《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.

A young girl demonstrated her ability to freely switch her eyelids among three modes: single, double, and one single with one double. It's so cool! 小孩姐展示任意切换眼皮三种模式 可单可双还可一单一双 太酷了 网友：教教我 阿姨真的很想学这个！神奇绝活 #单双眼皮切换# #搞笑日常#

2026/09/16 AI 產業趨勢 產業結構變化 1. Agentic AI 推升 CPU 傳統訓練／推論以 GPU 為主。Agentic AI（任務啟動 → 排程 → 找工具 → RAG → 分析）高度依賴 Web Gateway、通用伺服器、always-on storage。功耗比從「4GW GPU 對 1GW CPU」朝 1:1 發展，CPU 用量與耗電可能接近 GPU。 2. CPO／NPO 與光通訊 - 架構：Scale-up（rack 內）／Scale-out（跨 rack）／Scale-across（跨 DC）；開始討論 Scale-in（die-to-die 光互連）。 - CPO＝光引擎在載板；NPO＝光引擎在主機板＋socket；OIO＝中介層上的 optical I/O。兩者 OE 相同（台積電 COUPE 整合 PIC＋EIC），差異只在載體與連接器。NPO 不消滅 CPO 供應鏈。 - Nvidia Rubin Ultra：NVL72 vs NVL576。NVL576 用 8 個 rack、無獨立 switch rack，每 rack 72 GPU＋72 switch；每 GPU 額外負擔約 12.8T 光頻寬。相對 Blackwell 單 GPU 對應 1 顆 800G，整體光模組頻寬需求大幅提升（簡報稱可到約 8 倍量級）。 - 對 PCB：訊號在晶片端就轉光後，主機板只需低速控制訊號，CCL 等級可從 M8／M9 降至 M4；448G SerDes 時銅線可能連 5–10 公分都跑不了，必須全面改走光。傳統「升 CCL 規格推 ASP」邏輯將被結構性改變。 3. 先進封裝與 ASIC - 晶片開發成本：28nm 約 1 億美元 → 1nm 破 10 億 → IC 設計不再是輕資產，只有大廠玩得起。 - Reticle size：5.5x CoWoS 成熟；9x 遇嚴重 warpage。Google Humufish／A5922（MTK 設計）是明年少數衝 9x 的，用 EMIB。Nvidia Rubin Ultra 維持 5.5x，改兩顆 GPU die 用 SoIC 堆疊。 - Google 網路拓樸 3D Torus → 6D Torus，每節點連接數 6→12，optical I/O 對外頻寬上看 3.2T。 - 2028：Hum fish（8Hi HBM）與 Trigger fish（12Hi），MTK、EMIB-T、2nm c-die＋3nm I/O die。 - 2029：Merope（性價比、AMD＋BRCM、SoIC＋CoWoS）與 Icefish（可能 MTK＋GUC、SoIC＋EMIB-T）——製程與贏家目前都還很不確定。 4. 玻璃基板 TSMC／Ibiden／Innolux 合作中。5.5x SoIC warpage 嚴重，玻璃基板是解方之一（NV、BRCM 都積極）。需做 TGV、填金屬、上下堆疊 ABF。供應鏈已開始分流（南亞、SEMCO、Toppan、欣興、群創、DNP 等）。

很多人第一次看到 HootArk，会以为只是一个 Web3 浏览器。 但更准确地说，HootArk 是一款 Agentic Web3 Browser & Wallet 🦉 HootArk把移动浏览器、内置多链钱包、dApp 入口和 AI Copilot 放在同一个 App 里，让你可以从“看到信息”直接走到“完成链上操作”。 你可以像平时上网一样打开网页、看资讯、查项目，也可以直接进入 Web3 场景：访问 DeFi、NFT marketplaces、DAO tools 等 dApps，连接钱包，查看资产，发起转账或 Swap。不需要额外插件，也不用在浏览器和钱包之间来回切换。 HootArk内置了钱包模块。在创建或导入钱包后，可以直接无缝接入Ethereum、BSC、Polygon 等主流网络。对刚进入 Crypto 的用户来说是一个更简单的入口；对 DeFi 用户、NFT 玩家和 Web3 老用户来说，它也能让移动端操作更顺手 ⚡ AI 也是 HootArk 很重要的一部分，但它不是一个单独摆在旁边的聊天框。 你可以边浏览边提问，让 AI 帮你理解项目、网页和链上信息； 看到新闻、公告或长文章，也可以直接让它总结重点； 在交易或交互前，帮你核查事实信息； 它更像一个随时跟着你的 Web3 copilot，帮你少查几次资料，少切几个页面 🤖 安全和隐私方面，HootArk 始终坚持安全第一：私钥保存在本地设备上，平台不收集数据，不追踪用户。你的钱包、你的身份、你的数据，都应该由你自己控制 🔐 【重点来啦】 我们即将发布 HootArk Lite 版 🚀 期待更轻、更快、更智能的Web3 AI 移动浏览器🎉 欢迎持续关注HootArk A lot of people see HootArk for the first time and think it’s just a Web3 browser. But more accurately, HootArk is an Agentic Web3 Browser & Wallet 🦉 HootArk brings a mobile browser, a built-in multi-chain wallet, a dApp gateway, and an AI Copilot into one app, so you can move naturally from “finding information” to “taking on-chain action.” You can use it like a regular browser to open websites, read news, and check projects. But you can also jump straight into Web3: access DeFi, NFT marketplaces, DAO tools, and other dApps, connect your wallet, view your assets, and make transfers or swaps. No extra plugins needed. No constant switching between your browser and wallet. HootArk also comes with a built-in wallet module. After creating or importing a wallet, you can seamlessly connect to major networks like Ethereum, BSC, Polygon, and more. For people new to crypto, it’s a simpler entry point. For DeFi users, NFT collectors, and Web3 natives, it makes mobile on-chain actions much smoother ⚡ AI is also an important part of HootArk, but it’s not just a chatbot sitting on the side. You can ask questions while browsing and let AI help you understand projects, web pages, and on-chain information. When you see news, announcements, or long articles, AI can help summarize the key points. Before a transaction or interaction, it can also help you check relevant facts and context. It feels more like a Web3 copilot that stays with you, helping you search less, switch tabs less, and understand things faster 🤖 When it comes to security and privacy, HootArk always puts security first: private keys stay on your local device, the platform does not collect data, and users are not tracked. Your wallet, your identity, and your data should always be controlled by you 🔐 And here’s the big update: We’ll soon be releasing HootArk Lite 🚀 Stay turned! Browser + Wallet + dApp Gateway + AI Copilot. This is HootArk 🦉✨ #HootArk# #Web3# #Web3Browser# #Wallet# #dApps# #AI#

AI正在重构整个半导体产能分配体系 ai爆发之前，半导体行业是一条单行线：先进制程不断升级，成熟制程逐渐淘汰。但AI不只是推动EUV需求暴涨，而更近一步的推动全产业链产能争夺。 AI GPU、HBM、AI ASIC开始疯狂吞噬先进制程产能，因为AI芯片背后的单位经济模型远高于传统消费电子。一片先进GPU wafer，最终可能对应几十万美元级别的AI服务器和长期云租赁现金流。于是foundry天然优先分配给AI GPU、TPU、custom AI ASIC、HBM。 于是整个外溢链条开始形成。第一层是原本依赖先进EUV的一部分产品，开始长期停留在older nodes。最明显的是手机SoC、消费GPU、PC CPU、Networking ASIC、DPU、Switch ASIC。这些产品理论上应该继续往3nm、2nm迁移，但现实是先进wafer越来越贵，EUV slot越来越难抢，AI客户越来越愿意支付更高价格。 很多产品接下来很可能不得不开始延长旧节点寿命，停留在N5/N6/N7，更多依赖ArFi immersion，增加multi-patterning，用chiplet替代纯缩节点。 手机这样的迹象刚刚开始。过去手机换机周期大约18-24个月，现在很多地区已经拉长到36-48个月。旧旗舰仍然足够强，大部分用户感受不到必须升级的必要。于是手机行业进入一个非常特殊的阶段：旧手机还能用，新AI体验又没强到必须换机。接下来我们很可能看到的可能会是，只有真正高端旗舰还在继续抢最先进EUV，中低端Android 要么被淘汰，要么其SoC大量停留在6nm、7nm、8nm、12nm，很多厂商已经开始放弃继续 aggressively 追逐最先进节点。 但手机行业最终还是会重新争夺先进制程，真正的原因不是CPU，而是功耗。手机是电池设备。未来如果本地AI agent、实时视觉理解、长时记忆、always-on AI OS、后台持续推理开始普及，那么TOPS/W、memory bandwidth、SRAM/cache、先进封装会重新变得极度重要，否则发热和续航会变得不可接受。 下一层外溢，是高端DUV。很多人过去认为EUV会逐渐淘汰DUV，但现实完全相反。AI时代实际上正在让ArFi immersion重新战略化。因为即使是EUV时代，大量关键层仍然依赖ArFi immersion、ArF dry、KrF。尤其advanced NAND、DDR5、HBM、Networking ASIC、optical DSP、SerDes、Switch ASIC，本身就高度依赖高端DUV。AI越发展，对memory和IO的需求越高，DUV的重要性反而越强。于是行业开始出现一个关键变化：不是EUV替代DUV，而是EUV + DUV对应的需求一起拉爆。 现在已经能看到很多迹象：ASML DUV订单重新变强，refurbished DUV需求上升，二手scanner价格维持高位，mature fab利用率重新改善。真正危险的是，这种压力还会继续向下传导。当手机、消费GPU、Networking ASIC开始占满高端ArFi之后，汽车、工业、功率、PMIC、MCU、模拟芯片又会继续向更成熟节点退。这其实就是EUV → ArFi → KrF → i-line的逐层外溢。 而且这个过程其实已经发生过一次。2021-2022汽车缺芯，本质上就是高价值消费电子挤占成熟制程产能。AI时代只是把这个过程进一步放大。汽车行业已经学会一件事：最怕的不是芯片不先进，而是没有芯片。于是越来越多车企开始长期锁产能、多供应商、接受旧节点、延长平台寿命。很多汽车芯片未来可能长期停留在28nm、40nm、55nm、90nm，因为对于车规来说，稳定供货远比缩节点重要。 功率半导体则是另一个容易被低估的方向。它并不依赖EUV。功率真正重要的是耐压、电流、热、reliability、缺陷控制、封装，所以大量功率器件长期停留在180nm、130nm、90nm、BCD、HV CMOS、200mm，很多甚至主动不愿意继续缩节点，因为更先进制程反而漏电更高、热更难、成本更高、良率更差。 但AI datacenter本身又在疯狂拉动功率需求。现在AI rack功率已经开始从50kW向100kW、300kW+继续升级。于是HVDC、VRM、PSU、UPS、rack-level power、battery backup都会大量消耗MOSFET、IGBT、SiC、GaN、PMIC。AI一边挤占先进制程，另一边又在疯狂拉动成熟制程。 最终整个行业会越来越像“全层级产能紧张”，而不是单纯“先进制程繁荣”。真正限制行业的，也早已不只是scanner数量，而是整个超复杂制造体系：optics、overlay、metrology、mask、photoresist、substrate、advanced packaging、testing、power、cooling，共同形成的复杂度瓶颈。 AI真正改变的是：半导体行业开始从“晶体管中心”，进入“系统复杂度中心”。EUV不会淘汰DUV。AI时代真正发生的事情，可能恰恰相反：整个半导体产业，会重新意识到，高端DUV、成熟制程、旧scanner、legacy fab，才是支撑全球电子工业的真正底座。 免责声明：本人持有文章中提及资产，观点充满偏见，非投资建议，dyor

Switch 通用移植方案里程碑： 暗黑3使用通用移植方案一次性打包至 IPA 并通过“全画幅热机60帧”测试，是暗黑2后的第二款。 全程768秒。 跟暴雪有缘诶... 不过随后家里四台设备全部离线，可能欠电费或者网费了... 歇业。今晚叨逼叨吧。

Switch 游戏原生适配多分辨率无损方案已定型，画幅直接扩展不变形。左图为原游戏移植截图，手机横屏会有两条黑边，右图为原生手机屏幕自适配截图。

Switch 挺适合玩互动电影类游戏的，周末两天通关《我被美女包围2》，感觉剧情比 1 要丰富，加入了各种悬疑，家族被害真相挖掘，不断破解一个又一个的谜团，有没有其它国产互动电影推荐的？我玩过《隐形守护者》，《美女包围1/2》，《飞跃13号病房》感觉都挺不错。