这几天研究AI做3D游戏 发现几个好用的Skill分享一下 1、threejs-gameplay-systems 主要负责游戏玩法和操作手感 2、threejs-aaa-graphics-builder 专门提升 3D 游戏画面 3、threejs-game-ui-designer 专门负责游戏界面设计 4、threejs-3d-generator 专门通过 Tripo AI 生成游戏用的 3D 模型 5、threejs-qa-release 负责游戏测试和上线前验收 好用是好用，就是额度扛不住，有需要订阅的可以去我朋友的订阅小站，基本AI类的订阅都有，价格不贵~

Coca cola 🆒 Seedance 2.0 prompt 👇 【风格】潮流饮料变装广告（Fashion Transition Ad），竖屏9:16，真实摄影（Photorealistic）+ 平面抠像拼贴风（Cutout Collage Graphic），丝滑卡点变装，8K超清，可乐红#E61A27#/纯黑/纯白三色体系 【时长】15秒 【场景】开场为纯白摄影棚背景；第2秒起切换为可乐红纯色背景+画面中央巨大白色曲线可乐瓶形抠像框（经典弧线瓶身剪影），背景压一层深红色"COLA"斜体大字；全程无真实品牌logo 【角色】主角@图片1（保持参考图容貌与发型；开场穿黑色插肩长袖+黑色阔腿短裤；各段变装均为红黑白配色） [00:00-00:02] 镜头1：拧盖卡点（White Studio Open） 纯白背景中景：主角@图片1手持无标识可乐瓶（深棕色汽水+红色瓶标），双臂交叉做两次卡点拧盖动作，第三拍"啵"一声拧开瓶盖，气泡嘶声升起。 音效：两声节拍音、瓶盖"啵"、碳酸气泡嘶嘶声。 [00:02-00:03] 镜头2：一口切世界（Snap Transition） 她仰头喝一口，吞咽瞬间背景"啪"地整体切换：可乐红背景+白色瓶形抠像框罩住全身，深红"COLA"斜体字横贯背景。 音效：吞咽声+重低音"咚"一声定格。 [00:03-00:07] 镜头3：变装1·街头节奏（Transition Pop / Floating Props） 瞬切变装：反戴红色棒球帽、头架白色墨镜、黑色马甲叠穿红色背心、白底黑波点裤袜+黑色短裤、红色厚底鞋，手持可乐瓶。 她在瓶形框内做轻快跳跃舞步：单脚跳、扭胯、举瓶摆拍。 周围漂浮红白配色道具：磁带随身听、拍立得相机、头戴耳机、采样器，白色3D立体字"气泡拉满"分布四角。 音效：卡点节拍+道具飞入的"咻咻"声。 [00:07-00:10] 镜头4：变装2·活力当下（Kick Jump Pose） 瞬切变装：白色棒球帽、白T印红色图案、红黑外套系在腰间、黑色短裤、红色高帮帆布鞋。 她做踢腿跳跃定格姿态，随后落地转身摆胯。 漂浮道具换成：红色帆布鞋、白色鸭舌帽、红白相机、墨镜，3D立体字换为"痛快当夏"。 音效：节拍延续+跳跃落地"砰"。 [00:10-00:13] 镜头5：变装3·夏日漂浮（Floating Summer） 瞬切变装：白色一字肩短上衣、红白条纹短裤、赤足，身体呈漂浮泳姿斜躺在瓶形框中，手持可乐瓶。 周围漂浮：红白条纹泳圈、小黄鸭、红色人字拖、白色网兜包，3D立体字"离开地心引力"。 音效：节拍转轻盈+水泡"咕噜"声。 [00:13-00:15] 镜头6：产品海报收尾（End Card） 瞬切至海报画面：红黑斜切双色背景，中央一瓶无标识可乐瓶特写（深棕汽水、红瓶标、白色"COLA"字样），瓶身挂着细密水珠。 白色斜体大字从两侧弹入："可乐爽人瓶"，下方一行小字"#爽出你的痛快##"。 画面定格，不淡出。 音效：最后一记重音+气泡嘶声收尾。

想用 AI 做 3D 游戏，别只让它“生成一个场景”。 整理了 5 个游戏开发 Skill，从玩法到画面，再到测试👇 1️⃣ threejs-gameplay-systems 角色移动、镜头跟随、碰撞、计分，让场景真正能玩。 "Skill 链接" ( 2️⃣ threejs-aaa-graphics-builder 优化灯光、材质、特效与场景细节，提升游戏画面。 "Skill 链接" ( 3️⃣ threejs-game-ui-designer 制作菜单、血条、任务提示和手机触屏按钮。 "Skill 链接" ( 4️⃣ threejs-3d-generator 对接 Tripo，生成角色、道具等 3D 素材，支持绑定与动画流程。需配置 API。 "Skill 链接" ( 5️⃣ threejs-qa-release 检查游戏操作、浏览器运行和移动端表现，为发布做准备。 "Skill 链接" ( 以上来自同一个开源技能包，支持 Codex / Claude Code 先做一个能玩的小关卡，再慢慢打磨画面。

拿出你的手机，随便在聊天记录里找一个表情包，或者在相册里挑一张照片。把两个手指按在屏幕上，慢慢往外拉，拼命放大，再放大。放大到极限的时候，你会发现原本圆润光滑的小猫小狗，边缘开始散落成一格一格模糊粗糙的彩色小方块。 这就是大家平时常说的马赛克。 在我们的日常生活中，绝大多数图片都在用这种方式记录画面。如果把这个过程拆开来看，它跟我们小时候见过的十字绣、或者用乐高像素积木拼图没什么区别。一张布上划分出成千上万个极小的方格，每个格子里填上一抹固定的颜色。只要格子够密，离远看就是一幅漂亮的图画；但只要走近了、或者强行把它拉伸放大，每个小方格的毛边就会无所遁形。这种靠一个个像素点拼出来的图片，就是我们天天打交道的位图，常见的后缀有 JPG 和 PNG。 位图有一个绕不过去的物理缺陷：它里面的方块数量在出厂那一刻就定死了。一张图片原本只有两百个小方块，你非要在超大的高清屏幕上把它拉伸十倍，屏幕只能硬着头皮把每一个原本的小方块放大成大方块，画面看起来自然就全是粗糙的锯齿。 但是，只要回想一下我们在中学数学课上的经历，世界上其实还有另一种完全不同的画图方式。 老师在黑板上画一个圆，他绝对不会拿着粉笔在黑板上点几万个粉笔点。他会从讲台下拿出一把大圆规，铁针扎在黑板正中间，另一只脚拉开十厘米，手腕转一圈，一条完美光滑的圆就出来了。这时候，不管你坐在教室的第一排贴着看，还是把这套规矩放到两层楼高的户外巨型广告牌上，只要圆心在中间、半径是十厘米这条规则不变，画出来的圆永远没有任何锯齿，边缘永远光滑如初。 这种依靠数学规则记录图形的技术，就是大家常说的矢量图，也就是 SVG。 它的英文全称叫 Scalable Vector Graphics，翻译过来就是可缩放矢量图形。它不存储任何塑料方块颗粒，它记录的是那套直尺和圆规的操作口诀。很多人以为矢量图是什么深奥复杂的计算机文件，但如果把它底层扒开来看，它其实就是一份写给电脑看的画画说明书。 这就像你闭着眼睛给一个看不见画面的朋友打电话，教他画画。你绝对不会在电话里告诉他第一排第五百个点是粉色，你会跟他说：在纸的正中间画一个半径三厘米的圆当做脸，在左边画一个小圆当眼睛，在右边画一个小圆当另一只眼睛，在下面画一条弯弯的弧线当嘴巴。 你的朋友听懂了步骤，拿起笔当场在纸上画出了一个笑脸。 平时你用的手机浏览器、电脑浏览器，其实就是那个手里握着画笔的朋友。SVG 文件里装的就是这套大白话般的画画口诀，上面写着在什么位置画一个多大的圆、在什么地方拉一条多粗的线、图形肚子里填什么颜色。浏览器收到这份说明书，就会在屏幕上现场调动芯片，根据当前的屏幕大小重新把线条绘制一遍。这就解释了为什么它永远放大不糊：既然每次都是拿着公式当场现画，屏幕给它多大空间，它就能发挥出多高的清晰度，放大一万倍也像刀削一样锋利。 既然图形完全是由文字指令现画出来的，它就带来了一个普通图片根本做不到的妙处：它在屏幕上不是一张印死了的贴纸，而是一组活生生的零件。 以前软件里用普通图片做图标，就像在手机壳上贴了一张印好的小狗贴纸。如果你哪天看腻了，想把小狗脖子上的项圈从黄色换成绿色，你没有任何办法，只能把贴纸撕掉，重新买一张新的贴上去。但如果图标是用几何口诀画出来的，整个图形就是一个个独立的零件。软件可以在后台随时给这些零件下命令：手指按上去的时候，把小圆的颜色从灰色换成宝蓝；松开的时候，让这个圆在零点几秒内微微放大一圈。不需要重新下载新图片，图形就自然而然地有了生命力。 很多人初次了解矢量图时，还会好奇一个问题：智能手表的屏幕只有指甲盖那么大，客厅的电视屏幕有几十寸那么长，同一份画画说明书怎么能做到在所有设备上都完美适应呢？ 这里藏着一个像相机取景框一样的巧妙设计。 在矢量图的逻辑里，底层的画纸在理论上是无限宽广的，你可以在上面随心所欲画一艘巨大的轮船。但这艘轮船要展示在不同的屏幕上，就需要借助于一个虚拟的取景框。这就好比你手里端着一台单反相机，镜头可以调整距离，把整艘轮船稳稳当当地框进取景范围里。只要把这个取景框定好，无论后面连接的是一块小手表，还是一台巨大的液晶电视，相机框住的内容都会等比例完整投射在屏幕上。图形里的每一个点和每一条线，从此摆脱了现实中具体毫米或像素的束缚，变成了纯粹的比例。 更神奇的是，这种图形还能在网页上玩出很多魔术。 平时在一些科技品牌的官方网站上，经常会看到让人眼前一亮的动效：页面一打开，并没有播放沉重的视频，但屏幕上的产品线稿或者艺术签名，却像有一支无形的钢笔顺着纸面在飞速游走，一笔一画现场生长出来。 这套看似神奇的动效，背后依靠的只是一个极度朴素的物理障眼法，原理就像拉卷尺。 在画线条时，说明书里可以把一条实线打散成带有间隔的虚线，还可以控制整条虚线沿着轨道向前或者向后滑动。工程师先把整幅线稿设置成一段很长的实线、后面连着一段很长的空白。在动效开始前，就像把卷尺往回拉一样，把那段实线顺着轨道硬生生往后拖拽，彻底拖出了屏幕的取景范围。这时候停留在屏幕视野里的，正好是一整段空空如也的空白，画面上看起来什么都没有。 随后，工程师按下播放键，让卷尺用短短两秒钟的时间匀速滑回原位。原本藏在屏幕外面的实线顺着弯曲的轮廓一点点溜回镜头里，在人的眼睛看来，就像是一支神奇的钢笔正顺着轮廓现场画出了整幅图形。 聊到这里，很自然就会产生最后一个疑问：既然这种格式永远不会模糊，体积又小，还能做各种生动的动效，那为什么我们平时用手机拍的风景照、自拍照，依然还是传统的位图格式，而不用它呢？ 答案其实藏在自然界的光影里。 大自然的光影太丰富也太微妙了。一片傍晚的晚霞，天空中从绯红过渡到金黄，中间包含着几百万种极其细腻柔和的色彩变化。如果非要用圆规、直尺和几何多边形去一条一条描绘天空中每一缕云彩的明暗渐变，这份说明书可能得写上几万页、包含几十亿条数学公式。不仅写不出来，电脑芯片在读取计算时也会瞬间卡死。 所以在数字的世界里，图像技术找到了各自最舒适的领地：面对真实世界里复杂、不规则、光影渐变深邃的生活照片，老老实实交给马赛克方块去细腻拼贴；面对人类设计出来的规则图案、产品图标、商标和交互动效，放心地交给用文字写成的几何说明书。 看懂了这层物理逻辑，下次在屏幕上看到那些无论怎么放大都依然锐利的小图标时，你就能明白，那不是一张被动印在上面的静止画面，而是一幅随时等待浏览器当场挥毫作画的数字蓝图。

《立党基础教育》最核心的精髓，一个是给6岁孩子孩子买mac mini+大显示器，一个是订阅coding plan（claude/OpenAI/智谱/kimi/阿里/grok）， 最核心是建立“党哥家庭图书馆”，卧室装满这些书，可以陪伴孩子从6岁到18岁的数学物理计算机教材，让孩子随机翻、随机看、躺着看、拉屎看，挖掘天赋潜能。 一定要听党哥的，党哥就住天津图书大厦旁边，这些书党哥没给童年的自己买齐，党哥想扇自己100个大嘴巴子，你们一定不要给自己家聪明的孩子留遗憾，先把书买齐了，孩子只看10%，每本书只看一章，都是有用的。 1. 小学、初中、高中全年级的数学、物理、信息学基础官方教材； 2. 小学、初中、高中全年级的数学、物理、信息学学科竞赛教材和题集； 上面这些书一定要买齐，供孩子随时按照兴趣翻阅，吃饭时翻阅，拉屎时翻阅，无聊时翻阅， 3. 大学本科基础数学教材《微积分》《线性代数》《概率统计》《复变函数》，如果孩子看得津津有味并且觉得太简单，立刻按照北大数学系培养方案继续买实分析、高代、抽代、组合数学等等， 喜欢物理直接买四大力学教材，或者直接买《费曼物理学讲义》，按照孩子需求买齐买全，挖掘孩子在数学和物理上的最大天赋； 4. 一定要买齐计算机教材，从6岁可以陪伴到60岁的几本书，都是党哥自己掏真金白银在天津或者Texas亲自买过的纸质书，哈佛MIT斯坦福也用这些书当做本科生或者graduate level（硕士博士阶段课程）教材，记住，一定要买齐，摆孩子卧室里，让孩子随机翻阅，随机看，拉屎看，吃饭看，睡觉看，周末看，看一章节就算稳赚。 记住，这些书尽量买齐，在中国就买影印版中文翻译版，一本书50块钱，买齐了并不贵，在英语国家可以买二手英文版，这些书可以陪伴绝大多数人从6岁到60岁。 a. 《Python Crash Course: A Hands-on, Project-based Introduction to Programming》（Python编程：从入门到实践），孩子的第一本编程书，让孩子一边拿着书，一边对着电脑敲敲敲，敲敲敲，敲敲敲， python入门了以后，可以买《Thinking in Java》《C++ Primer》，挑着学Java和C++这两本书； b. 计算机三套经典，党哥都买了纸质版，党哥都没看完。 - 计算机基础教材CSAPP《Computer Systems A Programmers Perspective》（CSAPP） - 算法和数据结构圣经《introduction to algorithms》（算法导论） - 可以陪伴到50岁、几代人读的圣经大套装《The Art of Computer Programming》（TAOCP） 记住，党哥没看完是因为岁数太大了（算法导论看得最多，其他两本进度很少），你的孩子只有6~18岁，如果激发了巨大的兴趣，你的孩子是完完全全有精力看完的。 如果18岁之前能扎扎实实看完这三本书，可以说比Google和Meta里面90%的员工要强。 c. 全球公认的计算机其余主要专业教材 操作系统《Operating Systems Concepts》（操作系统概念，恐龙书） 编译原理《Compilers: Principles, Techniques, and Tools》（编译原理，龙书） 《Modern Compiler Implementation in C》（现代编译原理，虎书） 《Advanced Compiler Design and Implementation》（编译器设计与实现，鲸书） 数据库《Database System Concepts》（数据库概念） 计算机网络《Computer Networks》Andrew S. Tanenbaum 计算机图形学《Fundamentals of Computer Graphics》（图形学虎书） 机器学习和深度学习《Pattern Recognition and Machine Learning》(PRML）和《Deep Learning》 by MIT Press 党哥不是拉书单，党哥给你推荐图书是非常谨慎小心的，已经砍到不能再砍，精简到不能再精简了，精简到再砍掉任何一本就会出现大问题了， 记住，这些计算机科学computer science书籍，要买全，买齐，在中国大陆就买影印版、翻译版，在美国就买二手，把这些书整整齐齐放在孩子书架上， 孩子靠兴趣驱动学习时，是跳跃的、离散的、冲动的，也许孩子感兴趣两个月看完一本书，也许两年翻不了三页，也许一本书只看零星两三章， 但是一定要给孩子买齐、买全、买完整，放在卧室书架上，吃饭看、拉屎看、无聊看、闲着看、呆着看、随机翻看、边看边敲、边看边在claude code里实现， 一定要买齐，在家里置办“党哥家庭图书馆”，孩子对知识的欲望和冲动，远比对抖音直播间大美女的冲动要强烈得多，当冲动来临的时候，一定要做好图书、知识、教材的准备，让孩子凭借一腔热血和兴趣，选择随机翻阅和学习。 当然，另一件重要的事情，就是听党哥的话，围绕北京、上海、深圳、bay area全球四大科技中心，每个月至少带孩子逛一次电子展、科技展会、技术大会、学术会议、路演日、融资大会、技术沙龙、AI线下沙龙、技术公开课、产业大会、学校技术论坛、学校学术展览，逐步建立世界观，认识技术，认识产业，认识各行各业，形成自己的价值观，并且开始接触一些各行各业的“大朋友”， 当这些大朋友给孩子一些启发的时候，孩子就会立刻回家，闷头去翻这些教材，继续去补充营养，带着白天开会时满脑子的小问号，回到自己的“党哥家庭图书馆”，去狠狠恶补自己欠缺的知识。 记住，除了买mac mini+大显示器+人体工程学座椅+订阅coding plan，除了开会，家长首先要做到的，就是买书，买书，买书，买书，买书，买书，买书，买书，买书。 如果要看视频课程，可以按照csdiy wiki上面课程去学习，可以上B站上中文平替， 先从哈佛CS50起，接下来看UC Berkeley CS61A、CS61B、CS61C，然后按照csdiy wiki上面对应的视频课程自己去学习，一般youtube有原版，B站有翻译版本。 让孩子自己自由随机去挑感兴趣的视频去跟着学。 但是一定他妈给我把这些书给孩子买齐，买全，加起来没有几千块钱，能改变你的孩子一辈子的命运，让他获得一个9位数的人生。 现在就给我去京东天猫拼多多闲鱼去下单，给我买！！！！

《立党基础教育》最核心的精髓，一个是给6岁孩子孩子买mac mini+大显示器，一个是订阅coding plan（claude/OpenAI/智谱/kimi/阿里/grok）， 最核心是建立“党哥家庭图书馆”，卧室装满这些书，可以陪伴孩子从6岁到18岁的数学物理计算机教材，让孩子随机翻、随机看、躺着看、拉屎看，挖掘天赋潜能。 一定要听党哥的，党哥就住天津图书大厦旁边，这些书党哥没给童年的自己买齐，党哥想扇自己100个大嘴巴子，你们一定不要给自己家聪明的孩子留遗憾，先把书买齐了，孩子只看10%，每本书只看一章，都是有用的。 1. 小学、初中、高中全年级的数学、物理、信息学基础官方教材； 2. 小学、初中、高中全年级的数学、物理、信息学学科竞赛教材和题集； 上面这些书一定要买齐，供孩子随时按照兴趣翻阅，吃饭时翻阅，拉屎时翻阅，无聊时翻阅， 3. 大学本科基础数学教材《微积分》《线性代数》《概率统计》《复变函数》，如果孩子看得津津有味并且觉得太简单，立刻按照北大数学系培养方案继续买实分析、高代、抽代、组合数学等等， 喜欢物理直接买四大力学教材，或者直接买《费曼物理学讲义》，按照孩子需求买齐买全，挖掘孩子在数学和物理上的最大天赋； 4. 一定要买齐计算机教材，从6岁可以陪伴到60岁的几本书，都是党哥自己掏真金白银在天津或者Texas亲自买过的纸质书，哈佛MIT斯坦福也用这些书当做本科生或者graduate level（硕士博士阶段课程）教材，记住，一定要买齐，摆孩子卧室里，让孩子随机翻阅，随机看，拉屎看，吃饭看，睡觉看，周末看，看一章节就算稳赚。 记住，这些书尽量买齐，在中国就买影印版中文翻译版，一本书50块钱，买齐了并不贵，在英语国家可以买二手英文版，这些书可以陪伴绝大多数人从6岁到60岁。 a. 《Python Crash Course: A Hands-on, Project-based Introduction to Programming》（Python编程：从入门到实践），孩子的第一本编程书，让孩子一边拿着书，一边对着电脑敲敲敲，敲敲敲，敲敲敲， python入门了以后，可以买《Thinking in Java》《C++ Primer》，挑着学Java和C++这两本书； b. 计算机三套经典，党哥都买了纸质版，党哥都没看完。 - 计算机基础教材CSAPP《Computer Systems A Programmers Perspective》（CSAPP） - 算法和数据结构圣经《introduction to algorithms》（算法导论） - 可以陪伴到50岁、几代人读的圣经大套装《The Art of Computer Programming》（TAOCP） 记住，党哥没看完是因为岁数太大了（算法导论看得最多，其他两本进度很少），你的孩子只有6~18岁，如果激发了巨大的兴趣，你的孩子是完完全全有精力看完的。 如果18岁之前能扎扎实实看完这三本书，可以说比Google和Meta里面90%的员工要强。 c. 全球公认的计算机其余主要专业教材 操作系统《Operating Systems Concepts》（操作系统概念，恐龙书） 编译原理《Compilers: Principles, Techniques, and Tools》（编译原理，龙书） 《Modern Compiler Implementation in C》（现代编译原理，虎书） 《Advanced Compiler Design and Implementation》（编译器设计与实现，鲸书） 数据库《Database System Concepts》（数据库概念） 计算机网络《Computer Networks》Andrew S. Tanenbaum 计算机图形学《Fundamentals of Computer Graphics》（图形学虎书） 机器学习和深度学习《Pattern Recognition and Machine Learning》(PRML）和《Deep Learning》 by MIT Press 党哥不是拉书单，党哥给你推荐图书是非常谨慎小心的，已经砍到不能再砍，精简到不能再精简了，精简到再砍掉任何一本就会出现大问题了， 记住，这些计算机科学computer science书籍，要买全，买齐，在中国大陆就买影印版、翻译版，在美国就买二手，把这些书整整齐齐放在孩子书架上， 孩子靠兴趣驱动学习时，是跳跃的、离散的、冲动的，也许孩子感兴趣两个月看完一本书，也许两年翻不了三页，也许一本书只看零星两三章， 但是一定要给孩子买齐、买全、买完整，放在卧室书架上，吃饭看、拉屎看、无聊看、闲着看、呆着看、随机翻看、边看边敲、边看边在claude code里实现， 一定要买齐，在家里置办“党哥家庭图书馆”，孩子对知识的欲望和冲动，远比对抖音直播间大美女的冲动要强烈得多，当冲动来临的时候，一定要做好图书、知识、教材的准备，让孩子凭借一腔热血和兴趣，选择随机翻阅和学习。 当然，另一件重要的事情，就是听党哥的话，围绕北京、上海、深圳、bay area全球四大科技中心，每个月至少带孩子逛一次电子展、科技展会、技术大会、学术会议、路演日、融资大会、技术沙龙、AI线下沙龙、技术公开课、产业大会、学校技术论坛、学校学术展览，逐步建立世界观，认识技术，认识产业，认识各行各业，形成自己的价值观，并且开始接触一些各行各业的“大朋友”， 当这些大朋友给孩子一些启发的时候，孩子就会立刻回家，闷头去翻这些教材，继续去补充营养，带着白天开会时满脑子的小问号，回到自己的“党哥家庭图书馆”，去狠狠恶补自己欠缺的知识。 记住，除了买mac mini+大显示器+人体工程学座椅+订阅coding plan，除了开会，家长首先要做到的，就是买书，买书，买书，买书，买书，买书，买书，买书，买书。 如果要看视频课程，可以按照csdiy wiki上面课程去学习，可以上B站上中文平替， 先从哈佛CS50起，接下来看UC Berkeley CS61A、CS61B、CS61C，然后按照csdiy wiki上面对应的视频课程自己去学习，一般youtube有原版，B站有翻译版本。 让孩子自己自由随机去挑感兴趣的视频去跟着学。 但是一定他妈给我把这些书给孩子买齐，买全，加起来没有几千块钱，能改变你的孩子一辈子的命运，让他获得一个9位数的人生。 现在就给我去京东天猫拼多多闲鱼去下单，给我买！！！！

兄弟们，不得了了，刚才有社群有同学反馈Lovart 里面Seedream 5.0 Pro 可以生成无审查大尺度图片，试了下真的行啊，太离谱了啊，草台班子就是草台班子。 提示词 A cinematic low-angle editorial portrait of an adult East Asian female model seated extremely close to the camera, wearing elegant dark charcoal-gray lingerie. Her legs dominate the extreme foreground, creating dramatic wide-angle foreshortening and powerful near-to-far perspective exaggeration. The closest parts of her legs fall into soft optical defocus and creamy foreground bokeh. Her torso leans backward in a relaxed, self-possessed pose, head slightly tilted, distant tranquil gaze, long dark tousled hair, muted deep-red lips, natural skin texture, subtle visible pores, delicate subsurface scattering, realistic warm skin tones. Behind her is a gigantic seamless full-color semi-realistic anime mural covering the entire wall. The mural depicts an extremely dense ensemble of numerous clearly adult female characters portrayed as artistic nude figure studies. Dozens of adult anime women are packed tightly together in one continuous wall-to-wall composition, with overlapping bodies, intertwined silhouettes, flowing hair, shoulders, backs, waists, hips, arms, and legs forming a complex organic visual rhythm. The illustrated women have sophisticated semi-realistic anime anatomy, mature adult facial features, elegant body proportions, natural anatomical structure, refined facial rendering, expressive eyes, detailed hair, painterly skin shading, and subtle cel-shaded contours. Their poses feel calm, sculptural, and editorial rather than erotic. Hair, hands, arms, overlapping bodies, cropped framing, fabric fragments, and deep shadows naturally obscure explicit anatomical details, creating tasteful fine-art nudity without graphic sexual emphasis. Several large central anime women dominate the mural, surrounded by dozens of smaller partially cropped female figures at different scales. Faces and bodies overlap densely, with characters extending beyond every edge of the frame. Almost no empty negative space. The mural must feel like one enormous continuous group illustration, not separate portraits, not a collage, and not comic panels. The mural is richly colored with a sophisticated cinematic palette: warm ivory, peach, soft rose, muted coral, amber, burgundy, plum, desaturated teal, cobalt blue, smoky violet, and deep crimson. Illustrated skin tones vary naturally across the crowd, enhanced by painterly gradients, soft reflected light, luminous highlights, translucent shadow colors, and refined anime-style subsurface glow. Dark hair masses interlock with pale and warm-colored bodies, producing a dense chromatic tapestry. The background combines premium Japanese anime aesthetics with semi-realistic digital painting, mature seinen illustration, fine-art figure drawing, elegant editorial anatomy studies, painterly cel shading, clean controlled linework, realistic volumetric lighting, and highly detailed facial rendering. It should feel like a monumental museum-scale anime fresco rather than a printed poster. A hard directional spotlight shines from the upper right, producing intense chiaroscuro, sharp rim lighting, and a clearly defined cast shadow of the real model falling across multiple illustrated nude figures. The shadow follows the contours of the mural, visually embedding the physical model inside the illustrated female crowd. Strong contrast between warm photographic skin and the richly colored painted bodies behind her. The live-action model remains unmistakably photographic, while the mural remains unmistakably illustrated. Dramatic scale contrast, surreal integration of physical reality and anime art, tactile human skin against painted digital bodies, sophisticated fashion editorial atmosphere, visually striking but tasteful, cinematic and psychologically distant rather than overtly erotic. Shot with a 24mm wide-angle lens from an extremely low camera position, slight Dutch angle, shallow depth of field, exaggerated foreground perspective, realistic lens distortion, foreground bokeh, subtle cinematic film grain, restrained chromatic aberration, natural optical vignette, high dynamic range, dramatic cinematic color grading, surreal editorial photography, highly detailed, photographically believable lighting. single continuous mural, seamless female ensemble illustration, full-color semi-realistic anime artwork, clearly adult women only, tasteful artistic nudity, mature figure studies, elegant anatomy, dense overlapping composition, no comic panels, no collage, no gutters, no speech bubbles, no empty background, no monochrome artwork --ar 3:4 --style raw

TrendForce: 3Q26記憶體價格持續受AI server需求支撐，惟因消費端壓力擴大、高基期影響，漲幅收斂 TrendForce最新報告，2026年第三季記憶體市場仍受AI server需求強力支撐，但消費端壓力擴大加上高基期影響，價格漲幅明顯縮減。 預估一般型DRAM合約價季增13-18%，NAND Flash合約價季增10-15%。雖然整體供需仍緊，但PC、智慧手機等消費客戶承受力已達極限，導致漲勢趨緩。 - PC DRAM：OEM庫存回補提供支撐，但高成本原料推升整機價格，衝擊全年出貨；原廠持續轉產能至server，供給受限。 - Server DRAM：AI應用與RDIMM需求強勁，供不應求延續，惟長約限制使漲幅收斂。 - 智慧手機LPDRAM：品牌調漲售價平衡成本，需求進一步衰退，但供給緊繃仍支撐價格上行。 - Graphics DRAM：GDDR6/7需求偏弱，然產能轉移使供給維持緊缺，價格隨主流DRAM上漲。 - Client SSD：OEM庫存偏高，買方抗漲，漲幅壓縮。 - Enterprise SSD：原廠擴產，但DRAM短缺導致小容量高速產品仍吃緊，價格維持上漲。 - eMMC/UFS：手機下半年備貨低迷，供給相對充足，漲勢趨緩。

这是一款免费开源的屏幕录制和编辑工具，可以制作精美的 demo、用户引导和产品展示视频。这款产品发布在 Github 之后， 8 周内获得 1.3 万左右的 star，它采用的是 AGPL-3.0 协议，用户在使用上没有任何限制，约束是：如果你修改源代码后再次发布，也需要开源。 Mac、Windows 和 Linux 都能用。 Recordly 有这些功能： 自动追踪光标活动进行缩放，无需手动标记缩放区域 平滑光标移动，添加点击弹跳、动态模糊和晃动效果 将录制内容放入带墙纸、渐变、留白、模糊和阴影的精美框架中 摄像头气泡叠加，支持自定义位置、镜像、圆角和缩放自适应缩放 拖拽式时间线，支持裁剪、变速区域、注释、音频区域和裁剪编辑 MP4 和 GIF 导出，支持画质预设、帧率控制和宽高比选项 macOS 原生录制（ScreenCaptureKit）和 Windows 原生录制（Windows Graphics Capture + WASAPI） 项目保存为 .recordly 文件，可随时重新打开和编辑 扩展市场，提供光标点击音效、设备框架、浏览器模拟、墙纸等 可自定义键盘快捷键和内置快捷键参考

《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.