns smoothly toward its direction. If the cursor is idle for 8s, it wanders around the viewport. - requestAnimationFrame with a fixed 1/120s physics step. Support devicePixelRatio and window resize. 5. CRAWLING - Every 80ms and on every foot landing, find the text under the spider with document.caretRangeFromPoint (ignore the extension's own elements). - If that point is inside a key sentence not yet found: highlight it with the CSS Custom Highlight API (::highlight(tldr-found) with a soft yellow background) and add its summary to the panel. - If a foot lands on a normal word: in ~25% of cases glitch just that word. Wrap only that word in a span (it's a single text node, so it's safe) and apply one random effect: monospace font, blue outline, blue highlight, slight rotation, wide letter-spacing, blur or uppercase. Max 2 effects per word. Record every change so it can be undone. 6. PANEL - Top-right, draggable by its header, inside the Shadow DOM so site CSS can't affect it. - Dark (#16181c), mono title "TL;DR" in yellow (#ffd166), a "found / total" counter, a pink progress bar and a numbered list in article order. The newest item flashes yellow and the list auto-scrolls to it. The list scrolls inside a max height. - Buttons: "Copy TL;DR" (plain text to the clipboard), "Restart" (clears highlights, glitches and the list) and "Close" (full shutdown). - If a key is set, add "Write TL;DR with Claude": sends all found sentences and returns 3 short lines using only their facts, numbers unchanged. Show a "Thinking..." state, then the answer under the list. 7. API KEY - options.html: a field for the user's Anthropic API key and a model name, stored in - All API calls go through background.js with fetch to with headers x-api-key, anthropic-version: 2023-06-01 and content-type: application/json. - Handle errors quietly: if a call fails, keep the fallback summaries and show a small "AI unavailable" note. 8. QUALITY RULES - Never break scrolling, clicks, links or text selection on the site. - Full cleanup on shutdown: canvas, panel, highlights, wrapped word spans, inline styles, listeners, observers, timers. - prefers-reduced-motion: no glitches, slower walking. - Plain JavaScript, no libraries. Files: manifest.json, background.js, content.js, options.html, options.js, icons (16, 48, 128). - Permissions: activeTab, scripting, storage. Host permission: At the end, give install steps: open chrome://extensions, enable Developer mode, click "Load unpacked", select the folder, then open options and paste the API key.

Anatoli Kopadze

25,655 просмотров • 5 дней назад

I made an ad for GPT Image 2.5, full prompt below. It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it. Seedance 2.5 on Higgsfield AI 🧩. Seedance 2.5 Prompt: [GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect. [CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed. [ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other. [CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation. [SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun. 0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet. 3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her. 7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts. 11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak. 15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers. 18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft. 21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles. 24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information. 27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her. 28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind. [SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head. [HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.
0:30

I made an ad for GPT Image 2.5, full prompt below. It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it. Seedance 2.5 on Higgsfield AI 🧩. Seedance 2.5 Prompt: [GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect. [CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed. [ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other. [CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation. [SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun. 0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet. 3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her. 7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts. 11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak. 15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers. 18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft. 21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles. 24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information. 27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her. 28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind. [SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head. [HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.

Mr.Iancu

61,910 просмотров • 26 дней назад