迫不及待的小穴已经自己张开了🙈 放大看有惊喜🔍 Need it inside me immediately and fill me up 🔥 ————————————— @ToBulaer @ToBuerma @KawasawaSen @BulmaList

只要能塞满阿莹，哪怕永远锁起来也没关系～～ 真的好喜欢被锁住的蛋蛋被当成玩具供主人把玩，被握住蛋蛋超级有安全感，主人摸着阿莹的腿，玩着阿莹的蛋蛋，操着阿莹的小穴，这就是对人妖母狗最大的奖励了！ As long as you can fill me completely, I wouldn’t even mind being kept locked up forever. I absolutely love having my locked-up balls treated like my owner’s favorite little toy. There’s something incredibly comforting about having my balls held in his hands—his touch on my thighs, playing with me, making me feel completely owned… that’s the greatest reward for a little slut like me. 🍑💦

给美国 Polymarket bot 开发者提个醒： 你可能不是策略变差了 而是在和一个物理距离更近的对手比赛 素材里提到，Polymarket 现在允许 KYC-verified colocation 给 market makers 意思是： 专业交易团队可以在授权情况下，把基础设施部署到更靠近 Polymarket matching engine 的位置 其中不少是亚洲 / 中国团队 这些 setup 跑到 CLOB 的 round trip time，可以低于 10ms 而美国本土服务器上的 bot，光地理延迟可能就要 80–120ms 这个差距，不是优化代码能解决的 这是物理距离问题 在 Polymarket CLOB 这种 FIFO queue 里，毫秒决定结果 第一个挂单的人吃到 fill 第二个到的人，可能什么都没有 如果你的 bot 比 colocated Asian market maker 慢 100ms，那就不是在竞争 而是在每次机会出现后，稳定迟到 这也是为什么 V2 之后，一些原本赚钱的 5-minute BTC bot 开始 bleed 不是模型突然失效 而是短周期 crypto markets 的利润，正在被更专业、更近、更快的基础设施吃掉 素材里提到，目前对非亚洲开发者来说，Ireland / Dublin VPS 可能是更现实的选择 调好之后，P50 round trip to CLOB 可以做到 16–17ms 不完美 但比美国本土 80–120ms 已经好太多 这个账户一个月赚了 $727K 然后在 update 后直接消失 所以现在的建议很直接： 如果你的 5-minute BTC bot 以前赚钱，V2 后开始亏。 别只盯策略 先检查 latency、服务器位置和竞争环境 要么把 infra 迁到 Ireland 要么转向速度要求没那么极端的市场 游戏已经变了 现在赢的人，不只是模型更好 而是服务器更近

和Quant Alex @StochAlex07 讨论： **总结：Jeff Liang 与 Quant Alex Wu 关于期权挂单滑点捕获优化的讨论** 两人讨论的核心焦点是：**当前期权挂单执行效果差（滑点大、成交差），本质上是缺乏高频/算法做市能力导致的，需要从“钝刀子割肉”升级到专业的 Delta 对冲 + 期权做市系统**。 ### 1. **问题诊断** - 当前挂单像“**钝刀子割肉**”，成交概率低、排队位置差，滑点严重。 - Jeff 提供数据：**平均每成交 1 张期权亏损约 5.2 美元（略小于 1bp）**，已含手续费和返佣，仍无法接受。 - 即使永续合约 maker 返费能补一点，也“无法坐视不理”。 - **价格检查和调整频率不是核心**，**成交概率（fill probability）和排队位置（queue position）才是关键**。 ### 2. **根本解决方案方向（Alex 观点）** - **好的 Delta 对冲系统与现货/期货/永续高频做市系统有大量技术重叠**。没有这个基础，面对逆向选择（adverse selection）基本无力。 - 把 **maker 单做 Delta 对冲** 本质上等同于 **Delta 1 做市处理 inventory risk** 的过程，两者“豁然开朗”地高度一致。 - 期权做市和 Delta 1 做市是**联动的**： - Delta 1 系统负责处理期权的 Delta。 - 期权本身也能给 Delta 1 头寸提供保护。 ### 3. **技术实现难度与路径** - **需要进入 algo trading / HFT 领域**，涉及大量工程投入。 - **语言要求**：Python 无法胜任，必须 **C++ 和 Rust**。 - **针对客户**：最终服务于场内大宗交易的机构客户 / 高净值个人。 - **从 0 开始的完整路线（Alex 详细规划）**： 1. 大量采集 **永续 + 期货 + 期权订单簿**（快照、增量、逐笔成交数据）。 2. 构建 **成交概率模型 + 队列模型**： - 限价单 arrival intensity（到达强度） - 成交概率 - 排队位置 - 延迟建模 3. 先在 **Delta 1 产品上跑通**，验证回测系统。 4. 再扩展到**全部期权合约**（需大量重构与验证，代码复杂度很高）。 5. 额外开发**挂限价单 + 打对价成交**等专业算法，降低总体滑点。 6. 最后小资金实盘测试。 Alex 反复强调：**“这个项目是货真价实的重工业”**，工程量和研究投入都很大。 ### 4. **共识** - Delta One 的研究正是期权成交概率研究的基础。 - 期权做市必须和 Delta 对冲系统深度融合，不能割裂。 - 当前阶段是**基础设施建设期**，需要耐心投入资源。 **总体评价**： Alex 给出了非常专业、系统性的优化路径，从数据层、模型层到执行层都有清晰步骤，强调这不是简单调参数，而是要建立高频做市级的能力。Jeff 则侧重业务痛点（真实滑点成本），两人对“必须重做底层系统”达成一致。 这是一个典型的**量化执行优化**讨论，从业务问题出发，直指 HFT 级基础设施建设。

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

总有人间一两风，填我十万八千梦。新野的傍晚，微风、晚霞、河水，一切都温柔得刚刚好。There is always a touch of breeze in this world, filling my ten thousand eight thousand dreams. In the evening of Xinwei, the gentle breeze, the sunset,

反差男娘爱蜜莉雅，人前高高在上的女神，人后是看见丝袜足女S就发情的骚猪母狗，恨不得把鸡巴全部塞进女神S的足穴里，被女神骂两句就哦哼哼到发情！最后狠狠的泄在女神的足穴里……填满了那里……♡♡♡ 玩具：@Char10tteQ Contrast femboy Emilia: In public a high-and-mighty goddess, but in private a slutty pig bitch who goes into heat the second she sees a stockings-wearing foot dominatrix. She can’t wait to shove her entire cock deep into the goddess’s foot hole. Just a couple of scoldings and she’s moaning “oh~ hum hum~” in heat! Finally cums hard inside the goddess’s foot hole… filling it up… ♡♡♡ (No one was injured in the video. This is a high-heel-shaped masturbator, not a real high heel. Do not attempt this with actual shoes.)