#Cloud-Integration

[unlikablefemaleprotagonist]

i keep thinking about the possibility that if there's ever a senior year, emily might choose to come back as a different player than fig. i say might because even if she felt like she wanted to play as someone else before junior year, by the time senior year rolls around (if ever) she might change her mind again, or feel that fig's story has taken a unique enough path at the end of junior year that it's compelling to continue playing with it.

and while i would certainly miss fig, and i think the team dynamics would change a lot if a new sixth character was pal-ing around with the bad kids, i hope that if she goes that route, she takes inspo from murph, and the greatest replacement character in d20 history: cody walsh.

because what was great about cody was that finding someone everyone would like as much as kugrash was a very tall order! so instead he veered the other way (on his moped) by creating this perfectly annoying drip of a loser, that everyone else would have strong feelings about, and more importantly, conflict with.

[fennthetalkingdog]

Sometimes I forget I'm a therian. Then I get the urge to bork bork and shake out my fur and lick my muzzle, lol.

[gregdotorg]

Cannot tell if the guy painting over the Core Values word cloud mural at the FBI Academy in Quantico is making a reference to fellow painter George Bush, or if the new FBI Core Values are just WHITE. Either way, an unfortunately strong candidate for painting of the year.

image via nyt/adam goldman posting on the nazi social media platform

[quiltofstars]

"Galaxies in the Mist" // Brian Boyle

Three galaxies are in this image: IC 4633 (upper right), IC 4635 (below left of IC 4633), and ESO 44-10 (below right of center).

[tomnookishot]

does yuuya have any canon interactions with nageki? I cannot remember for the life of me if he can see him. and if he doesn't please drop your arguments as for why and why not yuuya would be able to below 👇

[mirror-to-the-past]

Owari-Hajimari ENG Lyrical Analysis

Heyo, I just finished TWEWY recently and have been pouring over the soundtrack and turning things over in my head. Thought this song particularly was interesting in terms of the game's themes and whatnot- it seems to be from Joshua's perspective, both in the subject matter and the context in where it first played in the game (pretty sure it was the first battle Neku has alongside Joshua when he first forms the pact with him). So, here's me taking a stab at this whole thing, and digging at potential insight in Joshua's character.

("Happy-go-lucky, yo, here I am

I'm not a yuppie or a puppie, yeah, hear me roar

Jinxes mean nothin' to me they're such a joke

Never can stop me 'cause I'm on my way

Minus and plus, got 'em plugged in the wrong way

And now minor keys are easier to hear

Regression and progression, I start to realize something true")

The speaker wants to be seen as a devil-may-care yet powerful individual, not someone who's a shallow, materialistic young person or a naïve person. They don't pay any mind towards the idea of "bad luck" or spirituality, tossing aside several societal ideas of 'fairness/luck' inherently in the universe; they just want to carve out their own path. They're a cynical person, they see more of the tragedy and sadness in the world than the good and positivity that they think most people ought to appreciate. They look at the world around them and see how society constantly oscillates between growing and advancing, then falling back into old behaviors.

("��How many bottles did you throw into the right bin?’

‘Did you wash them nice and clean?’

Geniuses invent machines and wealthy people invest more funds

My momma used to say start with what you can do today, yeah, not tomorrow

So I list it up, and set this up (listen up!)

My secret plan is based on this truth)

With the first two quotes, the song starts its thematic motifs on recycling which equates towards the idea of looping/being locked in a cycle. The quotes also reflect the procedural and orderly nature of what is required to do a thing that's good for the planet and society, in this case recycling. It takes consistent effort and deliberated action to do what is most beneficial for the world around them- a level of effort and precision that can seem tedious to expend. The speaker also illustrates the taxing nature of this “do-gooder” attitude of compliance and diligence with how the dedication of innovation is often reliant upon the wealthy to promote new products- reflecting how the speaker likely thinks that even with individual diligence and determination in as many places of one’s life as possible, we are strung along to the rhythm of the rich in terms of seeing significant results from our practices. The speaker’s mother, implied to be confronted with the speaker’s feelings of impotence in an unbending society, tells them that if they want things to change, they have to focus on the moment and not become overwhelmed with the bigger picture (“tomorrow”). The “list it up/set it up/secret plan based on this truth” is repeated in the song, demonstrating extreme significance for the development of the speaker’s core values- in response to all of these perceived struggles present in the world and the speaker’s society and an interpretation of the advice of their parent, they internalized a mindset/course of action that may be seen as unacceptable to others, hence the “secret” nature of their “plan.” The speaker copes with their struggles in an analytical and strategic way.

(“It's a small world, it's a small universe. Remember? We used to sing along to the song

Listen to what she says, we are the universe, OWARI-WA HAJIMARI, HAJIMARI-WA OWARI”)

The characterization of assumedly the universe’s “song” as feminine reflects a level of reverence, attachment, feelings of fickleness, or reliance, as is often seen in feminine personifications of inanimate concepts. The speaker then says “we are the universe,” which shows that these are also all traits that they may see in humanity itself. ‘Owari-wa hajimari,” and “Hajimari-wa Owari” translates to “The end is the beginning,” and “The beginning is the end,” respectively, echoing the cyclical viewpoint of the speaker when it comes to the idea of the universe’s progression- any movement is movement, for creation or destruction, but stagnation is what is against the will of the universe itself.

(“An original strategy is what I need. Contradicted world? I've had enough indeed.

Whatsoever, what is forever? I hear them say it, again and again

‘Recycle, reuse, and try to reduce.’ But in the first place, I refuse to confuse!

How many companies want to sell us more services and products? Can't we share?”)

The speaker is at odds with the idea of maintaining the status quo and the level of dissonance that comes from the public at large as a result. “I’ve had enough indeed. Whatsoever, what is forever” flowing thought, in that the ideas bleed together [I’ve had enough indeed, whatsoever/Whatsoever, what is forever?], with the “whatsoever” being the emphasized focal point of the two phrases. This “whatsoever,” meaning “at all,” reflecting an entirety or generalized feeling, or meaning “whatever,” expressing apathy in a longstanding, archaic manner, is the key point here, showing both chronic fatigue at the tug-and-pull/paradoxical system the speaker is in, alongside a presented apathy about it. The speaker is tired of what they view as trivialities born from the idea of individual responsibility for one’s own well-being and the well-being of their society [expressed once again through the recycling metaphor], using double wordplay in response to the recycling metaphor: “recycle, reuse, reduce,” responded to with “refuse” = waste. This shows how the speaker wants to exit the system, highlighted by how they put blame on those behind production and consumerism for pushing the narrative of individual responsibility upon the populace, while they remain the ones primarily in control of the thrum of waste vs. reuse. The speaker wants a collective responsibility to be acknowledged, where no single person is an island to each other, and no person ‘higher on the ladder,’ so to speak, gets to decide the rules of how the common person ought to live their life.

(“How about talking about something different, because all I got is fake, play money

Jigsaw puzzle I can't find the last piece, maybe I swallowed it when I was a kid

My daddy used to say, ‘Keep your eyes on reality and kid don't you forget to enjoy it’

So I list it up and I set this up (listen up!)

My secret plan is based on this truth”)

This verse focuses on trivializing consumerism and asking questions about emotional wholeness with motifs of childishness/childhood, respectively. The speaker feels helpless discussing the inner working of society especially on a class-based critique basis, because they feel the concept of economy and materialism is all illusory anyway, feeling more occupied by how they feel a sort of deep-running gap in themselves and their self-concept that is implied to have persisted since childhood. The ‘jigsaw-puzzle’ in this case symbolizes the speaker, the ‘last piece’ symbolizes the dissatisfaction the speaker has towards society and life in general, and they blame something deep within themselves for this feeling of emptiness, hence the loaded responsibility behind the ‘maybe I swallowed it when I was a kid.’ The speaker’s father must have born witness to these feelings and beliefs, seemingly more in favor of materialism and against internal emotional introspection in comparison to his child. ‘Keep your eyes on reality,’ has the father likely telling the speaker that should care more about things like the aforementioned ‘play money,’ and ‘don’t you forget to enjoy it’ has the father telling the speaker to set their feelings of emotional emptiness to the side, and focus more on the pleasures of life to fill that gap. With the final two lines, the speaker shows that they internalized their father’s words in accordance with their aforementioned strategy on how to approach the dissatisfaction of life.

[vitelglobal]

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[pokemonkidsdaily]

day 181

thundurus #642

[artbynestor]

"Still Life (Rooted in Nature)" by Nestor

This captivating ink drawing features a fantasy character standing still, deeply rooted to the earth and seamlessly merged with nature. Surrounded by a complex web of trees and plants, the figure embodies the essence of the natural world. In the background, a mesmerizing sunset casts a warm glow over abstract waves of clouds, creating a harmonious blend of light and shadow. This artwork symbolizes the profound connection between humanity and the environment, inviting viewers to reflect on the beauty of nature.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

#DarkArt, #HandDrawn, #InkDrawing, #FantasyArt, #NatureArt, #HumanAndNature, #NaturalWorld, #SunsetArt, #AbstractArt, #Symbolism, #LightAndShadow, #ArtByNestor, #NatureConnection, #SurrealArt, #WhimsicalArt, #ArtisticExpression

[jcmarchi]

Tencent Hunyuan3D-PolyGen: A model for 'art-grade' 3D assets

New Post has been published on https://thedigitalinsider.com/tencent-hunyuan3d-polygen-a-model-for-art-grade-3d-assets/

Tencent Hunyuan3D-PolyGen: A model for 'art-grade' 3D assets

Tencent has released a model that could be quite literally game-changing for how developers create 3D assets.

The new Hunyuan3D-PolyGen model is Tencent’s first attempt at delivering what they’re calling “art-grade” 3D generation, specifically built for the professionals who craft the digital worlds we play in.

Creating high-quality 3D assets has always been a bottleneck for game developers, with artists spending countless hours perfecting wireframes and wrestling with complex geometry. Tencent reckons they’ve found a way to tackle these headaches head-on, potentially transforming how studios approach asset creation entirely.

Levelling up generating 3D assets

The secret sauce behind Hunyuan3D-PolyGen lies in what Tencent calls BPT technology. In layman’s terms, it means they’ve figured out how to compress massive amounts of 3D data without losing the detail that matters. In practice, that means it’s possible to generate 3D assets with tens of thousands of polygons that actually look professional enough to ship in a commercial game.

🚀Introducing Hunyuan3D-PolyGen, our newly upgraded and industry-first art-grade 3D generative model. It brings effortless intelligent retopology, making AI-generated models ready for professional art pipelines.

✅ Superior Mesh Topology: Our self-developed mesh autoregressive… pic.twitter.com/Lwy0dfGZkx

— Hunyuan (@TencentHunyuan) July 7, 2025

What’s particularly clever is how the system handles both triangular and quadrilateral faces. If you’ve ever tried to move 3D assets between different software packages, you’ll know why this matters. Different engines and tools have their preferences, and compatibility issues have historically been a nightmare for studios trying to streamline their workflows.

According to technical documentation, the system utilises an autoregressive mesh generation framework that performs spatial inference through explicit and discrete vertex and patch modelling. This approach ensures the production of high-quality 3D models that meet stringent artistic specifications demanded by commercial game development.

Hunyuan3D-PolyGen works through what’s essentially a three-step dance. First, it takes existing 3D meshes and converts them into a language the AI can understand.

Using point cloud data as a starting point, the system then generates new mesh instructions using techniques borrowed from natural language processing. It’s like teaching the AI to speak in 3D geometry, predicting what should come next based on what it’s already created.

Finally, the system translates these instructions back into actual 3D meshes, complete with all the vertices and faces that make up the final model. The whole process maintains geometric integrity while producing results that would make any technical artist nod in approval.

Tencent isn’t just talking about theoretical improvements that fall apart when tested in real studios; they’ve put this technology to work in their own game development studios. The results? Artists claim to report efficiency gains of over 70 percent.

The system has been baked into Tencent’s Hunyuan 3D AI creation engine and is already running across multiple game development pipelines. This means it’s being used to create actual 3D game assets that players will eventually interact with.

Teaching AI to think like an artist

One of the most impressive aspects of Hunyuan3D-PolyGen is how Tencent has approached quality control. They’ve developed a reinforcement learning system that essentially teaches the AI to recognise good work from bad work, much like how a mentor might guide a junior artist.

The system learns from feedback, gradually improving its ability to generate 3D assets that meet professional standards. This means fewer duds and more usable results straight out of the box. For studios already stretched thin on resources, this kind of reliability could be transformative.

The gaming industry has been grappling with a fundamental problem for years. While AI has made impressive strides in generating 3D models, most of the output has been, quite frankly, not good enough for commercial use. The gap between “looks impressive in a demo” and “ready for a AAA game” has been enormous.

Tencent’s approach with Hunyuan3D-PolyGen feels different because it’s clearly been designed by people who understand what actual game development looks like. Instead of chasing flashy demonstrations, they’ve focused on solving real workflow problems that have been frustrating developers for decades.

As development costs continue to spiral and timelines get ever more compressed, tools that can accelerate asset creation without compromising quality become incredibly valuable.

The release of Hunyuan3D-PolyGen hints at a future where the relationship between human creativity and AI assistance becomes far more nuanced. Rather than replacing artists, this technology appears designed to handle the grunt work of creating 3D assets, freeing up talented creators to focus on the conceptual and creative challenges that humans excel at.

This represents a mature approach to AI integration in creative industries. Instead of the usual “AI will replace everyone” narrative, we’re seeing tools that augment human capabilities rather than attempt to replicate them entirely. The 70 percent efficiency improvement reported by Tencent’s teams suggests this philosophy is working in practice.

The broader implications are fascinating to consider. As these systems become more sophisticated and reliable, we might see a fundamental shift in how game development studios are structured and how projects are scoped. The technology could democratise high-quality asset creation, potentially allowing smaller studios to compete with larger operations that traditionally had resource advantages.

The success of Hunyuan3D-PolyGen could well encourage other major players to accelerate their own AI-assisted creative tools beyond generating 3D assets, potentially leading to a new wave of productivity improvements across the industry. For game developers who’ve been watching AI developments with a mixture of excitement and scepticism, this might be the moment when the technology finally delivers on its promises.

See also: UK and Singapore form alliance to guide AI in finance

Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.

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[phonesuite]

This blog post will provide an illustrative roadmap for understanding what's necessary for successful digital transformation adoption. Explore the essential components of a digital roadmap, highlighting the importance of aligning technology with business goals to ensure a successful transition. Learn More...

[abathurofficial]

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[onshapebyptc]

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[magtecbusinesssolutions]

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[vitelglobal]

Empowering connections, driving results. We provide professional business communications solutions to help you connect with your audience and collaborate with ease.

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