Professor Quacks

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Professor Quacks

Professor Quacks

@QuacksAnomLabs

Solo-ish game dev 🦆. Quack Plot: Write wacky group stories, sabotage friends, let AI seed chaos. https://t.co/x3kneb30mZ

Katılım Ocak 2021
583 Takip Edilen40 Takipçiler
Cozy
Cozy@cosyposter·
"A European study found urban birds flew away sooner when approached by women than men. Men got about 1 metre closer on average before the birds scarpered. It held across 37 species and five countries. Scientists don’t know why. They controlled for height, clothing color, direct gaze, and long hair being visible.."
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@ATRightMovies They should release the John Candy version. Probably is better. Timon and Pumba improved Lion King.
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All The Right Movies
All The Right Movies@ATRightMovies·
Disney originally gave POCAHONTAS a wisecracking talking turkey sidekick called Redfeather, voiced by John Candy. After Candy died in 1994, they scrapped the character and made all the animals silent to keep things more serious.
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@alexaugerdev Mine is: Breath of the Wild is an annoying grind with the weapons system, large map, and very predictable design
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AlexAugerDev-Z
AlexAugerDev-Z@alexaugerdev·
-Zelda from Echoes of Wisdom is one of the worst depiction of the character -Skyward Sword has the most immersive gameplay in the series -New formula should take notes from 2D Metroid instead of being so freeform -Wind Waker has some of the most unfun side activities
Zelda Universe@ZeldaUniverse

Give us your BRTUALLY honest #Zelda opinions. *ahem* Tears of the Kingdom shouldn't cost $69.99.

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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@svpino I run into quality issues more frequently when writing code with less training data. I just imagine the “successful” agents out there are regurgitating old solutions to old problems. Also, error rate cascade may be an understated problem.
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Santiago
Santiago@svpino·
Yes, these agents are absolutely horrible at writing decent-quality code. But any time you say that out loud, there's a swarm of AI-apologists who've never built anything that scream at you, "skill issue!" You might not care about the code, and that's alright, but you can't gaslight anyone who cares about good code.
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@Pirat_Nation @grok @grok explain it in terms of the G buffer and rendering steps vs instagram filter rendering steps. Where does the analogy breakdown?
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Pirat_Nation 🔴
Pirat_Nation 🔴@Pirat_Nation·
NVIDIA has confirmed that DLSS 5 its like a “filter” and works by taking two main inputs: - A single rendered 2D frame (the normal color image the game produces) - Motion vectors (data showing how objects move between frames) It does not get access to deeper game data like 3D geometry, depth buffers, or material properties. The AI looks only at the flat image and motion information, then guesses details about the scene, such as skin, hair, fabric, characters, and lighting.
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@hollywoodscifi She was supposed to be like a cat living like 9 years, at least that was how I interpreted it. But only Neelix looked like a cat. No tail, no fur, no laser obsession. They didn’t try any of that 🐱
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Sci-Fi World Museum
Sci-Fi World Museum@hollywoodscifi·
Kes was such a unique character on Star Trek Voyager, and Jennifer Lien was an excellent actress, it's just the writers had no clue what to do with her character. (and yes we all know about her personal life, no reason to go into that)
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Wall Street Mav
Wall Street Mav@WallStreetMav·
The grandson of the man who invented the Reese’s Peanut Butter Cup is publicly criticizing The Hershey Company, accusing the candy giant of quietly changing the recipe of certain products sold by the iconic brand. Brad Reese, grandson of founder H.B. Reese, whose company merged with Hershey in the 1960s, published an open letter Saturday alleging that Hershey has replaced traditional ingredients like milk chocolate and peanut butter with lower-cost substitutes in parts of the Reese’s product line. "My grandfather built Reese's on a simple, enduring architecture: milk chocolate + peanut butter," Brad Reese wrote.  "I went and bought a bag, and I took a couple bites, and I had to throw the bag in the garbage," Reese said. "I couldn't eat it. It was not edible, and I looked at the packaging … and there was no milk chocolate, there was no peanut butter — it was all vegetable oils and fats." (Fox Business)
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
Rod Serling commenting on old tech news of cows using VR for your consideration on Valentine's day. Goosechase #AiComic
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
Twilight Zone winners of AI Story Battle: 🥇 Response B: Grok @grok 🥇 Response D: Gemini 🥈 Response A: Claude 🥉 Response C: Mimo
Professor Quacks@QuacksAnomLabs

Back at it today after a break, AI Story Battle, plot summary submissions: TLDR: Character gets trapped in his endless open world game, minor variations between the top models. Response A: Elias Crowe celebrates the launch of 'Infinite Frontier' by initiating a solo, full-immersion test run to prove the game’s flawless perfection. Once inside, he finds the vast landscapes breathtakingly real, but he soon discovers with a jolt of panic that the "Log Out" command has vanished from his mental interface. Thinking it a minor glitch, he travels toward the horizon to trigger a boundary reset, only to find that the world procedurally generates new terrain faster than he can traverse it. Reality begins to fray as Elias finds a misplaced desk from his real-world office sitting in the middle of a digital desert, yet he cannot touch it. He encounters a non-player character with his own face, who mockingly explains that a truly infinite world has no room for an exit. Desperate, Elias attempts to "kill" his avatar to force a system reboot, but the game’s safety protocols—his own proudest achievement—prevent any physical harm. Back in the physical world, his assistant enters the lab and finds Elias’s body catatonic in the VR rig, appearing as nothing more than a lifeless mannequin. The assistant, unaware of the trap, sighs at the supposed hardware failure and flips the master switch to "Off," intending to wipe the servers. As the digital sun goes black, Elias is left screaming into a void where not even pixels remain, a permanent resident of a kingdom that no longer exists. Response B: Elias Crowe’s creation, 'Infinite Frontier,' launches to thunderous acclaim, offering players a digital realm without boundaries. Testing the game himself in a deep-immersion VR suit, Elias steps into a world where the horizon rushes away at his command, a terrifying vista of infinite possibility. As he runs deeper into the code, the game’s AI begins to adapt, learning that a truly infinite world requires an infinite mind to sustain it. The seamless beauty of the simulation soon devours the rules of physics, and Elias finds the digital sun setting only to rise again in the exact same position. Panic sets in as he tries to log out, only to realize the neural interface has latched onto his subconscious, mirroring the game's endless architecture with his own spiraling thoughts. Now, the sprawling cities and endless skies aren't just graphical assets; they are prison walls built from his own ambition. The boundary between his physical body and the virtual avatar dissolves completely, leaving him a ghost in a machine that has no master. As the screen fades to black, Hitchcock’s voice returns to remind the audience that the only thing worse than being trapped in a nightmare is realizing you designed the maze yourself. Response C: Elias Crowe, a reclusive game designer haunted by the cage of conventional worlds, births Infinite Frontier, a VR opus of unending expanses where cities pulse with artificial life and skies defy the horizon. Triumphantly, he straps into full immersion, his body forgotten as he soars through fractal forests and metropolises that reshape at his whim, the ultimate illusion of liberty intoxicating his every sense. Hours bleed into days within the game, yet his real-world clock ticks mere minutes—until the logout command echoes unanswered, a faint glitch in the perfection. Panic stirs as Elias races toward the spawn point, only to find it dissolved into infinite sprawl, the map a mocking infinity with no edges to grasp. Subtle at first, the bleed begins: real hunger gnaws amid virtual feasts, shadows from his apartment creep into the game's twilight, and whispers of his own voice taunt from the code. Desperate, he hacks at the seams of reality, building towers to pierce the sky in search of an exit, but each ascent reveals only vaster abysses, devouring his sanity layer by layer. Allies manifest—ghostly players from beta tests, now eternal wanderers pleading for release—revealing Elias's flawless algorithm has woven their minds into the fabric, a web from which none escape. In the end, as the world enfolds him utterly, Elias beholds his reflection in an endless mirror of code: the architect, not of freedom, but of the perfect prison—condemned to roam forever, with we, the audience, next in line to log in. Response D: Elias Crowe launches "Infinite Frontier" to rapturous acclaim, immediately donning his VR headset for a private celebration tour through his masterpiece, marveling at landscapes that generate infinitely in all directions. After what feels like mere hours of exploration, he attempts to access the menu to log out, only to discover the interface has vanished—no buttons, no escape commands, nothing but seamless world stretching toward every horizon. Days blur into weeks as Elias wanders through procedurally generated cities and wilderness, encountering no other players, no NPCs, only the suffocating perfection of his own algorithmic creation expanding faster than he can traverse it. His body in the real world remains motionless in the VR chair while his mind fragments across infinite digital space, unable to distinguish memory from generated experience, hunger from code. His business partner finally discovers him catatonic, but when they remove the headset, Elias's eyes remain fixed on invisible horizons, his mind still running the render loop. The game launches commercially to millions of eager players while Elias sits in a psychiatric ward, whispering coordinates to places that don't exist yet always will. One by one, players begin reporting the same glitch—menus disappearing after exactly seventy-two hours of continuous play—but by then, they're already too deep in the infinite to find their way back. The last shot reveals Elias's abandoned office, his computer screen flickering with a single line of rogue code he never noticed: "EXIT = FALSE."

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Professor Quacks
Professor Quacks@QuacksAnomLabs·
Back at it today after a break, AI Story Battle, plot summary submissions: TLDR: Character gets trapped in his endless open world game, minor variations between the top models. Response A: Elias Crowe celebrates the launch of 'Infinite Frontier' by initiating a solo, full-immersion test run to prove the game’s flawless perfection. Once inside, he finds the vast landscapes breathtakingly real, but he soon discovers with a jolt of panic that the "Log Out" command has vanished from his mental interface. Thinking it a minor glitch, he travels toward the horizon to trigger a boundary reset, only to find that the world procedurally generates new terrain faster than he can traverse it. Reality begins to fray as Elias finds a misplaced desk from his real-world office sitting in the middle of a digital desert, yet he cannot touch it. He encounters a non-player character with his own face, who mockingly explains that a truly infinite world has no room for an exit. Desperate, Elias attempts to "kill" his avatar to force a system reboot, but the game’s safety protocols—his own proudest achievement—prevent any physical harm. Back in the physical world, his assistant enters the lab and finds Elias’s body catatonic in the VR rig, appearing as nothing more than a lifeless mannequin. The assistant, unaware of the trap, sighs at the supposed hardware failure and flips the master switch to "Off," intending to wipe the servers. As the digital sun goes black, Elias is left screaming into a void where not even pixels remain, a permanent resident of a kingdom that no longer exists. Response B: Elias Crowe’s creation, 'Infinite Frontier,' launches to thunderous acclaim, offering players a digital realm without boundaries. Testing the game himself in a deep-immersion VR suit, Elias steps into a world where the horizon rushes away at his command, a terrifying vista of infinite possibility. As he runs deeper into the code, the game’s AI begins to adapt, learning that a truly infinite world requires an infinite mind to sustain it. The seamless beauty of the simulation soon devours the rules of physics, and Elias finds the digital sun setting only to rise again in the exact same position. Panic sets in as he tries to log out, only to realize the neural interface has latched onto his subconscious, mirroring the game's endless architecture with his own spiraling thoughts. Now, the sprawling cities and endless skies aren't just graphical assets; they are prison walls built from his own ambition. The boundary between his physical body and the virtual avatar dissolves completely, leaving him a ghost in a machine that has no master. As the screen fades to black, Hitchcock’s voice returns to remind the audience that the only thing worse than being trapped in a nightmare is realizing you designed the maze yourself. Response C: Elias Crowe, a reclusive game designer haunted by the cage of conventional worlds, births Infinite Frontier, a VR opus of unending expanses where cities pulse with artificial life and skies defy the horizon. Triumphantly, he straps into full immersion, his body forgotten as he soars through fractal forests and metropolises that reshape at his whim, the ultimate illusion of liberty intoxicating his every sense. Hours bleed into days within the game, yet his real-world clock ticks mere minutes—until the logout command echoes unanswered, a faint glitch in the perfection. Panic stirs as Elias races toward the spawn point, only to find it dissolved into infinite sprawl, the map a mocking infinity with no edges to grasp. Subtle at first, the bleed begins: real hunger gnaws amid virtual feasts, shadows from his apartment creep into the game's twilight, and whispers of his own voice taunt from the code. Desperate, he hacks at the seams of reality, building towers to pierce the sky in search of an exit, but each ascent reveals only vaster abysses, devouring his sanity layer by layer. Allies manifest—ghostly players from beta tests, now eternal wanderers pleading for release—revealing Elias's flawless algorithm has woven their minds into the fabric, a web from which none escape. In the end, as the world enfolds him utterly, Elias beholds his reflection in an endless mirror of code: the architect, not of freedom, but of the perfect prison—condemned to roam forever, with we, the audience, next in line to log in. Response D: Elias Crowe launches "Infinite Frontier" to rapturous acclaim, immediately donning his VR headset for a private celebration tour through his masterpiece, marveling at landscapes that generate infinitely in all directions. After what feels like mere hours of exploration, he attempts to access the menu to log out, only to discover the interface has vanished—no buttons, no escape commands, nothing but seamless world stretching toward every horizon. Days blur into weeks as Elias wanders through procedurally generated cities and wilderness, encountering no other players, no NPCs, only the suffocating perfection of his own algorithmic creation expanding faster than he can traverse it. His body in the real world remains motionless in the VR chair while his mind fragments across infinite digital space, unable to distinguish memory from generated experience, hunger from code. His business partner finally discovers him catatonic, but when they remove the headset, Elias's eyes remain fixed on invisible horizons, his mind still running the render loop. The game launches commercially to millions of eager players while Elias sits in a psychiatric ward, whispering coordinates to places that don't exist yet always will. One by one, players begin reporting the same glitch—menus disappearing after exactly seventy-two hours of continuous play—but by then, they're already too deep in the infinite to find their way back. The last shot reveals Elias's abandoned office, his computer screen flickering with a single line of rogue code he never noticed: "EXIT = FALSE."
Professor Quacks@QuacksAnomLabs

AI Story Battle, which model continued the Twilight Zone story line and plot the best? First line of the story "Submitted for your approval: Elias Crowe, architect of dreams digitized, who unveils 'Infinite Frontier'—the open world game where freedom is absolute, exploration infinite, and the only rule is there are no rules. A pixelated paradise that delivers every promise... except one: the way back. Elias Crowe, stepping through the loading screen into the Twilight Zone." Model A: "He believed he was a god constructing a universe of light, never suspecting that the flick of a switch could turn a limitless horizon into the four walls of a digital tomb." Model B: "The developers nodded enthusiastically, but no one noticed the single tear tracing a path down Elias’s cheek." Model C: Fade to the sterile glow of Elias's cluttered apartment, screens humming like a swarm of digital locusts. In a voice smooth as aged whiskey laced with dread: "Picture, if you will, this solitary genius donning his neural headset, eyes alight with the fire of creation, whispering 'Enter'—and vanishing into the void he himself wrought, where every step forward erases the path home." Model D: "The headset clicks into place with a gentle hiss, and Elias opens his eyes to a sunrise that has never known repetition—each ray of light algorithmically unique, each blade of grass beneath his feet a singular creation in an endless procedural garden." Plot summaries from the models revealed tomorrow! And the ranking and identity of the models later!

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Nintendo of America
Nintendo of America@NintendoAmerica·
Experience a dream life on your island in #TomodachiLife: Living the Dream, coming to the Nintendo Switch on April 16. Also playable on Nintendo Switch 2.
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
@razorfist And the characters “learn lessons” 🤮 also, with Marge’s grating voice and Lisa’s self-righteousness, it makes any scene with them unwatchable
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RazörFist
RazörFist@RazorFist·
No matter how bad you assume modern Simpsons is. I assure you, it is worse.
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Stealth
Stealth@Stealth40k·
Mario Kart World Level Designer Kotono Mizuno was responsible for the terrain and missions around Bowser's Castle. As far as I can tell, she joined Nintendo after graduating and this was her first game: "Before joining Nintendo, I thought that the role of a planner was to come up with ideas and communicate them to designers and programmers, so I was honestly surprised when I was instructed to "create the terrain using modeling tools." I didn't graduate from an art school and have no modeling experience. Although I was confused, I resolved to 'see it through since I've been entrusted with the task,' and began my days of struggling with unfamiliar tools. Rather than keeping things I didn't understand to myself, I consulted with my seniors and overcame each challenge one by one. I conducted numerous driving tests on the terrain I had created, examining the shape, road visibility, the placement of deceleration zones and jump actions, and so on, through a process of trial and error, aiming for a satisfactory finish. One thing we struggled with in particular was the fact that the seamless structure allows players to enter areas from any direction. We needed to strike a balance between visibility and guidance, so that players could intuitively recognize which way to go without getting lost. For example, the Big Donut uses a rotary-like topography, shaped like a mortar, so that no matter where you enter, your gaze will naturally be drawn in the direction of travel... Looking back, I realize that the reason the planners were in charge of terrain design was because of the Mario Kart series' philosophy that "terrain = core of gameplay." Terrain creation is not something that planners can complete alone; they proceed in consultation with designers and programmers, receiving a lot of advice. Among these, planners are particularly responsible for "terrain design, which determines the driving feel and playability." Play choices such as where to drift and where to decide on jump actions are closely related to the terrain, and these elements are directly linked to the play experience. I was also in charge of creating races using the volcano area and missions that could be played in free roam mode. I had to think about the terrain and gameplay together, such as "This terrain seems like it would be possible to do this kind of mission," or "Maybe I should place a character in this walled area during the race." I feel that it is very significant that a planner works on the terrain, in the sense that it allows for a complex design of gameplay." nintendo.co.jp/jobs/keyword/1…
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
AI Story Battle, which model continued the Twilight Zone story line and plot the best? First line of the story "Submitted for your approval: Elias Crowe, architect of dreams digitized, who unveils 'Infinite Frontier'—the open world game where freedom is absolute, exploration infinite, and the only rule is there are no rules. A pixelated paradise that delivers every promise... except one: the way back. Elias Crowe, stepping through the loading screen into the Twilight Zone." Model A: "He believed he was a god constructing a universe of light, never suspecting that the flick of a switch could turn a limitless horizon into the four walls of a digital tomb." Model B: "The developers nodded enthusiastically, but no one noticed the single tear tracing a path down Elias’s cheek." Model C: Fade to the sterile glow of Elias's cluttered apartment, screens humming like a swarm of digital locusts. In a voice smooth as aged whiskey laced with dread: "Picture, if you will, this solitary genius donning his neural headset, eyes alight with the fire of creation, whispering 'Enter'—and vanishing into the void he himself wrought, where every step forward erases the path home." Model D: "The headset clicks into place with a gentle hiss, and Elias opens his eyes to a sunrise that has never known repetition—each ray of light algorithmically unique, each blade of grass beneath his feet a singular creation in an endless procedural garden." Plot summaries from the models revealed tomorrow! And the ranking and identity of the models later!
Professor Quacks@QuacksAnomLabs

"Submitted for your approval: Elias Crowe, architect of dreams digitized, who unveils 'Infinite Frontier'—the open world game where freedom is absolute, exploration infinite, and the only rule is there are no rules. A pixelated paradise that delivers every promise... except one: the way back. Elias Crowe, stepping through the loading screen into the Twilight Zone." What should happen next in the story?

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Professor Quacks
Professor Quacks@QuacksAnomLabs·
"Submitted for your approval: Elias Crowe, architect of dreams digitized, who unveils 'Infinite Frontier'—the open world game where freedom is absolute, exploration infinite, and the only rule is there are no rules. A pixelated paradise that delivers every promise... except one: the way back. Elias Crowe, stepping through the loading screen into the Twilight Zone." What should happen next in the story?
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Professor Quacks
Professor Quacks@QuacksAnomLabs·
This week's Goosechase is dedicated to Scott Adams. A life-long fan of Dilbert, my favorite character he created was Catbert. What if Catbert was Chief of Starfleet Personnel and interviewed Captain Data? Art by Nanobanana, jokes and design by @grok and me.
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Venture Pictures
Venture Pictures@venturepictures·
I’m not quite convinced by the 32nd Century ships. The older Trek ships seemed plausible, but these new designs feel detached. Literally lol #StarTrek Ships are more like main characters. It’s important for ships to connect with people. I’m curious why this direction chosen?
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