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Крутая анимация, которую мы решили озвучить! Cool animation that we decided to voice! Animation: FattMana 🔞 (best author) Voice: Raider, Bonya Sex animation Language: RU Our works - #undertalensfw #deltarune #undertale #undertail #animation #r34 #nsfw

RaiderDed

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12,499 görüntüleme • 1 yıl önce •via X (Twitter)

NSFW #undertalensfw #deltarune #undertale #undertail #animation #r34 #nsfw

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Our 2025 3D Animation showreel is here! The team and the projects have grown so much—and we're excited to improve even more this year! We’ve got a lot of really cool things in the works that we can’t wait to show off 👀 Thanks for sticking around!

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I modelled the head, face, and battle mask for Optimus Prime for #Transformers ROTB. I also designed his new "centurion" open battle mask look along with it's animation. The director wanted the face to resemble the face from the 2007 Transformers film as ROTB was a soft-prequel to it but also wanted it to be tweaked to fit the new design and for us to give it some new unique features. This is where we came up with the new mask design which doesn't get entirely hidden when open. Instead, it gets stored on the side of his cheeks, like a Roman centurions helmet. The head design is derived from his model from the 2018 Bumblebee film to keep some consistency with that film too as ROTB was also a soft-sequel to Bumblebee. There are new pieces, adjusted proportions, and reworks to detailing in ROTBs version. The face proportions are modified from the 2007 face to be a lot wider and beefier, matching his new head shape and look. I redesigned and built the eyes from scratch using our kitbash pieces like I did for all the Maximals and Mirage. The studio decided against going for the holographic eyes look from the 2018 Bumblebee film but rather wanted a more simple look in between the 2007 and the 2018 eyes. I added a lot of small mechanical details to his battle mask animation which we unfortunately never get to see in the film. For example, I designed a fully functional mechanism which pushes his chin piece back when his mask closes. This was very cool when it was visible, our Animation Director and VFX Supervisors were super excited about it, but unfortunately no shot showed it off in the final film. It was a lot of fun to help model and design Optimus Prime for this film. I'm happy I got to contribute to such an iconic character. CREDITS: Video: Paramount, MPC, WetaFX Ruairidh MacNeill modelled the body for Optimus

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Today in Ivano-Frankivsk, the final stage of selection for the national Tysiachovesna initiative is taking place. A total of 1,227 projects made it to the final. That is an amazing number. And this number proves that all of our Ukrainian art can become an even greater force. The results of the first Tysiachovesna will now be extremely important: which projects will be created with state support, how they will be received by Ukrainian viewers, listeners, and all our people – the people Tysiachovesna is for. Will Ukrainians in general be interested in this? Will this become a strong voice for Ukraine in the world? This is very important to us, especially in wartime. I believe we will succeed. And exactly one year from now, we will not only be summing up the dry statistics of the first Tysiachovesna through projects that have already been brought to life – we will be talking about the triumphs of our cinema, animation, theater, music, and all of our Ukrainian art, which is here to stay. To be successful, high-quality, and popular among all Ukrainians. This is an important goal for which Tysiachovesna was launched and which it will continue to pursue in the years ahead.

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Curious Refuge

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This week's ChatGPT feature drop - Sept 11: 1/ We upgraded ChatGPT Images: it's much faster, more precise at edits, and better at understanding complex instructions. It's remarkable how much people love generating images, and it's only accelerating! 2/ Two fun features on the iOS app: when you send a message, the animation is faster and smoother. You can also pull down from anywhere in the conversation to start a new chat. 3/ When ChatGPT creates a file for you – a note, a document, a presentation or a spreadsheet – it's now much easier to share it. You can give other email addresses view or edit rights, and they'll see those files in their ChatGPT Library. 4/ We've improved 'location' use in answers (with user permission). A few weeks ago we improved the use of time in answers. Now, "what events are happening in my neighborhood" should be a lot better. 5/ Voice got smarter - When you select the 'higher intelligence' options in Voice, you can now use GPT-6 Astra, our latest frontier model. Warning, it's slow, but it's the best intelligence, hands-free. We're making answers better, and making the app much easier to use! 🚀

This week's ChatGPT feature drop - Sept 11: 1/ We upgraded ChatGPT Images: it's much faster, more precise at edits, and better at understanding complex instructions. It's remarkable how much people love generating images, and it's only accelerating! 2/ Two fun features on the iOS app: when you send a message, the animation is faster and smoother. You can also pull down from anywhere in the conversation to start a new chat. 3/ When ChatGPT creates a file for you – a note, a document, a presentation or a spreadsheet – it's now much easier to share it. You can give other email addresses view or edit rights, and they'll see those files in their ChatGPT Library. 4/ We've improved 'location' use in answers (with user permission). A few weeks ago we improved the use of time in answers. Now, "what events are happening in my neighborhood" should be a lot better. 5/ Voice got smarter - When you select the 'higher intelligence' options in Voice, you can now use GPT-6 Astra, our latest frontier model. Warning, it's slow, but it's the best intelligence, hands-free. We're making answers better, and making the app much easier to use! 🚀

Adam Fry

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

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

Rassoul Edji

83,554 görüntüleme • 1 yıl önce

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🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 StarlightDaryl 🎵✨🔭 VTuber Composer 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ ➡️ VEXPO ‘26 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

WUNDER RiKU 🎵🪽 Songwriter| ✈️ ➡️ OffKai

38,554 görüntüleme • 6 ay önce

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BREAKING! Introducing Plus One: A hosted OpenClaw🦞 that lives in your Slack and comes pre-loaded with Every 🪨's best tools, skills, and workflows. Set it up in one click, and use your ChatGPT subscription (or any other API key.) Bring your Plus One to work: Connected to the Every 🪨 ecosystem Plus Ones automatically use Every 🪨's agent-native apps, no setup required: - Cora for searching, sending, and managing email - Spiral for great writing in your voice - Proof ( for agent-native document editing Custom skills and workflows we use and love Plus Ones come pre-loaded with skills and workflows we use ourselves Every 🪨 —some we've made, and some we think are great. - Content digest—summarizes the publications you read, starting with Every 🪨 - Daily brief—your day's schedule and to-dos sent to you each morning - Animate—turn any static screenshot into an animation with Remotion - Frontend—Anthropic's front-end skill (which we use all the time!) We also make it fast to connect Google, Notion, Github, and more to your Plus One. Our goal is to give you a capable AI coworker right away, not a vanilla OpenClaw that you have to teach from scratch. Why we built Plus One OpenClaw🦞 has changed the way we work at Every. We effectively have a parallel org chart of AI coworkers, each with a name, a manager, and real responsibilities. Because of them our workflows are completely different—our company is different—and we would never go back. But getting here has been hard. Claws require a significant amount of manual setup and require a dedicated machine—like a Mac Mini—running 24/7 to stay responsive. We have learned that the hard part of Claws is the infrastructure around them—the hosting, the integrations, the skills, and the ongoing care. We’ve made them work great for our team, and we want to share everything we’ve learned with you. We're letting in 20 people a week to start, and scaling invites quickly from there. Every 🪨 subscribers get priority. Bring your Plus One to work:

Dan Shipper

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We're giving away the prompt we used to make this AI UGC video. Getting Sora 2 to output hyper-realistic, consistent footage isn't just about the tool. The prompt has to be structured in a very specific way... character description, cinematography, camera motion, lighting, dialogue, audio, authenticity keywords. Get it wrong and the footage looks off. Get it right and everything downstream becomes easier. We’re sharing the exact Claude template we use as step one of our AI UGC workflow. It takes a basic brief (who the subject is, where they are, what they're saying, what device it should look like, their accent) and structures all of that into the exact format Sora 2 needs automatically. It sits at the start of a full workflow that runs through Sora 2 for the hook, ElevenLabs for voice cloning, ChatGPT for subject consistency, Nano Banana for B-roll generation and Kling for animation. The whole thing is broken down in the latest D2C Diaries episode. But this prompt is the foundation. Without it, the rest of the workflow is harder than it needs to be. If you're building in this space or testing AI UGC for your brand, this is worth having. Retweet this post and comment PROMPT and I’ll send it over.

Joe Marston | Ecom Growth

17,556 görüntüleme • 6 ay önce

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,894 görüntüleme • 1 yıl önce

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio

mert

13,849 görüntüleme • 21 gün önce

a16z speedrun request for startups: AI agents for creative storytelling 🎨 we want to see a new agentic UGC platform - like a next-gen Wattpad or Roblox - where agents help users compose their ideas into rich transmedia stories. think vibe coding but focused on creative storytelling why now? - humans love telling stories - but many of us get writer’s block or lack the tools to create rich media - professional storytellers in film, games have large support teams to help with writing, design, animation, etc. AI agents will soon be able to provide that same level of support to anyone a few key features in a new UGC platform: 1) AI creative assistant – an agent that helps storyboard, generate assets, code, & orchestrate elements across models to bring imagination to life 2) end-to-end workflow – set context, pull in references, and craft your entire story all within the platform. think Cursor for storytelling 3) voice creation – create multi-modally by simply speaking to the agent, making creation more accessible 4) multiplayer – storytelling as a social experience. families crafting bedtime stories together, friends building shared worlds after school etc 5) niche distribution wedge - a GTM strategy focused on delivering the best content possible for a niche vertical like anime or romantasy, rather than a generic catalog of “good enough” content for everyone the opportunity is huge - over 100M people visited Wattpad last month for fan fiction. one day, the next Harry Potter or Fourth Wing will be born from everyday consumers, empowered by AI creative assistants if you're building in this space, we’d love to talk! note: this content is not a solicitation or offering for securities, nor should it be construed as investment advice. see for additional information. for a full list of portfolio companies, visit

a16z speedrun request for startups: AI agents for creative storytelling 🎨 we want to see a new agentic UGC platform - like a next-gen Wattpad or Roblox - where agents help users compose their ideas into rich transmedia stories. think vibe coding but focused on creative storytelling why now? - humans love telling stories - but many of us get writer’s block or lack the tools to create rich media - professional storytellers in film, games have large support teams to help with writing, design, animation, etc. AI agents will soon be able to provide that same level of support to anyone a few key features in a new UGC platform: 1) AI creative assistant – an agent that helps storyboard, generate assets, code, & orchestrate elements across models to bring imagination to life 2) end-to-end workflow – set context, pull in references, and craft your entire story all within the platform. think Cursor for storytelling 3) voice creation – create multi-modally by simply speaking to the agent, making creation more accessible 4) multiplayer – storytelling as a social experience. families crafting bedtime stories together, friends building shared worlds after school etc 5) niche distribution wedge - a GTM strategy focused on delivering the best content possible for a niche vertical like anime or romantasy, rather than a generic catalog of “good enough” content for everyone the opportunity is huge - over 100M people visited Wattpad last month for fan fiction. one day, the next Harry Potter or Fourth Wing will be born from everyday consumers, empowered by AI creative assistants if you're building in this space, we’d love to talk! note: this content is not a solicitation or offering for securities, nor should it be construed as investment advice. see for additional information. for a full list of portfolio companies, visit

Jon Lai

173,945 görüntüleme • 1 yıl 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

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 • 8 ay önce

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.

Big Brain Business

23,576 görüntüleme • 4 ay önce

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~~~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~~~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :

björk

54,602 görüntüleme • 1 yıl önce