醒醒吧，成人展結束了 還想保持日常的瑟瑟活力就得靠我們最強body渾圓美乳 @momodog999 TRE is done and gone. We can only rely on Momodog’s enormous knockers to spice up our mundane lives. +10分鐘訂閱即可看 +10 min video, subscribe to watch. #又是個週二# #JustAnotherTuesday#

中国决定将20家日本实体列入出口管制管控名单 1. 防卫研究所（National Institute for Defense Studies） 2. 陆上装备研究所（Ground Systems Research Center） 3. 舰艇装备研究所（Naval Systems Research Center） 4. 航空装备研究所（Air Systems Research Center） 5. 日钢特机株式会社（NIKKO TOKKI Co., Ltd.） 6. 日钢YPK商事株式会社（NIKKO-YPK SHOJI Co., Ltd.） 7. 三菱电机防卫与空间技术株式会社（Mitsubishi Electric Defense and Space Technologies Corporation） 8. 三菱电机软件株式会社（Mitsubishi Electric Software Corporation） 9. 三菱电机工程株式会社（Mitsubishi Electric Engineering Company, Limited） 10. 三菱精密株式会社（Mitsubishi Precision Company, Limited） 11. 三菱重工海洋技术株式会社（MHI Oceanincs Co., Ltd.） 12. 三菱重工相模高科技株式会社（MHI Sagami High-tech, Ltd.） 13. 三菱重工物流技术株式会社（MHI Logitec Co., Ltd.） 14. 光和兴业株式会社（KOWA KOGYO, Ltd.） 15. 菱重特殊车辆服务株式会社（MHI Special Vehicles Parts Supply & Technical Service Co., Ltd.） 16. 三菱重工海事技术株式会社（MHI Maritech, Co., Ltd.） 17. KGM株式会社（Kawajyu Gifu Manufacturing Co., Ltd.） 18. 日本飞机株式会社（NIPPI Corporation） 19. 福图尼奥株式会社（Fortunio Co., Ltd.） 20. 青木精密工业株式会社（Aoki Seimitsu Kogyo Co., Ltd.）

《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.

早上起来以为我看错了，Kraken 这么大个所谓的合规 CEX 竟然堂而皇之的上了诈骗项目 @intodotspace ，瞬间对 Kraken 一点好感都没了，只觉得恶心🤮。 这上币组是被屎还是给的一点上币费蒙蔽了眼睛？连最基本的调研都不做的吗？这垃圾玩意儿诈骗了那么多打新的人，到现在一分钱没退一个币没发，怎么通过“合规”的？ 妈的如果给点钱💰就什么狗屎都能上，就别把自己标榜成白莲花好吗？本来大家踩了 Space 这坨狗屎算倒霉了，现在Kraken 还要把狗屎捡起来塞大家嘴里。 大清早的真把我恶心坏了。 强烈建议 Kraken 团队调查一下自己的listing 团队是否拿了脏钱，如果没拿那他们真的可以被 fire 掉了! Woke up this morning thinking I was seeing things — Kraken, this supposedly "compliant" major CEX, actually listed a straight-up scam project @intodotspace. Lost every bit of respect I had for them instantly. Just disgusting 🤮 Did their listing team get paid in shit, or did someone slip them a little listing fee to blind them completely? Can't even do the most basic due diligence? This garbage project scammed so many people in their public sale, hasn't refunded a single cent or delivered a single token — and somehow it passes their "compliance" review? If all it takes is a little money 💰 to get any piece of crap listed, then stop pretending you're some virtuous, white-glove exchange. People already stepped in the Space turd and got burned — now Kraken goes and picks that turd back up and shoves it in everyone's mouth. Ruined my whole morning. Absolutely disgusting.🤢🤢🤢🤢 Strongly urge the @krakenfx team to investigate whether their listing team took dirty money. And if they somehow didn't — they should be fired anyway. This listing is seriously damaging your CEX's reputation and brand, and driving users away.

中国商务部将20家日本实体列入出口管制管控名单，禁止向这20家实体出口两用物项 这20家日本实体为： 1. 防卫研究所（National Institute for Defense Studies） 地址：日本东京都新宿区市谷本村町5番1号 邮编：162-8808 2. 陆上装备研究所（Ground Systems Research Center） 地址：日本神奈川县相模原市中央区渊野边2-9-54 邮编：252-0206 3. 舰艇装备研究所（Naval Systems Research Center） 地址：日本东京都目黑区中目黑2-2-1 邮编：153-0061 4. 航空装备研究所（Air Systems Research Center） 地址：日本东京都立川市荣町1-2-10 邮编：190-8533 5. 日钢特机株式会社（NIKKO TOKKI Co., Ltd.） 地址：日本东京都品川区大崎1-11-1门户城市大崎西塔1005号 邮编：141-0032 6. 日钢YPK商事株式会社（NIKKO-YPK SHOJI Co., Ltd.） 地址：日本东京都品川区大崎一丁目11番1号门户城市大崎西塔10层 邮编：141-0032 7. 三菱电机防卫与空间技术株式会社（Mitsubishi Electric Defense and Space Technologies Corporation） 地址：日本东京都品川区大崎1-15-9 邮编：141-0032 8. 三菱电机软件株式会社（Mitsubishi Electric Software Corporation） 地址：日本东京都港区滨松町二丁目4番1号世界贸易中心大厦南馆29层 邮编：105-5129 9. 三菱电机工程株式会社（Mitsubishi Electric Engineering Company, Limited） 地址：日本东京都港区芝5-34-2三田町露台 邮编：108-0014 10. 三菱精密株式会社（Mitsubishi Precision Company, Limited） 地址：日本东京都港区港南一丁目6番41号芝浦水晶品川8层 邮编：108-0075 11. 三菱重工海洋技术株式会社（MHI Oceanincs Co., Ltd.） 地址：日本长崎县谏早市津久叶町6-53 邮编：854-0065 12. 三菱重工相模高科技株式会社（MHI Sagami High-tech, Ltd.） 地址：日本神奈川县相模原市中央区田名3000番地 邮编：252-5293 13. 三菱重工物流技术株式会社（MHI Logitec Co., Ltd.） 地址：日本爱知县小牧市大字东田中1200番地 邮编：485-0826 14. 光和兴业株式会社（KOWA KOGYO, Ltd.） 地址：日本长崎市出岛町1番14号出岛朝日生命青木大厦8层 邮编：850-0862 15. 菱重特殊车辆服务株式会社（MHI Special Vehicles Parts Supply & Technical Service Co., Ltd.） 地址：日本东京都新宿区片町4番3号（曙桥SHK大厦3层） 邮编：160-0001 16. 三菱重工海事技术株式会社（MHI Maritech, Co., Ltd.） 地址：日本长崎县长崎市饱之浦町1-1 邮编：850-8610 17. KGM株式会社（Kawajyu Gifu Manufacturing Co., Ltd.） 地址：日本岐阜县各务原市川崎町1番地 邮编：504-0971 18. 日本飞机株式会社（NIPPI Corporation） 地址：日本神奈川县横滨市金泽区昭和町3175番地 邮编：236−8540 19. 福图尼奥株式会社（Fortunio Co., Ltd.） 地址：日本东京都目黑区洗足2-16-19 邮编：152-0012 20. 青木精密工业株式会社（Aoki Seimitsu Kogyo Co., Ltd.） 地址：日本埼玉县川口市差间3-38-12 邮编：333-0816

A grandfather cut watermelon for his granddaughter, and every slice triggered a sound effect. Netizens: "Grandpa cuts with even more energy now!" 爷爷给孙女切西瓜吃 每切一下西瓜就会触发音效 网友：爷爷切得都更有劲儿了 #爷爷的爱# #切西瓜音效# #隔代亲# #搞笑日常# #中国#

在巨大的混凝土秩序中，一个人的存在让空间有了尺度，也让空旷有了重量。 Within an immense order of concrete, a solitary human presence gives space its scale and emptiness its weight.