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Silverwolf valid crashout 🤣 original audio: @ MorFaii at yt. #HSRNewWorldBegins #SparktheWorldwithJoy #animation #fornite #HonkaiStarRail

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Vessel Animation | Commissions Closed Thank you ^^

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34,768 görüntüleme • 7 ay önce •via X (Twitter)

Sanat#HSRNewWorldBegins#SparktheWorldwithJoy#animation#fornite#HonkaiStarRail
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I made an animation of this iconic dialogue ✨️✨️ Credits: Models by 流云景 Effects: HariganeP / RUI / NPIE / Ikeno / Manashiku Original audio by: catagliiaa on YT Thanks to Hoyoverse! #Aventurine #DrRatio #Ratio #starrail #honkaistarrail #hoyocreators #mmd #animation
0:28

I made an animation of this iconic dialogue ✨️✨️ Credits: Models by 流云景 Effects: HariganeP / RUI / NPIE / Ikeno / Manashiku Original audio by: catagliiaa on YT Thanks to Hoyoverse! #Aventurine #DrRatio #Ratio #starrail #honkaistarrail #hoyocreators #mmd #animation

Rie ✿

262,423 görüntüleme • 2 yıl önce

"...STOP BEING WEAK, STAND UP NOW!" Original Song & Animation 「SECOND HEART」 Release (THU) 09 MAR, 2025 at 18:00 (GMT+7) Vocals: Nemuri Nemu Music Producer: Scarlette Band Animation: Nicca YT: #Nemu_SECONDHEART #NemuriNemu #VtuberTH
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"...STOP BEING WEAK, STAND UP NOW!" Original Song & Animation 「SECOND HEART」 Release (THU) 09 MAR, 2025 at 18:00 (GMT+7) Vocals: Nemuri Nemu Music Producer: Scarlette Band Animation: Nicca YT: #Nemu_SECONDHEART #NemuriNemu #VtuberTH

Nemu 💀💤 眠里ねむ : Original Song 「SECOND HEART」

12,602 görüntüleme • 1 yıl önce

🚨 A new animated video recreates the 1977 Ellsworth Air Force Base incident where a gigantic UFO hovered over a nuclear missile silo. Witnesses reportedly encountered the craft and were later abducted. The animation depicts the massive object and the events surrounding the sighting at the strategic missile site. Ellsworth has long been linked to UFO activity near nuclear assets during the Cold War era. This visual retelling brings renewed attention to one of the lesser-known but highly significant military UAP cases from the 1970s. Original source credit: Animated recreation of 1977 Ellsworth AFB UFO incident YT (Link in the comment section)
1:08

🚨 A new animated video recreates the 1977 Ellsworth Air Force Base incident where a gigantic UFO hovered over a nuclear missile silo. Witnesses reportedly encountered the craft and were later abducted. The animation depicts the massive object and the events surrounding the sighting at the strategic missile site. Ellsworth has long been linked to UFO activity near nuclear assets during the Cold War era. This visual retelling brings renewed attention to one of the lesser-known but highly significant military UAP cases from the 1970s. Original source credit: Animated recreation of 1977 Ellsworth AFB UFO incident YT (Link in the comment section)

T R U T H P O L E

33,629 görüntüleme • 3 ay önce

🎁Event With Rewards Version 3.4 Trailer — "For the Sun is Set to Die" | Honkai: Star Rail Watch Now: Let me tell a tale of a swarm of nymphs that chase the scorching dawn. The Paean of Era Nova... For they rose from the gate and reached the throne, for they walked through the petals in the land of repose, yet fell finally at dawn's rise... Special Note: Voice-over languages for the current collaboration characters are only available in Japanese, Chinese, and Korean. For more details, please refer to the official announcement. ※ Preview of Collab Character Voice-Over Switch Feature: In Version 3.5, without changing your audio language in Settings, Trailblazers can individually switch collaboration characters' interaction, idle and battle voice lines to the Fate[UBW] Original Audio (Japanese) via Character Details > Profile > Voice. Japanese Voice: Phainon — Hino Satoshi Lygus — Karato Syuntaro Aglaea — Endo Aya Cyrene — Inoue Marina Saber (Fate[UBW]) — Ayako Kawasumi Archer (Fate[UBW]) — Junichi Suwabe Old Oti — Kikuchi Michitake Boothill — Konishi Katsuyuki Robin — Nazuka Kaori Stelle — Ishikawa Yui Follow this account and repost/quote this post to participate in the event 20 lucky winners will be randomly selected to receive gift cards worth approximately 25 USD. Deadline: 2025/06/26 23:59 (UTC+8) Download the Game ▼ View Detailed Event Rules: #HonkaiStarRail
3:00

🎁Event With Rewards Version 3.4 Trailer — "For the Sun is Set to Die" | Honkai: Star Rail Watch Now: Let me tell a tale of a swarm of nymphs that chase the scorching dawn. The Paean of Era Nova... For they rose from the gate and reached the throne, for they walked through the petals in the land of repose, yet fell finally at dawn's rise... Special Note: Voice-over languages for the current collaboration characters are only available in Japanese, Chinese, and Korean. For more details, please refer to the official announcement. ※ Preview of Collab Character Voice-Over Switch Feature: In Version 3.5, without changing your audio language in Settings, Trailblazers can individually switch collaboration characters' interaction, idle and battle voice lines to the Fate[UBW] Original Audio (Japanese) via Character Details > Profile > Voice. Japanese Voice: Phainon — Hino Satoshi Lygus — Karato Syuntaro Aglaea — Endo Aya Cyrene — Inoue Marina Saber (Fate[UBW]) — Ayako Kawasumi Archer (Fate[UBW]) — Junichi Suwabe Old Oti — Kikuchi Michitake Boothill — Konishi Katsuyuki Robin — Nazuka Kaori Stelle — Ishikawa Yui Follow this account and repost/quote this post to participate in the event 20 lucky winners will be randomly selected to receive gift cards worth approximately 25 USD. Deadline: 2025/06/26 23:59 (UTC+8) Download the Game ▼ View Detailed Event Rules: #HonkaiStarRail

Honkai: Star Rail

1,276,690 görüntüleme • 1 yıl önce

The Three Little Pigs (1933) with the original Jewish audio (min 6:12) Three Little Pigs (1933) vs. Three Little Pigs (1948) 1. The original 1933 short Produced by Walt Disney during the Great Depression. The Big Bad Wolf appears disguised as a Jewish street vendor, with: stereotypical "Yiddish" accent false nose hat and clothes typical of the anti-Semitic caricature of the time It went almost unnoticed at the time, but already in the 1930s, some Jewish associations protested. 2. The modified 1948 version After World War II, with sensitivity toward anti-Semitism having completely changed, Disney decided to edit the incriminating scene. What changed: The wolf no longer has a Yiddish accent. The Jewish street vendor's disguise was redesigned: he became a simple, generic clerk. The original line was redubbed. The rest of the short remains identical. Disney didn't publicize the change much, but since then, all versions distributed to the public (theatrical, TV, VHS, DVD, streaming) have been based on the 1948 version. It's one of the first documented cases of retroactive self-censorship in the history of American animation. The excuse? HOLOCAUST HOAX
8:28

The Three Little Pigs (1933) with the original Jewish audio (min 6:12) Three Little Pigs (1933) vs. Three Little Pigs (1948) 1. The original 1933 short Produced by Walt Disney during the Great Depression. The Big Bad Wolf appears disguised as a Jewish street vendor, with: stereotypical "Yiddish" accent false nose hat and clothes typical of the anti-Semitic caricature of the time It went almost unnoticed at the time, but already in the 1930s, some Jewish associations protested. 2. The modified 1948 version After World War II, with sensitivity toward anti-Semitism having completely changed, Disney decided to edit the incriminating scene. What changed: The wolf no longer has a Yiddish accent. The Jewish street vendor's disguise was redesigned: he became a simple, generic clerk. The original line was redubbed. The rest of the short remains identical. Disney didn't publicize the change much, but since then, all versions distributed to the public (theatrical, TV, VHS, DVD, streaming) have been based on the 1948 version. It's one of the first documented cases of retroactive self-censorship in the history of American animation. The excuse? HOLOCAUST HOAX

Edelweiss

33,701 görüntüleme • 7 ay önce

Falana Families are making Very Darkman more popular everyday sha, and SUDDENLY YOU PEOPLE said some names MUST never be mentioned even WHEN they drag their own names into unholy events🤣🤣🤣 I went to listen to the original video again.... 1. VDM played the video all through. 2. His main initial comments focused on EFCC, "bobrisky godfather", Prison Comptroller General & Bobrisky for the first 7:45 minutes of the 11:46 minutes recording. 3. Falana names came into the show around 7:46th minute of the available recording online where Bobrisky mentioned Falz and his father being a SAN in the recording (7:49th minute).... 4. In the Audio, Bobrisky said "Falz reached out to me (7:54th minute), his father spoke to me(7:56th minute), his father said we can apply for pardon (7:58th minute)"....Comrade Deji Adeyanju se you dey hear ba🤣🤣🤣 NOTE: Falz already TESTIFIED IN WRITING that there was a communication between him and Bobrisky....."Bobrisky reached out to me"......🤔🤔 5. VDM started his comment on Falz and Falana from that point (8th minute) based on the claims made by Idris Olanrewaju disguising as Bobrisky in that audio.... 6. VDM continued his comments on Falz at 8:23rd minute of the video by saying "IF this story is true o".... 7. "I don't want to believe that Femi Falana will bring himself down to this level, A whole Femi Falana wey be Fela's lawyer, wey we respect"......8:44th minute 8. VDM continued at 8:53rd minute of the video by inserting his view in a question format "Abi Falz sef dey do"?🤔🤔🤔... May this will pass as one... 9. Then VDM went ahead to sing Falz song right away (9:09th minute)...."Who are we to crucify the Homosexual? Na Falz song o....That one no fit pass as Defamation? 10. At 9:52nd minute, Idris Olanrewaju disguising as Bobrisky recording continued where he said Falana said he would help him push for Presidential pardon through the AGF, then the foolish thing getting involved in corrupt ways through and through by saying Falana was requesting for N10 million to get that done still went ahead to say "You know Nigeria now, Nigeria with corruption and everything"......Abeg who dey corrupt Nigeria? That jail, you go do am tire Idris. 11. At about 10:29th-10:40th minute of the video, VDM said "Based on Bobrisky's narration in the Voice note, Bob Risky is saying that Femi Falana collected N10 Million Naira.... "These are people are respected, these are people I look up to".......And VDM went on and on..... Please which part of these will pass the test of Defamation gangan from point 1 to 11? Baze University lawyer law firm don see something wey go boost their name fa, because this case in court no dey go far. But who are YOU to mention the name of.....🤣🤣
11:46

Falana Families are making Very Darkman more popular everyday sha, and SUDDENLY YOU PEOPLE said some names MUST never be mentioned even WHEN they drag their own names into unholy events🤣🤣🤣 I went to listen to the original video again.... 1. VDM played the video all through. 2. His main initial comments focused on EFCC, "bobrisky godfather", Prison Comptroller General & Bobrisky for the first 7:45 minutes of the 11:46 minutes recording. 3. Falana names came into the show around 7:46th minute of the available recording online where Bobrisky mentioned Falz and his father being a SAN in the recording (7:49th minute).... 4. In the Audio, Bobrisky said "Falz reached out to me (7:54th minute), his father spoke to me(7:56th minute), his father said we can apply for pardon (7:58th minute)"....Comrade Deji Adeyanju se you dey hear ba🤣🤣🤣 NOTE: Falz already TESTIFIED IN WRITING that there was a communication between him and Bobrisky....."Bobrisky reached out to me"......🤔🤔 5. VDM started his comment on Falz and Falana from that point (8th minute) based on the claims made by Idris Olanrewaju disguising as Bobrisky in that audio.... 6. VDM continued his comments on Falz at 8:23rd minute of the video by saying "IF this story is true o".... 7. "I don't want to believe that Femi Falana will bring himself down to this level, A whole Femi Falana wey be Fela's lawyer, wey we respect"......8:44th minute 8. VDM continued at 8:53rd minute of the video by inserting his view in a question format "Abi Falz sef dey do"?🤔🤔🤔... May this will pass as one... 9. Then VDM went ahead to sing Falz song right away (9:09th minute)...."Who are we to crucify the Homosexual? Na Falz song o....That one no fit pass as Defamation? 10. At 9:52nd minute, Idris Olanrewaju disguising as Bobrisky recording continued where he said Falana said he would help him push for Presidential pardon through the AGF, then the foolish thing getting involved in corrupt ways through and through by saying Falana was requesting for N10 million to get that done still went ahead to say "You know Nigeria now, Nigeria with corruption and everything"......Abeg who dey corrupt Nigeria? That jail, you go do am tire Idris. 11. At about 10:29th-10:40th minute of the video, VDM said "Based on Bobrisky's narration in the Voice note, Bob Risky is saying that Femi Falana collected N10 Million Naira.... "These are people are respected, these are people I look up to".......And VDM went on and on..... Please which part of these will pass the test of Defamation gangan from point 1 to 11? Baze University lawyer law firm don see something wey go boost their name fa, because this case in court no dey go far. But who are YOU to mention the name of.....🤣🤣

Taiwo_Ajakaye

72,763 görüntüleme • 2 yıl önce

Future Trunks Defeats Androids 17 & 18 [HD]💥1080Pee🔥 *NEW* Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version)✅(Not KAI)🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently. 🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too!🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/06/2026. See Bruce's Goose's below if joining the Pee Warriors, might be for You. 📋 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑 Now that's out of the way, I think I'm going to re-vamp my edit postings. Everything posted at 5:00PM EST. NEW edits will still be posted on Tuesdays and Fridays. But 5PM EST consistently for work schedules. ONE PER DAY 4 Replays - 3 New One is a *Surprise* New edit every week before 5PMEST. Over 1/3 of you are not from the United States, so I'd like to treat you guys as well for being here. This was another suggestion taken from a follower, it turned out amazing I hope you enjoy!
5:06

Future Trunks Defeats Androids 17 & 18 [HD]💥1080Pee🔥 *NEW* Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version)✅(Not KAI)🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently. 🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too!🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/06/2026. See Bruce's Goose's below if joining the Pee Warriors, might be for You. 📋 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑 Now that's out of the way, I think I'm going to re-vamp my edit postings. Everything posted at 5:00PM EST. NEW edits will still be posted on Tuesdays and Fridays. But 5PM EST consistently for work schedules. ONE PER DAY 4 Replays - 3 New One is a *Surprise* New edit every week before 5PMEST. Over 1/3 of you are not from the United States, so I'd like to treat you guys as well for being here. This was another suggestion taken from a follower, it turned out amazing I hope you enjoy!

DragonBallPee

36,825 görüntüleme • 1 ay önce

jnmartin and I just spent the last 12 hours straight locked into an epic tag-team, binge-coding session. We've decided to return to perfect our port of Mario Kart 64 to the Sega Dreamcast, bringing with us all of the skills, knowledge, and tools at our disposal that we gained from every port we've been involved with since we originally released MK64 DC to the public. 1) jnmartin has just completely redone the audio synthesis and mixing code. It was originally emulating the Nintendo 64's RSP in software, on our CPU, and wound up being a total resource hog, despite us going to hell and back again, substantially boosting its performance by vectorizing it with our SH4 SIMD instructions. 2) Now that the audio is actually offloaded to the AICA, we can leverage its DSP to put back in effects such as reverb and echo that we simply didn't have the CPU budget to implement before... so the overall audio quality of the port will be SIGNIFICANTLY improved. 3) jnmartin has been working on many small bugfixes, such as the near-Z clipping edge-cases that would cause corrupted triangles to draw over the players' screens sometimes in 3 and 4 player modes. 4) jnmartin just kicked GLdc--our OpenGL 1.1 driver, built atop of KallistiOS--to the curb and has instead implemented a bare-metal renderer that raw-dogs KOS's lowest-level PVR GPU driver directly, giving us more control and better performance within the renderer. 4) I just implemented support for playing with the Sega Dreamcast keyboard peripheral as a controller, partially as a flex, and partially because jnmartin kept complaining that he only had 3 controllers for testing... 🤣 4) I have taken my entire accelerated math and linear algebra library, SH4ZAM--which was born just after this port was originally released--back with me this time and am optimizing every freaking thing I can get my hands on with it. Every matrix multiplication, vector transform, memcpy-call, and scalar or trig routine is getting swapped out for the corresponding hand-optimized, meticulously benchmarked, and rigorously unit-tested equivalent within SH4ZAM, which now ships as part of kos-ports. As you can see from this series of direct hardware captures, overlaid with the terminal window which was capturing the FPS logging reports from my actual Sega Dreamcast, the performance is now SIGNIFICANTLY better than it was previously, and it already ran on-par or slightly better than the N64 original under most circumstances! Sooo many GAINZ to be had! 💪
1:08

jnmartin and I just spent the last 12 hours straight locked into an epic tag-team, binge-coding session. We've decided to return to perfect our port of Mario Kart 64 to the Sega Dreamcast, bringing with us all of the skills, knowledge, and tools at our disposal that we gained from every port we've been involved with since we originally released MK64 DC to the public. 1) jnmartin has just completely redone the audio synthesis and mixing code. It was originally emulating the Nintendo 64's RSP in software, on our CPU, and wound up being a total resource hog, despite us going to hell and back again, substantially boosting its performance by vectorizing it with our SH4 SIMD instructions. 2) Now that the audio is actually offloaded to the AICA, we can leverage its DSP to put back in effects such as reverb and echo that we simply didn't have the CPU budget to implement before... so the overall audio quality of the port will be SIGNIFICANTLY improved. 3) jnmartin has been working on many small bugfixes, such as the near-Z clipping edge-cases that would cause corrupted triangles to draw over the players' screens sometimes in 3 and 4 player modes. 4) jnmartin just kicked GLdc--our OpenGL 1.1 driver, built atop of KallistiOS--to the curb and has instead implemented a bare-metal renderer that raw-dogs KOS's lowest-level PVR GPU driver directly, giving us more control and better performance within the renderer. 4) I just implemented support for playing with the Sega Dreamcast keyboard peripheral as a controller, partially as a flex, and partially because jnmartin kept complaining that he only had 3 controllers for testing... 🤣 4) I have taken my entire accelerated math and linear algebra library, SH4ZAM--which was born just after this port was originally released--back with me this time and am optimizing every freaking thing I can get my hands on with it. Every matrix multiplication, vector transform, memcpy-call, and scalar or trig routine is getting swapped out for the corresponding hand-optimized, meticulously benchmarked, and rigorously unit-tested equivalent within SH4ZAM, which now ships as part of kos-ports. As you can see from this series of direct hardware captures, overlaid with the terminal window which was capturing the FPS logging reports from my actual Sega Dreamcast, the performance is now SIGNIFICANTLY better than it was previously, and it already ran on-par or slightly better than the N64 original under most circumstances! Sooo many GAINZ to be had! 💪

Falco Girgis

13,358 görüntüleme • 3 ay önce

Tried this with Wan 3.0 on TapNow Prompt Detailed video generation prompt (Scooby-Doo / Interdimensional Cable, Twitch livestream composite) Full-screen recording of a live Twitch stream, identical layout and UI chrome to a real Twitch desktop player. Dark purple/black interface. Top bar: Following | Browse | search field showing “PokémonXP & 2026 Worlds” | notification bells | “Try 1-Month Ad-Free.” Left sidebar “For You / Live Channels” with the same channel list and viewer counts (TheBurntPeanut 515K, stableronaldo 441K, KaiCenat 85.3K, JoeKnowsYT, Jynxzi, k3soju, etc.). Bottom-left streamer badge: circular avatar, red LIVE pill. Right column: Stream Chat with continuously scrolling messages, bits/cheers, subs, and the same chaotic energy (LOL, GEEG GEEG, FAX YELLOW NOT, IM DYING, goodfellow, UNIQLO GG, DROP THE BRAND, IM WEARING PINK, PAAAHAHAHAHAHA, go naked, wait put us on game unc, etc.), “Verified Accounts Only Chat,” chat input box, and viewer/sub counts ticking in the header (ethourah, Khaled_5vl3d, mssmoaka143, etc.). Occasional Twitch notifications (subs, gifted subs, raids) pop in the chat like the original stream. Center player shows the cartoon with a thin player bar (timestamp advancing ~00:06–00:28). Overlaid on the cartoon at key beats are black “DIRECTOR MAX” caption cards, same typography and placement as the source video. Inside the player: Scooby-Doo classic Hanna-Barbera / Warner cartoon style — thick rounded black outlines, flat cel colors, slight film grain and analog-TV softness, 1969–1970s Saturday-morning look (not modern 3D or highly detailed reboot). Characters are on-model: Shaggy Rogers (tall, skinny, slouched, messy brown hair, green shirt, brown pants, goatee, half-lidded lazy eyes, holding a black remote) and Scooby-Doo (Great Dane, brown with black spots, blue collar with gold diamond tag, expressive droopy muzzle). They slouch on the same living-room set as the original video: beige walls, brown two-cushion couch, circular rug, wooden floor, kitchen behind them (fridge, hanging lamp), night window with stars, framed pictures, bookshelf, purple lamp on the side table, coffee table. Do not redesign the room — keep that exact interior. Start with a wide living-room shot. Shaggy and Scooby sit slouched on the couch watching the TV on the left. Shaggy leans back with one long leg extended, remote in hand, looking bored and hungry. Scooby sits slightly hunched, one paw near his muzzle, looking uneasy. Subtle idle animation: breathing, Shaggy’s fingers twitching on the remote, Scooby’s tail giving a small nervous wag, Scooby’s foot tapping. On-screen DIRECTOR MAX card (same style as source): “Scooby-Doo cartoon, cel-shaded: Shaggy and Scooby slouch on the living-room couch flipping interdimensional cable” Shaggy speaks in his classic nasal, slacker voice: “Like, look at this, Scoob — interdimensional cable. It’s just, like, nonsense from other realities.” Cut to medium close-up of their faces. Shaggy’s mouth is open mid-sentence, eyes half-closed. Scooby stares at the TV with growing discomfort, ears slightly back. Cut to over-the-shoulder / TV-centric shots. The television rapidly flips through absurd interdimensional channels (same pacing and cuts as the original): - Bright commercial for a “Plumbus”-style gag, Scooby-Doo flavor: a small green blob-like monster with purple ears and a big smile stands next to a metallic mystery gadget, waving against a yellow background. Banner reads something like “PLUMBUS” in large orange letters (keep the same graphic layout). - Quick cut to a talking toaster wearing a tiny tuxedo and red bowtie, smiling with a cartoon face. - Fast channel change with motion blur into a surreal landscape: rolling green hills and purple mountains under a blue sky, with multiple giant disembodied eyeballs floating and staring at the camera. - Later channels show colorful neon monster / alien game-show hosts (pink, green, blue creatures with glowing outlines) dancing and waving on a dark stage with bright lights and abstract shapes. Scooby, still looking at the screen, in trademark Scooby-speak: “Ruh-roh, Shaggy… some of this stuff is actually kinda spooky.” His expression shifts from confusion to mild distress (trembling jowls, wide eyes). Camera slowly pushes in over their shoulders toward the TV as the screen keeps flickering through more chaotic programming. Low ambient hum of the living-room refrigerator. Scooby becomes more anxious, mumbling about Scooby Snacks / the mystery they were supposed to be working on. He raises both paws to his head in frustration. Shaggy groans, lets out a wet burp, slumps deeper into the couch, and blindly reaches toward a half-empty mug (or sandwich plate) on the coffee table. TV audio dissolves into layered interdimensional static mixed with warped game-show applause and monster voices. Second DIRECTOR MAX card (same placement and length as source): “The camera pushes in slowly over Shaggy and Scooby’s shoulders as the television screen flickers through surreal alien game shows, accompanied by the low hum of the living room refrigerator and Scooby’s anxious mumbling about Scooby Snacks. Shaggy groans, burps wetly, and reaches blindly for a half-empty mug on the coffee table while the TV audio morphs into chaotic interdimensional static.” Scooby, voice rising with panic (still Scooby-speak): “Reah, I really gotta— I mean, we have so many Scooby Snacks to eat, Shaggy, and we’re just sitting here!” He turns slightly toward Shaggy while still glancing at the TV, then grabs the mug. Keep the animation loose and expressive like classic Scooby-Doo: squash-and-stretch faces, rubbery walks even while seated, slight line wobble, big eye takes, Shaggy’s lazy slouch vs Scooby’s cowardly flinch. Lighting stays consistent with the original room — TV glow on their faces plus warm indoor lamps. The Twitch chrome, chat scroll, live-channel list, viewer counts, and DIRECTOR MAX cards remain visible the entire time; the cartoon plays only inside the stream player. No extra watermarks beyond the Twitch UI. Duration target: ~20–25 seconds. Smooth camera moves, natural dialogue timing, rapid but readable channel changes on the TV. High fidelity to Shaggy and Scooby’s personalities (cowardly, snack-obsessed, “like/zoinks/ruh-roh”) while locking the background, shot list, overlay layout, and edit rhythm to the original stream recording.
0:25

Tried this with Wan 3.0 on TapNow Prompt Detailed video generation prompt (Scooby-Doo / Interdimensional Cable, Twitch livestream composite) Full-screen recording of a live Twitch stream, identical layout and UI chrome to a real Twitch desktop player. Dark purple/black interface. Top bar: Following | Browse | search field showing “PokémonXP & 2026 Worlds” | notification bells | “Try 1-Month Ad-Free.” Left sidebar “For You / Live Channels” with the same channel list and viewer counts (TheBurntPeanut 515K, stableronaldo 441K, KaiCenat 85.3K, JoeKnowsYT, Jynxzi, k3soju, etc.). Bottom-left streamer badge: circular avatar, red LIVE pill. Right column: Stream Chat with continuously scrolling messages, bits/cheers, subs, and the same chaotic energy (LOL, GEEG GEEG, FAX YELLOW NOT, IM DYING, goodfellow, UNIQLO GG, DROP THE BRAND, IM WEARING PINK, PAAAHAHAHAHAHA, go naked, wait put us on game unc, etc.), “Verified Accounts Only Chat,” chat input box, and viewer/sub counts ticking in the header (ethourah, Khaled_5vl3d, mssmoaka143, etc.). Occasional Twitch notifications (subs, gifted subs, raids) pop in the chat like the original stream. Center player shows the cartoon with a thin player bar (timestamp advancing ~00:06–00:28). Overlaid on the cartoon at key beats are black “DIRECTOR MAX” caption cards, same typography and placement as the source video. Inside the player: Scooby-Doo classic Hanna-Barbera / Warner cartoon style — thick rounded black outlines, flat cel colors, slight film grain and analog-TV softness, 1969–1970s Saturday-morning look (not modern 3D or highly detailed reboot). Characters are on-model: Shaggy Rogers (tall, skinny, slouched, messy brown hair, green shirt, brown pants, goatee, half-lidded lazy eyes, holding a black remote) and Scooby-Doo (Great Dane, brown with black spots, blue collar with gold diamond tag, expressive droopy muzzle). They slouch on the same living-room set as the original video: beige walls, brown two-cushion couch, circular rug, wooden floor, kitchen behind them (fridge, hanging lamp), night window with stars, framed pictures, bookshelf, purple lamp on the side table, coffee table. Do not redesign the room — keep that exact interior. Start with a wide living-room shot. Shaggy and Scooby sit slouched on the couch watching the TV on the left. Shaggy leans back with one long leg extended, remote in hand, looking bored and hungry. Scooby sits slightly hunched, one paw near his muzzle, looking uneasy. Subtle idle animation: breathing, Shaggy’s fingers twitching on the remote, Scooby’s tail giving a small nervous wag, Scooby’s foot tapping. On-screen DIRECTOR MAX card (same style as source): “Scooby-Doo cartoon, cel-shaded: Shaggy and Scooby slouch on the living-room couch flipping interdimensional cable” Shaggy speaks in his classic nasal, slacker voice: “Like, look at this, Scoob — interdimensional cable. It’s just, like, nonsense from other realities.” Cut to medium close-up of their faces. Shaggy’s mouth is open mid-sentence, eyes half-closed. Scooby stares at the TV with growing discomfort, ears slightly back. Cut to over-the-shoulder / TV-centric shots. The television rapidly flips through absurd interdimensional channels (same pacing and cuts as the original): - Bright commercial for a “Plumbus”-style gag, Scooby-Doo flavor: a small green blob-like monster with purple ears and a big smile stands next to a metallic mystery gadget, waving against a yellow background. Banner reads something like “PLUMBUS” in large orange letters (keep the same graphic layout). - Quick cut to a talking toaster wearing a tiny tuxedo and red bowtie, smiling with a cartoon face. - Fast channel change with motion blur into a surreal landscape: rolling green hills and purple mountains under a blue sky, with multiple giant disembodied eyeballs floating and staring at the camera. - Later channels show colorful neon monster / alien game-show hosts (pink, green, blue creatures with glowing outlines) dancing and waving on a dark stage with bright lights and abstract shapes. Scooby, still looking at the screen, in trademark Scooby-speak: “Ruh-roh, Shaggy… some of this stuff is actually kinda spooky.” His expression shifts from confusion to mild distress (trembling jowls, wide eyes). Camera slowly pushes in over their shoulders toward the TV as the screen keeps flickering through more chaotic programming. Low ambient hum of the living-room refrigerator. Scooby becomes more anxious, mumbling about Scooby Snacks / the mystery they were supposed to be working on. He raises both paws to his head in frustration. Shaggy groans, lets out a wet burp, slumps deeper into the couch, and blindly reaches toward a half-empty mug (or sandwich plate) on the coffee table. TV audio dissolves into layered interdimensional static mixed with warped game-show applause and monster voices. Second DIRECTOR MAX card (same placement and length as source): “The camera pushes in slowly over Shaggy and Scooby’s shoulders as the television screen flickers through surreal alien game shows, accompanied by the low hum of the living room refrigerator and Scooby’s anxious mumbling about Scooby Snacks. Shaggy groans, burps wetly, and reaches blindly for a half-empty mug on the coffee table while the TV audio morphs into chaotic interdimensional static.” Scooby, voice rising with panic (still Scooby-speak): “Reah, I really gotta— I mean, we have so many Scooby Snacks to eat, Shaggy, and we’re just sitting here!” He turns slightly toward Shaggy while still glancing at the TV, then grabs the mug. Keep the animation loose and expressive like classic Scooby-Doo: squash-and-stretch faces, rubbery walks even while seated, slight line wobble, big eye takes, Shaggy’s lazy slouch vs Scooby’s cowardly flinch. Lighting stays consistent with the original room — TV glow on their faces plus warm indoor lamps. The Twitch chrome, chat scroll, live-channel list, viewer counts, and DIRECTOR MAX cards remain visible the entire time; the cartoon plays only inside the stream player. No extra watermarks beyond the Twitch UI. Duration target: ~20–25 seconds. Smooth camera moves, natural dialogue timing, rapid but readable channel changes on the TV. High fidelity to Shaggy and Scooby’s personalities (cowardly, snack-obsessed, “like/zoinks/ruh-roh”) while locking the background, shot list, overlay layout, and edit rhythm to the original stream recording.

Sharon Riley

18,709 görüntüleme • 1 ay önce

JNMARTIN HAS BROUGHT US CHRISTMAS EARLY THIS YEAR!!! His port of Star Fox 64 to the Sega Dreamcast is officially complete and was just released! Here's 9+ minutes of spliced direct hardware captures, featuring footage from every mission running on an actual physical DC at 480p! I have to say, the game feels incredibly smooth and responsive on the DC and controls extremely well. Also... as you can see, at twice the resolution with progressive scan, she looks gorgeous even with my cheap-ass HDMI cables and USB capture card. While jnmartin had the game up and running on DC within (literally) 2 days, there was an enormous amount of time and energy invested into faithfully recreating the experience graphically, implementing various bugfixes, and hunting for performance gainz... the man has never been satisfied with anything short of amazing with his ports, and it really shows. Like his Mario Kart 64 port, Star Fox 64 is also using my SH4ZAM library to hardware accelerate the math and linear algebra routines for DC; however, unlike last time, he's gotten so good at performance gainz that I barely did anything at all on that side, other than writing a few little inline SH4 ASM routines to cover some operations that I didn't already accelerate within the API... Suffice to say, though, that everything from the vertex TnL pipeline, to audio decoding, to gameplay-related trigonometry routines has been optimized for the SH4's FPU... jnmartin even got to bust out the SH4's MMU to accelerate the translation of of the segmented address scheme used by the game on N64 (which was apparently some suggested memory management model in the N64 docs) into the DC's virtual address space--which previously had to be done in software... So even more gainz! Sorry, though... but pretty sure this is why the game won't work in the Flycast emulator currently... whoops! 🤣 Shout-out to darcagent for contributing DREAMCAST RUMBLE PACK SUPPORT (among other things) to the release. Rumble support has historically been a pain-point within our KallistiOS homebrew DC SDK, as many 3rd party rumble packs are non-compliant and either do what they want with certain rumble commands or screw up the entire maple bus when they receive something they have decided not to fully implement... Great job getting that shit sorted out and tested with so many packs. All of my exotic (and cheapo) 3rd party rumble devices that I was able to test with seemed to work great! Finally, lets give SonicDcer a round of applause for being the lead dude behind the original N64 decompilation--as it was his original work that allowed for any of this to even be possible. He also continued to offer support and advice throughout the entire porting process, like a total chad. Here's the link to the official GitHub repo with instructions for building a Dreamcast image from a StarFox N64 ROM:
9:03

JNMARTIN HAS BROUGHT US CHRISTMAS EARLY THIS YEAR!!! His port of Star Fox 64 to the Sega Dreamcast is officially complete and was just released! Here's 9+ minutes of spliced direct hardware captures, featuring footage from every mission running on an actual physical DC at 480p! I have to say, the game feels incredibly smooth and responsive on the DC and controls extremely well. Also... as you can see, at twice the resolution with progressive scan, she looks gorgeous even with my cheap-ass HDMI cables and USB capture card. While jnmartin had the game up and running on DC within (literally) 2 days, there was an enormous amount of time and energy invested into faithfully recreating the experience graphically, implementing various bugfixes, and hunting for performance gainz... the man has never been satisfied with anything short of amazing with his ports, and it really shows. Like his Mario Kart 64 port, Star Fox 64 is also using my SH4ZAM library to hardware accelerate the math and linear algebra routines for DC; however, unlike last time, he's gotten so good at performance gainz that I barely did anything at all on that side, other than writing a few little inline SH4 ASM routines to cover some operations that I didn't already accelerate within the API... Suffice to say, though, that everything from the vertex TnL pipeline, to audio decoding, to gameplay-related trigonometry routines has been optimized for the SH4's FPU... jnmartin even got to bust out the SH4's MMU to accelerate the translation of of the segmented address scheme used by the game on N64 (which was apparently some suggested memory management model in the N64 docs) into the DC's virtual address space--which previously had to be done in software... So even more gainz! Sorry, though... but pretty sure this is why the game won't work in the Flycast emulator currently... whoops! 🤣 Shout-out to darcagent for contributing DREAMCAST RUMBLE PACK SUPPORT (among other things) to the release. Rumble support has historically been a pain-point within our KallistiOS homebrew DC SDK, as many 3rd party rumble packs are non-compliant and either do what they want with certain rumble commands or screw up the entire maple bus when they receive something they have decided not to fully implement... Great job getting that shit sorted out and tested with so many packs. All of my exotic (and cheapo) 3rd party rumble devices that I was able to test with seemed to work great! Finally, lets give SonicDcer a round of applause for being the lead dude behind the original N64 decompilation--as it was his original work that allowed for any of this to even be possible. He also continued to offer support and advice throughout the entire porting process, like a total chad. Here's the link to the official GitHub repo with instructions for building a Dreamcast image from a StarFox N64 ROM:

Falco Girgis

30,965 görüntüleme • 10 ay önce

In Stern Pinball’s King Kong: Myth of Terror Island pinball games, players join Ann Darrow, Jack Driscoll, and Karl Denham on their journey to the mysterious Terror Island, which results in King Kong traveling back to New York City with disastrous (and fun) consequences. Featuring innovative playfield design and iconic mechanisms from the creative team that brought players pinball mega hits such as JAWS, Godzilla, and Jurassic Park, players will experience King Kong in a whole new way. Watch King Kong come to life while playing King Kong: Myth of Terror Island. A custom-sculpted King Kong will react to player action through a new animatronic animation system, swinging his arms and torso to assert his dominance. Summon him by hitting the custom sculpted Gong bash target, but beware, when pinballs are locked into a New York City train car, an agitated King Kong will destroy and flip it over to start King Kong multiball. Encounter and escape danger as players enter “The Pit” on Terror Island. Guarded by a custom-sculpted giant spider, this area magnetically grabs and attacks the ball, so be prepared. Travel through dangerous terrain by exploring the thrilling helix-shaped Biplane ramp featuring a custom sculpted biplane toy in addition to a secret river ball path and river log diverter. Thrilling gameplay features and challenges await players on this four-flipper adventure. Unlock the secrets of the Lost Temple four bank drop targets with a hidden standup target and navigate into the Kong Cave scoop and vertical up kicker. Survive Kong’s punch-back kicking target, which launches balls back at the player. This pinball adventure highlights original animations, music, sounds, and speech, with original art brought to life by legendary pinball illustrators Kevin O’Connor, Greg Freres, and Jeremy Packer aka Zombie Yeti. Custom speech is provided by comedy legend Brian “Q” Quinn from Impractical Jokers fame, along with Rick Zieff, Peter Mackenzie, and Scott Mosenson. To honor the original creation of King Kong in 1932, the Limited Edition model will be limited to 932 games globally. This highly collectible model includes the Speaker Expression Lighting System with King Kong-themed game effects, a full-color mirrored backglass, full-color reflective foil high-definition cabinet decals with hand-drawn artwork, exclusive custom King Kong art deco inspired pinball armor, a custom designer-autographed bottom arch, upgraded audio system, anti-reflection pinball playfield glass, shaker motor, a sequentially numbered plaque, a signed Certificate of Authenticity, and a digital Insider Connected LE owner’s badge on registration. “King Kong has been a true staple of pop culture for decades, and we’re so excited for players to experience his larger-than-life persona through pinball,” said Seth Davis, President & CEO of Stern Pinball. “We can’t wait for players to take on the eighth wonder of the world in this completely original interpretation of this legend that is designed perfectly for pinball.” King Kong: Myth of Terror Island is available through authorized Stern Pinball distributors and dealers around the world, which can be found here. Pricing and Availability: Manufacturer’s Suggested Retail Price (“MSRP”)*: *MSRP for sales to USA end-users before any VAT, GST, Sales Tax, Duties, or other taxes. Pro Edition: US $6,999 Premium Edition: US $9,699 Limited Edition: US $12,999
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In Stern Pinball’s King Kong: Myth of Terror Island pinball games, players join Ann Darrow, Jack Driscoll, and Karl Denham on their journey to the mysterious Terror Island, which results in King Kong traveling back to New York City with disastrous (and fun) consequences. Featuring innovative playfield design and iconic mechanisms from the creative team that brought players pinball mega hits such as JAWS, Godzilla, and Jurassic Park, players will experience King Kong in a whole new way. Watch King Kong come to life while playing King Kong: Myth of Terror Island. A custom-sculpted King Kong will react to player action through a new animatronic animation system, swinging his arms and torso to assert his dominance. Summon him by hitting the custom sculpted Gong bash target, but beware, when pinballs are locked into a New York City train car, an agitated King Kong will destroy and flip it over to start King Kong multiball. Encounter and escape danger as players enter “The Pit” on Terror Island. Guarded by a custom-sculpted giant spider, this area magnetically grabs and attacks the ball, so be prepared. Travel through dangerous terrain by exploring the thrilling helix-shaped Biplane ramp featuring a custom sculpted biplane toy in addition to a secret river ball path and river log diverter. Thrilling gameplay features and challenges await players on this four-flipper adventure. Unlock the secrets of the Lost Temple four bank drop targets with a hidden standup target and navigate into the Kong Cave scoop and vertical up kicker. Survive Kong’s punch-back kicking target, which launches balls back at the player. This pinball adventure highlights original animations, music, sounds, and speech, with original art brought to life by legendary pinball illustrators Kevin O’Connor, Greg Freres, and Jeremy Packer aka Zombie Yeti. Custom speech is provided by comedy legend Brian “Q” Quinn from Impractical Jokers fame, along with Rick Zieff, Peter Mackenzie, and Scott Mosenson. To honor the original creation of King Kong in 1932, the Limited Edition model will be limited to 932 games globally. This highly collectible model includes the Speaker Expression Lighting System with King Kong-themed game effects, a full-color mirrored backglass, full-color reflective foil high-definition cabinet decals with hand-drawn artwork, exclusive custom King Kong art deco inspired pinball armor, a custom designer-autographed bottom arch, upgraded audio system, anti-reflection pinball playfield glass, shaker motor, a sequentially numbered plaque, a signed Certificate of Authenticity, and a digital Insider Connected LE owner’s badge on registration. “King Kong has been a true staple of pop culture for decades, and we’re so excited for players to experience his larger-than-life persona through pinball,” said Seth Davis, President & CEO of Stern Pinball. “We can’t wait for players to take on the eighth wonder of the world in this completely original interpretation of this legend that is designed perfectly for pinball.” King Kong: Myth of Terror Island is available through authorized Stern Pinball distributors and dealers around the world, which can be found here. Pricing and Availability: Manufacturer’s Suggested Retail Price (“MSRP”)*: *MSRP for sales to USA end-users before any VAT, GST, Sales Tax, Duties, or other taxes. Pro Edition: US $6,999 Premium Edition: US $9,699 Limited Edition: US $12,999

Stern Pinball

41,566 görüntüleme • 1 yıl önce

Kid Buu Destroys Planet Earth [HD] 💥 1080Pee 🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in this video quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App' If Spotify is Installed, 'Get the App' should automatically load both for you.) ⚠️These [HD]💥1080Pee🔥 edits as presented are not available for Television currently. 🚫📺 This is a FAN MADE re-imagination of what our childhood 'could be' today. Our DragonBall Z has not existed for over 20 years, we have to rely on old physical media and internet archives to watch it. 😭😭 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See comments below if joining the Pee Warriors, might be for You. I'm just a fan like you are. 🫵 (🚫NO AFFILIATION) Thanks again everybody for being a Part of the Pee Universe. Since I started doing [HD] edits, I've been trying to re-do and delete any old Faulconer footage. The normal schedule will not contain so many edits. But with it being #Buusday 🩷🍫, it seemed like a great time to release this one again, (but in 1080Pee 🔥 of course). Fun fact: To my knowledge this is the ONLY time in the entire series we hear Bruce Faulconer's "Ginyu's Transformation" looped because the scene was that drastic. Part 2 of the Epic Conclusion of ⚡️SSJ2 Goku and SSJ2 Majin Vegeta⚡️ will be posted 5:00 PM EST on FRIDAY. Ya'll gotta be there for this one. 💯 This is the #DragonBallZ we grew up with. ✅
4:14

Kid Buu Destroys Planet Earth [HD] 💥 1080Pee 🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in this video quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App' If Spotify is Installed, 'Get the App' should automatically load both for you.) ⚠️These [HD]💥1080Pee🔥 edits as presented are not available for Television currently. 🚫📺 This is a FAN MADE re-imagination of what our childhood 'could be' today. Our DragonBall Z has not existed for over 20 years, we have to rely on old physical media and internet archives to watch it. 😭😭 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See comments below if joining the Pee Warriors, might be for You. I'm just a fan like you are. 🫵 (🚫NO AFFILIATION) Thanks again everybody for being a Part of the Pee Universe. Since I started doing [HD] edits, I've been trying to re-do and delete any old Faulconer footage. The normal schedule will not contain so many edits. But with it being #Buusday 🩷🍫, it seemed like a great time to release this one again, (but in 1080Pee 🔥 of course). Fun fact: To my knowledge this is the ONLY time in the entire series we hear Bruce Faulconer's "Ginyu's Transformation" looped because the scene was that drastic. Part 2 of the Epic Conclusion of ⚡️SSJ2 Goku and SSJ2 Majin Vegeta⚡️ will be posted 5:00 PM EST on FRIDAY. Ya'll gotta be there for this one. 💯 This is the #DragonBallZ we grew up with. ✅

DragonBallPee

34,580 görüntüleme • 2 ay önce

🆘GASLIGHTING 101: J.D. Vance DEFENDS Erika Kirk—She REALLY Is A griving Widow🤣 This latest defense from Vice President J.D. Vance is exactly the kind of gaslighting the American public has come to expect from the establishment. While Vance claims we are "lying" about Erika Kirk, he conveniently ignores the mountain of evidence we’ve presented. "They’re lying about her... it’s one of the most disgraceful things I’ve ever seen." — J.D. Vance tonight in Oregon. 👱‍♂️🏛️ Really, J.D.? You want to talk about "disgraceful"? Let’s talk about the facts. Since you’re so certain we’re lying, let’s go down the list of what we’ve actually called out. The "Lies" We’ve Exposed: Fort Huachuca: Were we lying about her being at Fort Huachuca on September 8th—just two days before Charlie’s death? Were you with her then, J.D.? Or were you the one on that SAM 000 plane? ✈️🌵 The CEO Fraud: Were we lying about her faking the audio of Charlie supposedly appointing her as CEO "if anything happened"? Why hasn't the original, unedited clip ever been released? The Inner Circle: Were we lying about every single person in her orbit—from Victor Marx to her Romanian "charity" associates—being connected to trafficking or high-level arms deals? 📦⛓️ The Legacy Betrayal: Were we lying about her immediately taking money from the same donors who were pressuring Charlie—the ones he turned down because they wanted to warp his "America First" mission into a globalist war machine? The Alibi Question: Vance says he was there "holding her hand" as they loaded Charlie's body on Air Force Two. Well, my question for you, J.D., is: where is your alibi for September 8th and 9th? Were you also involved in the "security" meetings at Fort Huachuca? The Truth: You can try to spin this as "disgraceful attacks" all you want, but the public sees Erika Kirk for exactly what she is: a fame-thirsty opportunist who is doing everything in her power to DESTROY Charlie's legacy, not protect it. She is inauthentic, disingenuous, and surrounded by the very deep-state assets Charlie warned us about. Just stop, bro. The American people are awake, and we aren't buying the "grieving widow" act anymore—not when it comes with a $2 million valuation and a seat at the table with the people who wanted him gone. 👇 WATCH THE CLIP. Is Vance protecting a widow, or is he protecting an asset? Candace Owens CANDACE
0:48

🆘GASLIGHTING 101: J.D. Vance DEFENDS Erika Kirk—She REALLY Is A griving Widow🤣 This latest defense from Vice President J.D. Vance is exactly the kind of gaslighting the American public has come to expect from the establishment. While Vance claims we are "lying" about Erika Kirk, he conveniently ignores the mountain of evidence we’ve presented. "They’re lying about her... it’s one of the most disgraceful things I’ve ever seen." — J.D. Vance tonight in Oregon. 👱‍♂️🏛️ Really, J.D.? You want to talk about "disgraceful"? Let’s talk about the facts. Since you’re so certain we’re lying, let’s go down the list of what we’ve actually called out. The "Lies" We’ve Exposed: Fort Huachuca: Were we lying about her being at Fort Huachuca on September 8th—just two days before Charlie’s death? Were you with her then, J.D.? Or were you the one on that SAM 000 plane? ✈️🌵 The CEO Fraud: Were we lying about her faking the audio of Charlie supposedly appointing her as CEO "if anything happened"? Why hasn't the original, unedited clip ever been released? The Inner Circle: Were we lying about every single person in her orbit—from Victor Marx to her Romanian "charity" associates—being connected to trafficking or high-level arms deals? 📦⛓️ The Legacy Betrayal: Were we lying about her immediately taking money from the same donors who were pressuring Charlie—the ones he turned down because they wanted to warp his "America First" mission into a globalist war machine? The Alibi Question: Vance says he was there "holding her hand" as they loaded Charlie's body on Air Force Two. Well, my question for you, J.D., is: where is your alibi for September 8th and 9th? Were you also involved in the "security" meetings at Fort Huachuca? The Truth: You can try to spin this as "disgraceful attacks" all you want, but the public sees Erika Kirk for exactly what she is: a fame-thirsty opportunist who is doing everything in her power to DESTROY Charlie's legacy, not protect it. She is inauthentic, disingenuous, and surrounded by the very deep-state assets Charlie warned us about. Just stop, bro. The American people are awake, and we aren't buying the "grieving widow" act anymore—not when it comes with a $2 million valuation and a seat at the table with the people who wanted him gone. 👇 WATCH THE CLIP. Is Vance protecting a widow, or is he protecting an asset? Candace Owens CANDACE

Project Constitution

21,497 görüntüleme • 6 ay önce

Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool
4:52

Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool

Naegiko

67,564 görüntüleme • 1 yıl önce

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. *NEW* edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯
8:57

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. *NEW* edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯

DragonBallPee

10,498 görüntüleme • 2 ay önce

"Whoever controlled the autopen controlled the presidency.” I tweeted this out on March 6th of this year and the autopen scandal began. On March 22nd, the New York Times, a sudoku creating company with fake news as a side dish, wrote an article titled “How an Autopen Conspiracy Theory About Biden Went Viral” It was what we in the business call a bum steer written by Ken Bensinger, a long time amplifier of the work of my Oversight Project. No one calls it a conspiracy theory today. But the real story began much earlier. In the Summer of 2024, everyone around the world wondered who was actually running the White House because it was abundantly clear that it was not Biden. Biden’s malfunction at the presidential debate put an end to any reasonable argument that he was actually in charge. Gathered around a conference room, my team tried to find the answer. We knew it was inevitable that Biden would exit the stage. We were exploring several ways to accelerate that. One was our litigation threat that if the DNC waited too long to legally substitute another candidate that we would sue to prevent them from pulling a last minute switch. The DNC admitted in leaked memos that that very litigation threat impacted their thinking. The result was a fake and fast primary that crowned the weak Kamala Harris, wounded by her undemocratic ascension out of the gate. Another was intense litigation to obtain the audio of President Biden’s interview with Special Counsel Hur. We won that fight and the audio was released earlier this year, and to no one’s surprise, Biden malfunction in that interview was clear. But the most important part of that summer meeting was when we were gathered around a television watching Biden stumble across the screen. Someone asked how he was even signing documents and then there was a contemplative pause. Autopen. A long and intense process was then launched. We got to work gathering up every original document we could find purporting to have the President’s signature. We then gathered calendars and Biden’s schedule and confirmed that Biden frequently used the autopen when he was in D.C. and had a relatively light schedule. We took a deep-dive into the legal and constitutional authority around presidential power and whether certain decisions were delegable. Our team spent hundreds of hours on this and the results were not only jarring but abundantly clear. Joe Biden wasn’t the President, an autopen was. President Trump has brought up the autopen perhaps more than any other topic. He has called it the scandal of the century. If you look at trends of google searches as a metric, the word autopen was searched more this year than over the entire history of the Internet by many degrees. It is now part of our national language, it is a historical term for a historic scandal. But now is the most important part, the only part that really matters. We’re getting close to accountability. To date, the Department of Justice hasn’t taken any action to back up the President’s repeated directions that all autopenned documents are null, void, and of legal effect. Despite President Trump’s clear orders, the Department of Justice is still treating these documents as legal. They have already released awful criminals with fake commutations from Federal prison during the Trump Presidency. We broke the scandal that Biden’s own DOJ objected both to the form of these commutations and the fact that while the Biden Administration claimed they are non-violent felons many are in fact murderers and gang-bangers. They are scheduled to release more later this month. To be sure, brave individuals like Pardon Attorney Ed Martin have urged the Department to implement President Trump’s Orders, but the Department’s position remains that these autopen commutations are valid. We’re trying to stop it. For four years, this country operated completely out of order with its Constitution, which vests executive power in one man, and not one autopen directed and operated by unelected bureaucrats and special interests. (12/12 monologue on Fine Point w/ Chanel Rion)
4:55

"Whoever controlled the autopen controlled the presidency.” I tweeted this out on March 6th of this year and the autopen scandal began. On March 22nd, the New York Times, a sudoku creating company with fake news as a side dish, wrote an article titled “How an Autopen Conspiracy Theory About Biden Went Viral” It was what we in the business call a bum steer written by Ken Bensinger, a long time amplifier of the work of my Oversight Project. No one calls it a conspiracy theory today. But the real story began much earlier. In the Summer of 2024, everyone around the world wondered who was actually running the White House because it was abundantly clear that it was not Biden. Biden’s malfunction at the presidential debate put an end to any reasonable argument that he was actually in charge. Gathered around a conference room, my team tried to find the answer. We knew it was inevitable that Biden would exit the stage. We were exploring several ways to accelerate that. One was our litigation threat that if the DNC waited too long to legally substitute another candidate that we would sue to prevent them from pulling a last minute switch. The DNC admitted in leaked memos that that very litigation threat impacted their thinking. The result was a fake and fast primary that crowned the weak Kamala Harris, wounded by her undemocratic ascension out of the gate. Another was intense litigation to obtain the audio of President Biden’s interview with Special Counsel Hur. We won that fight and the audio was released earlier this year, and to no one’s surprise, Biden malfunction in that interview was clear. But the most important part of that summer meeting was when we were gathered around a television watching Biden stumble across the screen. Someone asked how he was even signing documents and then there was a contemplative pause. Autopen. A long and intense process was then launched. We got to work gathering up every original document we could find purporting to have the President’s signature. We then gathered calendars and Biden’s schedule and confirmed that Biden frequently used the autopen when he was in D.C. and had a relatively light schedule. We took a deep-dive into the legal and constitutional authority around presidential power and whether certain decisions were delegable. Our team spent hundreds of hours on this and the results were not only jarring but abundantly clear. Joe Biden wasn’t the President, an autopen was. President Trump has brought up the autopen perhaps more than any other topic. He has called it the scandal of the century. If you look at trends of google searches as a metric, the word autopen was searched more this year than over the entire history of the Internet by many degrees. It is now part of our national language, it is a historical term for a historic scandal. But now is the most important part, the only part that really matters. We’re getting close to accountability. To date, the Department of Justice hasn’t taken any action to back up the President’s repeated directions that all autopenned documents are null, void, and of legal effect. Despite President Trump’s clear orders, the Department of Justice is still treating these documents as legal. They have already released awful criminals with fake commutations from Federal prison during the Trump Presidency. We broke the scandal that Biden’s own DOJ objected both to the form of these commutations and the fact that while the Biden Administration claimed they are non-violent felons many are in fact murderers and gang-bangers. They are scheduled to release more later this month. To be sure, brave individuals like Pardon Attorney Ed Martin have urged the Department to implement President Trump’s Orders, but the Department’s position remains that these autopen commutations are valid. We’re trying to stop it. For four years, this country operated completely out of order with its Constitution, which vests executive power in one man, and not one autopen directed and operated by unelected bureaucrats and special interests. (12/12 monologue on Fine Point w/ Chanel Rion)

Mike Howell

97,772 görüntüleme • 10 ay önce

Made with Seedance 2.5 on Higgsfield Prompt: CONCEPT: Create a 30-second ultra-realistic slice-of-life video about a young woman spending a quiet evening on an apartment rooftop, trying to get an old battery-powered radio working before sunset. The entire story happens in one location. No shopping, no café, no market, no journey, and no walking-home sequence. The charm comes from tiny realistic actions, environmental sounds, and her reaction when the radio suddenly works. FORMAT: 30 seconds • 16:9 • 1080p • photorealistic live-action • authentic handheld consumer-camera footage MAIN CHARACTER A young Moroccan woman in her early 20s with naturally curly dark hair tied loosely with a fabric band. She wears a faded mustard sweatshirt, relaxed dark jeans, white canvas sneakers, and a thin silver necklace. Keep her face, hair, clothing, necklace, age, body proportions, and identity completely consistent. LOCATION An ordinary apartment rooftop in Casablanca, Morocco, shortly before sunset. The rooftop contains: - Concrete walls - Old plastic chairs - Several potted plants - Water tanks - Laundry lines - A small wooden table - A dusty portable radio - Neighboring apartment buildings - Satellite dishes - Laundry moving gently in the breeze Warm late-afternoon sunlight gradually changes as the scene progresses. No famous landmarks or recognizable brands. CAMERA STYLE Recorded by a friend using an older consumer camcorder. The camera should feel physically present on the rooftop. - Handheld movement - Slight natural shake - Imperfect framing - Occasional autofocus hunting - Exposure shifts when pointed toward the sunset - Mild digital noise - Slight compression - Natural motion blur - Ordinary color reproduction - No stabilization - No artificial bokeh - No commercial cinematography SHOT BREAKDOWN 0–5 SECONDS — THE RADIO Start with a close shot of an old dusty portable radio sitting on a small wooden table. The woman enters the frame and picks it up. She turns the power knob. Nothing happens. She taps the side of the radio. She looks at the camera. “Come on…” --- 5–10 SECONDS — TRYING AGAIN She opens the battery compartment. The camera moves closer over her shoulder. She removes the batteries and checks them. One battery is slightly loose. She adjusts it and puts everything back together. A small click. Still nothing. She gives the radio an annoyed look. --- 10–15 SECONDS — THE ANTENNA She pulls the antenna upward. The antenna makes a tiny metallic clicking sound. She rotates the radio toward different directions. The camera follows her movement. Suddenly, a burst of static comes through the speaker. She immediately stops moving. --- 15–21 SECONDS — FOUND IT She slowly turns the tuning dial. Static. More static. Then a faint, completely original radio melody comes through. Her expression changes into a genuine smile. She looks toward the camera. “There.” --- 21–26 SECONDS — SUNSET She places the radio on the table. She pulls a plastic chair closer and sits down. The camera slowly shifts away from her toward the rooftop horizon. The radio continues playing softly. Wind moves the laundry behind her. She quietly listens. --- 26–30 SECONDS — LITTLE ENDING She suddenly reaches over and lowers the radio volume. She looks at the sunset. The camera moves slightly closer from behind. She doesn't say anything. The shot ends naturally on her sitting beside the radio as the sunlight fades. AUDIO Authentic rooftop ambience only: - Wind - Distant traffic - Birds - Laundry fabric moving - Radio static - Dial clicks - Battery compartment clicks - Plastic chair scraping concrete - Quiet original radio melody - Natural breathing NO ADDED BACKGROUND MUSIC. The radio melody must be original and not imitate a recognizable copyrighted song. REALISM / PHYSICS The radio must behave like a real old battery-powered device. The tuning dial should physically rotate. The antenna should extend realistically. The static should change naturally as the radio is rotated. The laundry should respond subtly to the wind. The chair should scrape slightly when moved. Sunlight and shadows should remain physically consistent throughout. Hands must interact naturally with the radio and battery compartment. NEGATIVE PROMPT CGI, 3D render, animation, plastic skin, beauty filter, artificial face, face morphing, identity drift, extra fingers, malformed hands, duplicated people, floating objects, impossible radio mechanics, fake static, unrealistic antenna movement, teleportation, object duplication, excessive HDR, oversaturated colors, heavy cinematic grading, artificial bokeh, fake film grain, studio lighting, perfect stabilization, drone footage, commercial advertisement aesthetic, exaggerated acting, subtitles, captions, logos, watermarks, recognizable brands, copyrighted music, wardrobe changes, hairstyle changes, continuity errors. FINAL LOOK The final footage should feel like someone casually filmed a quiet evening on a rooftop and happened to capture a small moment that felt worth remembering. Don't force emotion. Don't make the sunset overly dramatic. Keep the imperfect camera movement, ordinary rooftop clutter, realistic wind, slight autofocus mistakes, and natural pauses.
0:30

Made with Seedance 2.5 on Higgsfield Prompt: CONCEPT: Create a 30-second ultra-realistic slice-of-life video about a young woman spending a quiet evening on an apartment rooftop, trying to get an old battery-powered radio working before sunset. The entire story happens in one location. No shopping, no café, no market, no journey, and no walking-home sequence. The charm comes from tiny realistic actions, environmental sounds, and her reaction when the radio suddenly works. FORMAT: 30 seconds • 16:9 • 1080p • photorealistic live-action • authentic handheld consumer-camera footage MAIN CHARACTER A young Moroccan woman in her early 20s with naturally curly dark hair tied loosely with a fabric band. She wears a faded mustard sweatshirt, relaxed dark jeans, white canvas sneakers, and a thin silver necklace. Keep her face, hair, clothing, necklace, age, body proportions, and identity completely consistent. LOCATION An ordinary apartment rooftop in Casablanca, Morocco, shortly before sunset. The rooftop contains: - Concrete walls - Old plastic chairs - Several potted plants - Water tanks - Laundry lines - A small wooden table - A dusty portable radio - Neighboring apartment buildings - Satellite dishes - Laundry moving gently in the breeze Warm late-afternoon sunlight gradually changes as the scene progresses. No famous landmarks or recognizable brands. CAMERA STYLE Recorded by a friend using an older consumer camcorder. The camera should feel physically present on the rooftop. - Handheld movement - Slight natural shake - Imperfect framing - Occasional autofocus hunting - Exposure shifts when pointed toward the sunset - Mild digital noise - Slight compression - Natural motion blur - Ordinary color reproduction - No stabilization - No artificial bokeh - No commercial cinematography SHOT BREAKDOWN 0–5 SECONDS — THE RADIO Start with a close shot of an old dusty portable radio sitting on a small wooden table. The woman enters the frame and picks it up. She turns the power knob. Nothing happens. She taps the side of the radio. She looks at the camera. “Come on…” --- 5–10 SECONDS — TRYING AGAIN She opens the battery compartment. The camera moves closer over her shoulder. She removes the batteries and checks them. One battery is slightly loose. She adjusts it and puts everything back together. A small click. Still nothing. She gives the radio an annoyed look. --- 10–15 SECONDS — THE ANTENNA She pulls the antenna upward. The antenna makes a tiny metallic clicking sound. She rotates the radio toward different directions. The camera follows her movement. Suddenly, a burst of static comes through the speaker. She immediately stops moving. --- 15–21 SECONDS — FOUND IT She slowly turns the tuning dial. Static. More static. Then a faint, completely original radio melody comes through. Her expression changes into a genuine smile. She looks toward the camera. “There.” --- 21–26 SECONDS — SUNSET She places the radio on the table. She pulls a plastic chair closer and sits down. The camera slowly shifts away from her toward the rooftop horizon. The radio continues playing softly. Wind moves the laundry behind her. She quietly listens. --- 26–30 SECONDS — LITTLE ENDING She suddenly reaches over and lowers the radio volume. She looks at the sunset. The camera moves slightly closer from behind. She doesn't say anything. The shot ends naturally on her sitting beside the radio as the sunlight fades. AUDIO Authentic rooftop ambience only: - Wind - Distant traffic - Birds - Laundry fabric moving - Radio static - Dial clicks - Battery compartment clicks - Plastic chair scraping concrete - Quiet original radio melody - Natural breathing NO ADDED BACKGROUND MUSIC. The radio melody must be original and not imitate a recognizable copyrighted song. REALISM / PHYSICS The radio must behave like a real old battery-powered device. The tuning dial should physically rotate. The antenna should extend realistically. The static should change naturally as the radio is rotated. The laundry should respond subtly to the wind. The chair should scrape slightly when moved. Sunlight and shadows should remain physically consistent throughout. Hands must interact naturally with the radio and battery compartment. NEGATIVE PROMPT CGI, 3D render, animation, plastic skin, beauty filter, artificial face, face morphing, identity drift, extra fingers, malformed hands, duplicated people, floating objects, impossible radio mechanics, fake static, unrealistic antenna movement, teleportation, object duplication, excessive HDR, oversaturated colors, heavy cinematic grading, artificial bokeh, fake film grain, studio lighting, perfect stabilization, drone footage, commercial advertisement aesthetic, exaggerated acting, subtitles, captions, logos, watermarks, recognizable brands, copyrighted music, wardrobe changes, hairstyle changes, continuity errors. FINAL LOOK The final footage should feel like someone casually filmed a quiet evening on a rooftop and happened to capture a small moment that felt worth remembering. Don't force emotion. Don't make the sunset overly dramatic. Keep the imperfect camera movement, ordinary rooftop clutter, realistic wind, slight autofocus mistakes, and natural pauses.

K

11,382 görüntüleme • 20 gün önce

Video content creation sounds simple, but what if you don’t have time to: • Write the script, • Prepare the visuals, • Generate the voiceover, • Create the subtitles, • And finally render the video? This is why we built Noustiny on top of Nous Research Hermes Agent by adding 12 generic Hermes tools + 13 generic Hermes skills, bringing the whole process into one single flow. How does it work? Let’s take a closer look 👇 ———— 1- Story state: context, tree, motifs: Hermes had no built-in narrative-state primitive for tracking canon, branching story structure, and recurring motifs. So we added three generic Hermes tools for this: → story_tree_graph: Manages the story tree structure. It handles operations like canon path, descendants, and splice insertion points. → narrative_context_builder: Walks the canon chain and returns the live context every narrative skill should reason against. This includes recent chain, mood, and character state. → motif_tracker: Remembers recurring motifs across the story arc. For example, a sword introduced in beat 2 can reappear meaningfully in later scenes. ———— 2- Character / cast pipeline: Hermes had no built-in primitive for cast extraction or character continuity. So we added a four-tool character pipeline: → story_copyright_detector: Handles IP scrubbing. For example, “Iron Man” is converted into an IP-free character description before the image API ever sees it. → character_sheet_builder: Produces 1 to 4 characters. For each character, it creates an IP-free visual description and a hero-portrait prompt. These portraits become the reference frames used across later storyboard scenes. → character_registry_lookup: Finds a character by name inside the cast sheet and attaches the correct portrait reference to each beat. → character_alias_resolver: Resolves aliases like “Mr. Stark” into the main character name. This way, the same character keeps one portrait reference even if they appear under different names. ———— 3- Voice pipeline: Hermes had no built-in primitive for audio acquisition or voice cloning. So we added the full voice chain, and the agent dispatches it autonomously in order: → narration_voice_director: The director-agent reads the seed + story and returns persona_label, search_query, and fallback_query. → voice_sample_builder: Uses yt-dlp + ffmpeg. It accepts a URL, an 11-character ID, or a free-text query. It runs ytsearch5 with dead-video tolerance and normalizes the audio to 24 kHz mono PCM. → voice_clone_synthesize: Wraps ElevenLabs IVC + timestamps. The voice ID is cached by reference SHA. Per-character alignment comes through the same audio call at no extra cost. → voice_clone_cleanup: Frees the cached voice ID after render so orphan voices do not accumulate. ———— 4- Render: Hermes had no built-in video-render entry. So we added the final render tool: → noustiny_storybook: The agent dispatches it as the final step of the chain. One tool call drives the FastAPI render service end to end and emits the mp4. ———— 5- Skills: 13 generic Hermes skills added into skills/creative/: The branching engine in Noustiny works like a council of narrative skills. Each skill is loaded by the gateway as a system prompt and orchestrated in this order: → narrative-brainstorm: Proposes 2 to 3 next-checkpoint options from the canon chain. → narrative-writer-assist: Writes a spliced insert beat that fits the parent and child. → narrative-continuity-critic: Audits downstream beats against the new insert. → narrative-rewriter: Updates the stale beats flagged by the continuity critic. → narrative-judge: Approves or rejects the rewrite against the original flow. → narrative-scene-qa: Checks each beat for consistency, length, and register. → narrative-writer: Finalizes the chosen branch as polished prose. After one splice, this cascade walks downstream by itself until the canon becomes coherent again. ———— 6- Visual + IP pipeline: On the visual side, the goal is not just generating scenes. It is also preserving character continuity and IP safety. This pipeline runs through these skills: → visual-prompt-builder: Turns a beat into an IP-free image prompt and reads the character-sheet references. → scene-composition: Defines shot framing, scene composition, and layout rules. → story-copyright-detector: Skill counterpart of the same-named tool. It can be used for direct slash-command invocation. → character-sheet-builder: Skill counterpart of the same-named tool. Defines cast extraction rules and the IP-free portrait-prompt format used to seed character consistency across the storyboard. → storybook-intro: Generates the cinematic intro page for the render. ———— 7- Voice skill: → narration-voice-director: Defines persona reasoning rules and supports the decision logic behind the same-named voice tool. ———— 8- Pattern: Hermes baseline already had the gateway, agent loop, skill registry, and tool registry. We extended that foundation with 12 generic Hermes tools + 13 generic Hermes skills and organized the system into four main pipelines: • story-state • character continuity • voice • render The important part is this: Noustiny is not a hardcoded system locked inside a single app. A Telegram bot, Discord bot, CLI session, or third-party Next.js app can call the same gateway and use the same tool + skill chains. - No app glue. - No hardcoded prompts. - A drop-in, registry-compatible, agent-native video creation flow. ✅Github:
6:43

Video content creation sounds simple, but what if you don’t have time to: • Write the script, • Prepare the visuals, • Generate the voiceover, • Create the subtitles, • And finally render the video? This is why we built Noustiny on top of Nous Research Hermes Agent by adding 12 generic Hermes tools + 13 generic Hermes skills, bringing the whole process into one single flow. How does it work? Let’s take a closer look 👇 ———— 1- Story state: context, tree, motifs: Hermes had no built-in narrative-state primitive for tracking canon, branching story structure, and recurring motifs. So we added three generic Hermes tools for this: → story_tree_graph: Manages the story tree structure. It handles operations like canon path, descendants, and splice insertion points. → narrative_context_builder: Walks the canon chain and returns the live context every narrative skill should reason against. This includes recent chain, mood, and character state. → motif_tracker: Remembers recurring motifs across the story arc. For example, a sword introduced in beat 2 can reappear meaningfully in later scenes. ———— 2- Character / cast pipeline: Hermes had no built-in primitive for cast extraction or character continuity. So we added a four-tool character pipeline: → story_copyright_detector: Handles IP scrubbing. For example, “Iron Man” is converted into an IP-free character description before the image API ever sees it. → character_sheet_builder: Produces 1 to 4 characters. For each character, it creates an IP-free visual description and a hero-portrait prompt. These portraits become the reference frames used across later storyboard scenes. → character_registry_lookup: Finds a character by name inside the cast sheet and attaches the correct portrait reference to each beat. → character_alias_resolver: Resolves aliases like “Mr. Stark” into the main character name. This way, the same character keeps one portrait reference even if they appear under different names. ———— 3- Voice pipeline: Hermes had no built-in primitive for audio acquisition or voice cloning. So we added the full voice chain, and the agent dispatches it autonomously in order: → narration_voice_director: The director-agent reads the seed + story and returns persona_label, search_query, and fallback_query. → voice_sample_builder: Uses yt-dlp + ffmpeg. It accepts a URL, an 11-character ID, or a free-text query. It runs ytsearch5 with dead-video tolerance and normalizes the audio to 24 kHz mono PCM. → voice_clone_synthesize: Wraps ElevenLabs IVC + timestamps. The voice ID is cached by reference SHA. Per-character alignment comes through the same audio call at no extra cost. → voice_clone_cleanup: Frees the cached voice ID after render so orphan voices do not accumulate. ———— 4- Render: Hermes had no built-in video-render entry. So we added the final render tool: → noustiny_storybook: The agent dispatches it as the final step of the chain. One tool call drives the FastAPI render service end to end and emits the mp4. ———— 5- Skills: 13 generic Hermes skills added into skills/creative/: The branching engine in Noustiny works like a council of narrative skills. Each skill is loaded by the gateway as a system prompt and orchestrated in this order: → narrative-brainstorm: Proposes 2 to 3 next-checkpoint options from the canon chain. → narrative-writer-assist: Writes a spliced insert beat that fits the parent and child. → narrative-continuity-critic: Audits downstream beats against the new insert. → narrative-rewriter: Updates the stale beats flagged by the continuity critic. → narrative-judge: Approves or rejects the rewrite against the original flow. → narrative-scene-qa: Checks each beat for consistency, length, and register. → narrative-writer: Finalizes the chosen branch as polished prose. After one splice, this cascade walks downstream by itself until the canon becomes coherent again. ———— 6- Visual + IP pipeline: On the visual side, the goal is not just generating scenes. It is also preserving character continuity and IP safety. This pipeline runs through these skills: → visual-prompt-builder: Turns a beat into an IP-free image prompt and reads the character-sheet references. → scene-composition: Defines shot framing, scene composition, and layout rules. → story-copyright-detector: Skill counterpart of the same-named tool. It can be used for direct slash-command invocation. → character-sheet-builder: Skill counterpart of the same-named tool. Defines cast extraction rules and the IP-free portrait-prompt format used to seed character consistency across the storyboard. → storybook-intro: Generates the cinematic intro page for the render. ———— 7- Voice skill: → narration-voice-director: Defines persona reasoning rules and supports the decision logic behind the same-named voice tool. ———— 8- Pattern: Hermes baseline already had the gateway, agent loop, skill registry, and tool registry. We extended that foundation with 12 generic Hermes tools + 13 generic Hermes skills and organized the system into four main pipelines: • story-state • character continuity • voice • render The important part is this: Noustiny is not a hardcoded system locked inside a single app. A Telegram bot, Discord bot, CLI session, or third-party Next.js app can call the same gateway and use the same tool + skill chains. - No app glue. - No hardcoded prompts. - A drop-in, registry-compatible, agent-native video creation flow. ✅Github:

Ufuk

28,972 görüntüleme • 5 ay önce

Guys, do you want to see something brilliant and seriously troubling? This post should have one million views. As many of you know, I’ve studied the Epstein files extensively. I saved copies of the files they tried to remove from the original dump and I was also one of the first people to uncover Kathy Ruemmler’s connections to Epstein and the CIA. But there is one audio recording that got released of Epstein and Ehud Barak (Former Israeli PM), that caught my attention more than anything else, mainly because of how much it reveals. I’ve always argued that Hitler was heavily influenced and controlled by powerful elites. He was unquestionably a horrific person responsible for unimaginable crimes, but I believe there are major misconceptions about his ideology and the forces surrounding him, particularly the claim that he was an eugenicist in the way it is commonly portrayed today.He was not eugenicist he was nationalists and many other things but not eugenicist. Fascist, Authoritarian, Genocidal, pretty much everything Israel is today Hitler also was. But what’s a misconception is that he was an eugenicist and only wanted white blue eyed nation. That is not true. But I will tell you who does want that. :)))) In this video, Ehud Barak is talking to Epstein about selecting the demographic composition of future Israelis. He contrasted earlier Israeli immigration, mixing genes where people were taken in broadly because Israel needed to absorb people, he says they had no say back then but now with a future policy where Israel could be more selective about who they want to mix with things are different, “We can control the quality much more effectively,” - his words not mine! This sounds very much like selective breeding and eugenics to me. Turns out he is not happy about the ugly genes Jews have and he wants someone better than just the usual Arab nations to mix with. Don't get mad at me he says that, not me!!!! So he says he has this idea. He is trying to convince Putin to import 1 million Russians into Israel. His plan is to try to convert them to Judaism so these beautiful white Russians can improve the ugly Israeli genes, lol. Also, he wants to put Orthodox Jews in the minority, because they don't like him but hey, remember, it’s all about democracy in Israel. He even said that back when Israel was created, they did not have the ability to be selective about who would live there and mix with Israelis. But hey, now apparently, with all the money and ability to manipulate, they can be more selective. Thank you, America and Britain, for all the money you gave these assholes. Now they can be selective. So Ehud wants pretty Russians to mix with his genes so that they no longer look ugly. 🤣😂 I mean, can you blame the dude? Have you seen him and Ben Gvir? He has a point! (Oh no, American Zionists, are you going to stop me at the border when I enter the country because I’m talking shit about Ben Gvir, a foreign citizen and a foreign politician who has nothing to do with my country, like you did to Ethan Levins ✝️ ?!). So all this eugenics looking like rant was made public, and guess what the reaction was by the Jerusalem Post? They were not bothered by the fact that their prime minister was talking to a sex offender pedophile, planning to use Russian girls and boys to better his population selectively. They were not bothered by his association and mention in countless Epstein files. Noooo!!!! You want to know what hurt them the most? The fact that Barak was trying to say that Jews are ugly and they need Russians to better their genes. Hahahahahahahahaha. This is what they had a problem with. Not anything else!!!! I will remind you: they are killing Ukrainian boys and building new settlements in Ukraine, the country that happens to be under a Jewish dictator today and reportedly some Israelis are already moving there. I wonder how many Ukrainian women will become prospective brides? It’s important to distinguish between Jews and Israelis, and between certain Israelis and Orthodox Jews who have always opposed these actions and are on the right side most of the time. Hatred of Jews, Germans, or Russians should never have a place in a civilized society. Distinctions matter!!!!
1:43

Guys, do you want to see something brilliant and seriously troubling? This post should have one million views. As many of you know, I’ve studied the Epstein files extensively. I saved copies of the files they tried to remove from the original dump and I was also one of the first people to uncover Kathy Ruemmler’s connections to Epstein and the CIA. But there is one audio recording that got released of Epstein and Ehud Barak (Former Israeli PM), that caught my attention more than anything else, mainly because of how much it reveals. I’ve always argued that Hitler was heavily influenced and controlled by powerful elites. He was unquestionably a horrific person responsible for unimaginable crimes, but I believe there are major misconceptions about his ideology and the forces surrounding him, particularly the claim that he was an eugenicist in the way it is commonly portrayed today.He was not eugenicist he was nationalists and many other things but not eugenicist. Fascist, Authoritarian, Genocidal, pretty much everything Israel is today Hitler also was. But what’s a misconception is that he was an eugenicist and only wanted white blue eyed nation. That is not true. But I will tell you who does want that. :)))) In this video, Ehud Barak is talking to Epstein about selecting the demographic composition of future Israelis. He contrasted earlier Israeli immigration, mixing genes where people were taken in broadly because Israel needed to absorb people, he says they had no say back then but now with a future policy where Israel could be more selective about who they want to mix with things are different, “We can control the quality much more effectively,” - his words not mine! This sounds very much like selective breeding and eugenics to me. Turns out he is not happy about the ugly genes Jews have and he wants someone better than just the usual Arab nations to mix with. Don't get mad at me he says that, not me!!!! So he says he has this idea. He is trying to convince Putin to import 1 million Russians into Israel. His plan is to try to convert them to Judaism so these beautiful white Russians can improve the ugly Israeli genes, lol. Also, he wants to put Orthodox Jews in the minority, because they don't like him but hey, remember, it’s all about democracy in Israel. He even said that back when Israel was created, they did not have the ability to be selective about who would live there and mix with Israelis. But hey, now apparently, with all the money and ability to manipulate, they can be more selective. Thank you, America and Britain, for all the money you gave these assholes. Now they can be selective. So Ehud wants pretty Russians to mix with his genes so that they no longer look ugly. 🤣😂 I mean, can you blame the dude? Have you seen him and Ben Gvir? He has a point! (Oh no, American Zionists, are you going to stop me at the border when I enter the country because I’m talking shit about Ben Gvir, a foreign citizen and a foreign politician who has nothing to do with my country, like you did to Ethan Levins ✝️ ?!). So all this eugenics looking like rant was made public, and guess what the reaction was by the Jerusalem Post? They were not bothered by the fact that their prime minister was talking to a sex offender pedophile, planning to use Russian girls and boys to better his population selectively. They were not bothered by his association and mention in countless Epstein files. Noooo!!!! You want to know what hurt them the most? The fact that Barak was trying to say that Jews are ugly and they need Russians to better their genes. Hahahahahahahahaha. This is what they had a problem with. Not anything else!!!! I will remind you: they are killing Ukrainian boys and building new settlements in Ukraine, the country that happens to be under a Jewish dictator today and reportedly some Israelis are already moving there. I wonder how many Ukrainian women will become prospective brides? It’s important to distinguish between Jews and Israelis, and between certain Israelis and Orthodox Jews who have always opposed these actions and are on the right side most of the time. Hatred of Jews, Germans, or Russians should never have a place in a civilized society. Distinctions matter!!!!

ELIZABETH LANE

44,200 görüntüleme • 1 ay önce

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven
2:39

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven

Naru

72,974 görüntüleme • 9 ay önce