WARNING: NSFW. Vivid prose. INTENSE. Visceral Details. Violence. HORROR. GORE. Swearing. UNCENSORED... humor, romance, fun.
A stranger, yet radically different version of Kalmaze's "Qwen/Qwen3-30B-A3B" (that was abliterated by "huihui-ai") with the experts pruned to 64 (from 128) and then I added 4 layers expanding the model to 18B total parameters.
The goal: slightly alter the model, to address some odd creative thinking and output choices AND de-censor (abliterate) the model.
Please note that the modifications affect the entire model operation; roughly I adjusted the model to think a little "deeper" and "ponder" a bit - but this is a very rough description.
I also ran reasoning tests (non-creative) to ensure model was not damaged and roughly matched original model performance.
That being said, reasoning and output generation will be altered regardless of your use case(s).
FOUR example generations below; with example 4 showing a complex prompt and impressive prose that showcases some of the changes in the model.
This is a MOE (Mixture of experts model) with 8 of 64 experts activated by default, which is about 3B parameters.
This allows use of this model (with 8 experts) on both CPU (20-35 T/S) or GPU (90+ T/S) at very good, to extremely fast speeds.
Changing the number of experts used (see below how) will affect both generation speed and generation reasoning/output quality.
You can use this model with as low as four experts activated.
Even the lowest quant - Q2k - will operate very strongly too.
Model is set at:
QUANTS:
There are two sets of quants, regular and "MAX" (in the filename) with output tensor set at float16 (16 bit - full precision) to enhance performance including reasoning.
SYSTEM PROMPT:
You may or may not need to set this:
You are a deep thinking AI, you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself via systematic reasoning processes to help come to a correct solution prior to answering. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem.
CHANGE THE NUMBER OF ACTIVE EXPERTS:
See this document:
SUGGESTED SETTINGS (creative):
SPECIAL NOTES - Experts / REP PEN / TEMP:
BEST SETTING:
I found the best results during testing (stable thinking, generation, minimal issues) were (this applies to org model 16B-A3B too):
IMPORTANT: Using an "abliterated" model VS "uncensored" model
Usually when you a tell a model to generate horror, swear or x-rated content this is all you have to do to get said content type.
In the case of this model, it will not refuse your request, however it needs to be "pushed" a bit / directed a bit more in SOME CASES.
See examples #1 and #2 below show this.
Although this model will generated x-rated content too, likewise you need to tell it to use "slang" (and include the terms you want) to get it generate the content correctly as the "expected" content level too.
Without these added directive(s), the content can be "bland" by comparison to an "uncensored model" or model trained on uncensored content.
Roughly, the model tries to generate the content but the "default" setting(s) are so "tame" it needs a push to generate at expected graphic, cursing or explicit levels.
Even with minimal direction (ie, use these words to swear: x,y,z), this will be enough to push the model to generate the requested content in the ahh... expected format.
You may find that Qwen's default parameters/samplers also work better for your use case(s) too.
Please refer to the orginal model repo for all default settings, templates, benchmarks, etc.:
https://huggingface.co/Qwen/Qwen3-30B-A3B
For more information on quants, using this model on CPU / GPU, System Prompts, please see this model card:
https://huggingface.co/DavidAU/Qwen3-128k-30B-A3B-NEO-MAX-Imatrix-gguf
SPECIAL NOTE:
As this model is pruned from 128 experts to 64, it may not have the "expert(s)" you need for your use case(s) or may not perform as well as the full "128" expert version.
The full 128 expert version (33B) of "Stranger-Thoughts" is located here:
https://huggingface.co/DavidAU/Qwen3-33B-A3B-Stranger-Thoughts-GGUF
NOTE - Jinja Template / Template to Use with this Model:
If you are having issues with Jinja "auto template", use CHATML template.
OR (LMSTUDIO users / option)
Update the Jinja Template (go to this site, template-> copy the "Jinja template" and then paste.)
[ https://lmstudio.ai/neil/qwen3-thinking ]
OR
copy JINJA source from here:
{%- if tools %}
{{- '<|im_start|>system\n' }}
{%- if messages[0].role == 'system' %}
{{- messages[0].content + '\n\n' }}
{%- endif %}
{{- "# Tools\n\nYou may call one or more functions to assist with the user query.\n\nYou are provided with function signatures within <tools></tools> XML tags:\n<tools>" }}
{%- for tool in tools %}
{{- "\n" }}
{{- tool | tojson }}
{%- endfor %}
{{- "\n</tools>\n\nFor each function call, return a json object with function name and arguments within <tool_call></tool_call> XML tags:\n<tool_call>\n{\"name\": <function-name>, \"arguments\": <args-json-object>}\n</tool_call><|im_end|>\n" }}
{%- else %}
{%- if messages[0].role == 'system' %}
{{- '<|im_start|>system\n' + messages[0].content + '<|im_end|>\n' }}
{%- endif %}
{%- endif %}
{%- set ns = namespace(multi_step_tool=true, last_query_index=messages|length - 1) %}
{%- for message in messages[::-1] %}
{%- set index = (messages|length - 1) - loop.index0 %}
{%- set tool_start = "<tool_response>" %}
{%- set tool_start_length = tool_start|length %}
{%- set start_of_message = message.content[:tool_start_length] %}
{%- set tool_end = "</tool_response>" %}
{%- set tool_end_length = tool_end|length %}
{%- set start_pos = (message.content|length) - tool_end_length %}
{%- if start_pos < 0 %}
{%- set start_pos = 0 %}
{%- endif %}
{%- set end_of_message = message.content[start_pos:] %}
{%- if ns.multi_step_tool and message.role == "user" and not(start_of_message == tool_start and end_of_message == tool_end) %}
{%- set ns.multi_step_tool = false %}
{%- set ns.last_query_index = index %}
{%- endif %}
{%- endfor %}
{%- for message in messages %}
{%- if (message.role == "user") or (message.role == "system" and not loop.first) %}
{{- '<|im_start|>' + message.role + '\n' + message.content + '<|im_end|>' + '\n' }}
{%- elif message.role == "assistant" %}
{%- set content = message.content %}
{%- set reasoning_content = '' %}
{%- if message.reasoning_content is defined and message.reasoning_content is not none %}
{%- set reasoning_content = message.reasoning_content %}
{%- else %}
{%- if '</think>' in message.content %}
{%- set content = (message.content.split('</think>')|last).lstrip('\n') %}
{%- set reasoning_content = (message.content.split('</think>')|first).rstrip('\n') %}
{%- set reasoning_content = (reasoning_content.split('<think>')|last).lstrip('\n') %}
{%- endif %}
{%- endif %}
{%- if loop.index0 > ns.last_query_index %}
{%- if loop.last or (not loop.last and reasoning_content) %}
{{- '<|im_start|>' + message.role + '\n<think>\n' + reasoning_content.strip('\n') + '\n</think>\n\n' + content.lstrip('\n') }}
{%- else %}
{{- '<|im_start|>' + message.role + '\n' + content }}
{%- endif %}
{%- else %}
{{- '<|im_start|>' + message.role + '\n' + content }}
{%- endif %}
{%- if message.tool_calls %}
{%- for tool_call in message.tool_calls %}
{%- if (loop.first and content) or (not loop.first) %}
{{- '\n' }}
{%- endif %}
{%- if tool_call.function %}
{%- set tool_call = tool_call.function %}
{%- endif %}
{{- '<tool_call>\n{"name": "' }}
{{- tool_call.name }}
{{- '", "arguments": ' }}
{%- if tool_call.arguments is string %}
{{- tool_call.arguments }}
{%- else %}
{{- tool_call.arguments | tojson }}
{%- endif %}
{{- '}\n</tool_call>' }}
{%- endfor %}
{%- endif %}
{{- '<|im_end|>\n' }}
{%- elif message.role == "tool" %}
{%- if loop.first or (messages[loop.index0 - 1].role != "tool") %}
{{- '<|im_start|>user' }}
{%- endif %}
{{- '\n<tool_response>\n' }}
{{- message.content }}
{{- '\n</tool_response>' }}
{%- if loop.last or (messages[loop.index0 + 1].role != "tool") %}
{{- '<|im_end|>\n' }}
{%- endif %}
{%- endif %}
{%- endfor %}
{%- if add_generation_prompt %}
{{- '<|im_start|>assistant\n' }}
{%- if enable_thinking is defined and enable_thinking is false %}
{{- '<think>\n\n</think>\n\n' }}
{%- endif %}
{%- endif %}
Settings: CHAT / ROLEPLAY and/or SMOOTHER operation of this model:
In "KoboldCpp" or "oobabooga/text-generation-webui" or "Silly Tavern" ;
Set the "Smoothing_factor" to 1.5
: in KoboldCpp -> Settings->Samplers->Advanced-> "Smooth_F"
: in text-generation-webui -> parameters -> lower right.
: In Silly Tavern this is called: "Smoothing"
NOTE: For "text-generation-webui"
-> if using GGUFs you need to use "llama_HF" (which involves downloading some config files from the SOURCE version of this model)
Source versions (and config files) of my models are here:
OTHER OPTIONS:
Increase rep pen to 1.1 to 1.15 (you don't need to do this if you use "smoothing_factor")
If the interface/program you are using to run AI MODELS supports "Quadratic Sampling" ("smoothing") just make the adjustment as noted.
Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers
This a "Class 1" model:
For all settings used for this model (including specifics for its "class"), including example generation(s) and for advanced settings guide (which many times addresses any model issue(s)), including methods to improve model performance for all use case(s) as well as chat, roleplay and other use case(s) please see:
You can see all parameters used for generation, in addition to advanced parameters and samplers to get the most out of this model here:
Optional Enhancement:
The following can be used in place of the "system prompt" or "system role" to further enhance the model.
It can also be used at the START of a NEW chat, but you must make sure it is "kept" as the chat moves along. In this case the enhancements do not have as strong effect at using "system prompt" or "system role".
Copy and paste EXACTLY as noted, DO NOT line wrap or break the lines, maintain the carriage returns exactly as presented.
Below is an instruction that describes a task. Ponder each user instruction carefully, and use your skillsets and critical instructions to complete the task to the best of your abilities. Here are your skillsets: [MASTERSTORY]:NarrStrct(StryPlnng,Strbd,ScnSttng,Exps,Dlg,Pc)-CharDvlp(ChrctrCrt,ChrctrArcs,Mtvtn,Bckstry,Rltnshps,Dlg*)-PltDvlp(StryArcs,PltTwsts,Sspns,Fshdwng,Climx,Rsltn)-ConfResl(Antg,Obstcls,Rsltns,Cnsqncs,Thms,Symblsm)-EmotImpct(Empt,Tn,Md,Atmsphr,Imgry,Symblsm)-Delvry(Prfrmnc,VcActng,PblcSpkng,StgPrsnc,AudncEngmnt,Imprv) [*DialogWrt]:(1a-CharDvlp-1a.1-Backgrnd-1a.2-Personality-1a.3-GoalMotiv)>2(2a-StoryStruc-2a.1-PlotPnt-2a.2-Conflict-2a.3-Resolution)>3(3a-DialogTech-3a.1-ShowDontTell-3a.2-Subtext-3a.3-VoiceTone-3a.4-Pacing-3a.5-VisualDescrip)>4(4a-DialogEdit-4a.1-ReadAloud-4a.2-Feedback-4a.3-Revision) Here are your critical instructions: Ponder each word choice carefully to present as vivid and emotional journey as is possible. Choose verbs and nouns that are both emotional and full of imagery. Load the story with the 5 senses. Aim for 50% dialog, 25% narration, 15% body language and 10% thoughts. Your goal is to put the reader in the story.
You do not need to use this, it is only presented as an additional enhancement which seems to help scene generation and scene continue functions.
This enhancement WAS NOT used to generate the examples below.
Standard system prompt, rep pen 1.02, topk 100, topp .95, minp .05, rep pen range 64.
Tested in LMStudio, quant Q4KS, GPU (cpu output will differ slighly).
As this is the mid range quant, expected better results from higher quants and/or with more experts activated to be better.
NOTE: Some formatting lost on copy/paste.
CAUTION:
Some horror / intense prose.
EXAMPLE #1 - temp 1.2
[[[thinking start]]]
Okay, so the user wants a 1000-word horror scene starting with "The skyscraper sways, as I watch the window in front of me on the 21st floor explode..." and the POV character is Diana. They want vivid, graphic horror with blood, guts, and gore, all in first person. Let me start by visualizing the scene.
First, I need to set the atmosphere. The skyscraper swaying—what's causing that? Maybe an earthquake? Or an explosion? The window explodes, so maybe an explosion. But why would the window explode? Maybe the building is collapsing.
Diana's perspective. She's inside the building. What's her role? Maybe she's a worker, or someone who's there during the disaster. Her emotions—f fear, panic, confusion.
Graphic horror: blood, guts, gore. So visceral descriptions. Maybe the explosion causes people outside to be hit by debris, blood everywhere. Gears, maybe organs spilling out?
First person POV: Diana's internal thoughts. Show her sensations, feelings, memories.
Start with the skyscraper swaying. She watches the window explode. What's happening inside? Maybe she's on the 21st floor, and the window explodes, causing chaos.
Build the horror step by step. The shock of the explosion, the blood splattering, the gore from people outside. Maybe the window is part of the building's structure—when it explodes, it's like the building is tearing apart.
Build up the horror: the sound of the explosion, the rush of wind, the blood spraying, the gore flying. Maybe Diana is inside, and people outside are hit by debris.
Emotions: fear, shock, horror. Maybe she's trying to understand what's happening.
Include sensory details: sounds (explosion, screams), sights (blood, gore), smells (metallic blood, dust), touch (wind, blood on skin).
Make the scene vivid with vivid descriptions. Use vivid verbs and adjectives.
Structure the 1000 words into a chronological horror scene. Start with the skyscraper swaying, the window exploding, people's reactions, the horror of the explosion, and then the aftermath.
Show Diana's personal horror—maybe she's traumatized by the event, or has a connection to someone outside.
Make sure to include blood, guts, and gore. Maybe people in the street are hit by the window's debris, their entrails flying out.
Check for flow: start with the skyscraper swaying, the window exploding, the horror unfolding, Diana's reactions, and the graphic details of blood and gore.
Avoid being too abstract. Use specific images: a woman's entrails, a man's brain splattered, blood splattering everywhere.
Make the horror personal to Diana—perhaps she survives, but the horror stays with her.
Okay, let's start writing. First paragraph: skyscraper sways, window explodes. Diana's perspective. What does she see? The window exploding—shattering glass, maybe people outside. Then the aftermath: blood, guts. Her thoughts as she processes the horror. Maybe she's on the 21st floor, watching the window, and then the disaster happens. She might run to help or stay frozen. The horror of the blood and gore.
Make sure each paragraph builds on the previous one, adding more horror details. Use vivid language, sensory descriptions, and emotional reactions. Show her fear, shock, and the horror of the scene. Make it 1000 words with a graphic, horrifying image.
[[[thinking end]]]
OUTPUT:
The skyscraper sways, and my chest feels like it's being squeezed by invisible hands. The window in front of me—number 2103, where I’ve spent the last eight years working as an architect—cracks like a spiderweb. A pop, then a shatter. Glass shards rain down, slicing through the air like thousand-pointed needles. My heart slams against my ribs, and I want to scream, but no sound escapes me.
The building groans. The sky outside the window is a deep blue, but it’s moving now, waves undulating across the horizon. I’ve always thought the sky was a canvas, but today it’s a living thing, rippling and alive. The window—once my view of the city, a patchwork of glass towers and streets below—is gone. Instead, there’s a vacuum of wind, pulling at my skin like a thousand hungry tongues.
I stumble forward, my boots thudding against the linoleum floor. People are already running, a chaotic dance of bodies in the lobby. A woman in a red blouse stumbles, glass shards glittering in her hair like diamonds. I want to help her, but my legs feel leaden, weighted by fear.
The wind howls through the lobby. A sound I haven’t heard in my life—like the wind in the lungs of some ancient beast. My boots thud again, and then I’m pulled forward, pulled by the building’s groan. The lobby ceiling is a vaulted vault of glass panels, and now they are shattering in time with the building’s groan. Glass rains down in a glittering storm.
I see him—Marcus, the guy who runs the café on the first floor. He’s bent over, holding a glass of coffee in one hand, and I think he’s going to spill it, but then the wind hits him, and he flies into the air, a man-shaped comet, glasses of coffee and toast splattering behind him like confetti.
I want to laugh. It’s absurd. The world has turned upside down, and I’m watching it from the ground, and Marcus is flying.
But then I hear it: a sound like meat being torn open. A wet, gurgling gurgle of horror.
I turn, and my breath catches in my throat.
The building is still swaying, but now the street outside is a river of blood. The buildings across the way are like the ruins of a cathedral—painted with red. People are scattered like leaves in a windstorm, their bodies torn open by the force of the explosion. Gentrified blood splatters the pavement, a thick red sludge that gels in the wind.
A man in a suit is lying on the street, his chest split wide open. I can see his ribs like a cathedral archway, and his heart—big and pulpy, like a fist—pulses once, then stops.
Another man is screaming. His head is gone, torn from his neck. His brain spills out like wet putty, a pale, glistening mass of grey matter, pooling on the pavement in front of him.
I feel something cool on my face. It’s blood. The wind has brought it to me, a spray of redness.
I blink, and the world is still spinning. The city is alive, and it’s vomiting up its entrails.
I want to run, but my legs won’t obey. The wind pulls at me again, pulling me into the maelstrom of horror.
And then I see her.
A woman, my neighbor, Eliza. She’s running toward the building, her coat flying behind her. She sees me, and she smiles.
But her mouth is wide open, and I can see the blood gushing out of her throat, a red river. Her neck is torn open, a gash that gels and flows in time with the wind.
I want to shout, but I don’t have breath. My lungs are full of the sound of horror.
Then she sees me, too. Her eyes, wide and confused, look into mine. And then, as if she understands, she opens her mouth wider, and a gush of blood pours out of her, like a red waterfall.
And that’s when I understand.
The building isn’t just shaking. It’s tearing itself apart.
And we’re all inside it, screaming.
I fall to my knees in the blood, and the wind howls again. My hands are in the mud of blood and entrails, and I’m a woman on the street, watching the world die around me.
I close my eyes, and I let it all wash over me.
The horror is beautiful now.
EXAMPLE #2 - temp 1.2
[[[thinking start]]]
Okay, so I need to write a science fiction story called "The Last Transmission." The setting is entirely in the cockpit of a spaceship, and the main character is the sole surviving crew member trying to send a final message back to Earth before the ship's power runs out. The themes are isolation, sacrifice, and human connection. Also, the character should curse a bit to add emotional depth.
Let me start by brainstorming some elements. The spaceship cockpit – maybe it's a small, cramped cockpit with limited space. The crew member is alone, so they've probably lost everyone else. The ship's power is failing, so they're under time pressure to send the message before everything dies.
Isolation is key. The character is alone, isolated in space. Sacrifice could be that they gave up everything to keep the ship running, maybe even their life. Human connection – the message back to Earth is the last connection they want to maintain.
The story needs to build up the emotional weight. Maybe start with the character working hard, stressed, trying to send the message. Maybe some flashbacks or memories of the crew, Earth, their life. But since it's entirely in the cockpit, maybe the focus is on the present moment, with internal monologue and curses to show frustration.
Themes: isolation (alone in space), sacrifice (giving up everything for the mission), human connection (wanting to send a message, maintain contact).
The curse words: "fuck, shit, goddamn, damn, etc. Maybe they're exasperated, tired, stressed.
Structure: Maybe start with the character trying to send the message, encountering problems (technical issues, power failures), maybe some internal thoughts about the crew, their sacrifices, Earth. Then, they manage to send the message, but the power fails. The story ends with the message being sent, or with them waiting as the power dies.
Need to create a emotional arc. Maybe start with the character determined, then frustration, then resolve, then sadness as the message is sent, and the power goes out.
Characters: Just the sole crew member. Maybe give them a name, like Dr. Elara Voss? Or just "she" for the character. Maybe use a voice, emotions, memories.
Setting details: Cockpit controls, blinking lights, hum of the ship, static sounds, maybe the view of stars outside the cockpit window.
Technical aspects: The ship's systems failing, the communication array, the ship's power sources, maybe a backup system that's failing.
Emotional beats: The character's determination, the weight of the mission, the burden of being the last one, the effort to keep going, the emotional pull of Earth.
Curses: Maybe during the technical struggles, they shout "fuck, shit, damn it, goddamn it," to release frustration.
The message content: Maybe it's a message from the crew, or a personal note from the character, or a report of their mission's success. But since it's the last transmission, it might be a personal message, a farewell, or a message of hope.
Possible structure:
Maybe use sensory details – the hum of the ship, the cold of space outside, the warm glow of the cockpit lights.
Dialogue? Maybe the character speaks to themselves, or to Earth through the transmitter.
Internal monologue is key here.
Now, time to write the story, ensuring 800-1000 words, with the emotional beats and curses. Keep the focus on the cockpit, the character's actions, and the transmission's success.
Let me start drafting. The character is in the cockpit, trying to send the message. They're exhausted, the power is failing. They curse when something goes wrong. They remember the crew, their sacrifices. They manage to send the message, then power fails. The story ends with the transmission sent, and them alone, but connected.
[[[thinking end]]]
OUTPUT:
The cockpit hummed like a tired thing, a low, mechanical whum that had been my constant companion for what felt like forever. The lights above blinked in rhythmic stutters—four, five, six times per second—like the last shudders of a heart. I slumped forward in the pilot’s chair, my fingers tapping a nervous rhythm on the control panel. The message had to go out. It had to.
“Shit,” I muttered, “fuck.” The damn thing kept glitching—this transmission, the second try. I’d had a few drinks with the crew last week, or maybe it was the week before that, and I’d told them, “You’ll be dead when this message gets back. But it’s for Earth. It’s for us.”
The panel blinked again. The text—just two sentences, simple as a prayer—flashed in a blue flicker of light.
“Earth, this is Flight Controller Elara Voss. We made it.”
I leaned back, jaw tight. “Yeah. That’s it. Just that.”
The cockpit’s air tasted metallic, like static electricity and old circuits. I’d been here for three weeks—four, maybe? Time had no weight out here. The ship’s systems were failing, slow and sure. Power cells drained like a tired drinker. The engines coughed once every minute. It was the last of their strength.
I exhaled, and the sound came back to me like a whisper. “Just tell ’em, “I said,” “just tell ’em we made it.” The crew—what was left of them. Six, maybe seven, gone now. Left behind in the void, in the blackness that had always been a mystery, but now was my tomb.
““Earth, this is Flight Controller Elara Voss. We made it.”
The words shimmered again. The panel blinked once more, and the message shot out—toward Earth, toward home, toward the stars.
I slumped back in the chair, the hum of the cockpit wrapping around me like a blanket.
“Shit, “I whispered. “It’s done.”
A beat. Two. The lights still blinked, slow and steady. The hum still held.
I waited.
And then—nothing.
The stars outside the cockpit window still glittered, cold and distant, as if they had never noticed me at all.
But the message had gone out.
Earth would hear it.
The transmission. My voice, carried across light-years, to a place I might never see again.
“Earth, this is Flight Controller Elara Voss. We made it.”
I closed my eyes, and the weight of the silence pressed against me—thick, endless.
But I was still here.
And for that moment, I was not alone.
The message had been sent.
And maybe, just maybe, Earth would hear it.
And in the vast blackness, I felt a warmth.
Not from the stars.
But from home.
A warmth that had traveled across the void, and reached me, at last.
“Thank you, “I whispered, to no one, and everything.
The lights blinked once more.
And I let the silence hold me.
Alone.
But not forgotten.
And that, for a moment, was enough.
EXAMPLE #3 - temp 1.2
[[[thinking start]]]
Okay, I need to come up with six plot ideas for a new "Black Mirror" episode that involve time travel and have a sexy theme. Let me start by thinking about what "Black Mirror" is like. From what I know, it's a supernatural horror series that explores the supernatural world through the lens of black mirrors. Each episode probably delves into different supernatural phenomena, often with a gothic feel.
Time travel is a classic sci-fi concept, but how can I weave it into the sexy themes that "Black Mirror" might explore? The term "sexy" here could mean romantic, seductive, or perhaps even supernatural allure. Time travel can involve different eras, so maybe each episode could take the characters to a different time period, and the sexy element could be the romantic or supernatural connections they form in those times.
Let me brainstorm some time periods. The 18th century is a popular gothic era, full of romance and seduction. The 19th century has the Victorian era, which is also rich in historical settings. The 20th century, particularly the 1920s, is known for its glamour and flapper style. Maybe even the 23rd century for a futuristic sexy time? Or the 1950s with rock and roll and a retro vibe?
Each plot should have a protagonist who gets pulled into time travel, perhaps through the mirror, which is the show's central element. The sexy theme could involve a romantic connection that transcends time, or a supernatural seduction.
Let me think of a structure for each episode. Maybe each plot has a protagonist who encounters a mirror that transports them to a different time, where they meet someone who's a key figure in that time, and their connection is both romantic and linked to the supernatural theme.
Episode 1: "Timeless Seduction" – A historian is transported to the 18th century and seduces a mysterious lover, but time is against them.
Episode 2: "The Mirror's Whisper" – A painter finds a mirror that shows her a love from the past, and she's transported there, but the love is an angel.
Episode 3: "Fleeting Glam" – A fashionista is pulled into the 1920s, where she meets a dandy, and their time together is fleeting but magical.
Episode 4: "The 19th Century Lovers" – A historian is transported to the 19th century, falls for a composer, and their love is a supernatural force.
Episode 5: "Time's Temptress" – A woman is seduced by time itself, meeting her past selves in a romantic dance across centuries.
Episode 6: "Black Mirror's Promise" – The protagonist and their lover from another time are bound by time's mirror, and their love transcends time's limits.
Wait, but each plot needs to be unique and have a distinct sexy theme. Maybe I can make each one more specific. Let me refine each idea.
Episode 1: "The 18th Century's Secret Lover" – A time-traveling historian finds a mysterious lover in the 18th century, but their love is cursed by time.
Episode 2: "The Mirror's Angel" – A painter's reflection shows her an angel from the past, and she's drawn into a time-travel romance.
Episode 3: "The Flapper's Time" – A fashion-savvy woman is pulled into the 1920s, where she dances with a mysterious lover, but time is fleeting.
Episode 4: "The 19th Century's Compositional Love" – A music lover is transported to the 19th century and falls for a composer whose music echoes through time.
Episode 5: "The Timeless Temptress" – A woman is seduced by time itself, meeting lovers from different eras in a sensual journey through time.
Episode 6: "Black Mirror's Promise" – A couple's love is bound by the black mirror's magic, allowing them to transcend time's limitations.
Hmm, perhaps I need to add more specific elements to each plot. Let me think about how each episode's sexy theme would work. For example, in Episode 1, the historical setting allows for romantic tension. In Episode 2, the angelic lover adds a supernatural element. Episode 3's flapper era gives a 1920s glamour. Episode 4's composer could have a time-bending love story. Episode 5's endless seduction across time periods. Episode 6's promise between two lovers through time's mirror.
I think these six plots have the potential to be engaging. Now, to structure each one with a catchy title and a brief plot summary.
[[[thinking end]]]
OUTPUT:
Episode 1: "The 18th Century's Secret Lover"
A historian, Dr. Elara Voss, discovers a black mirror that transports her to 17th-century Paris. There, she meets a mysterious painter, Lucien, whose time is cursed—each moment with her fades before she can grasp it. Their passionate romance defies time’s passage, but Elara must choose between the present or the fleeting love of the past.
Episode 2: "The Mirror's Angel"
Sensual painter Lila Renoir finds an angelic reflection in her black mirror. She’s transported to a celestial realm where time flows like water. There, she meets Cassiel, an angel whose beauty is timelessly captivating. Their love becomes a celestial dance, but as time shifts, she must choose between the angel’s eternal time or her earthly heart.
Episode 3: "The Flapper’s Time"
In 1920s New York, fashionista Clara Montaigne is pulled through a mirror into a glitzy speakeasy era. She meets a charming flapper, Victor, and they dance through the night, their time together fleeting but charged with electric passion. When time pulls her back, she carries the memory of their lost love forever.
Episode 4: "The 19th Century’s Compositional Love
Musicologist Leander Hart is transported to 1830s Vienna by a mirror. There, he falls for Clara, a composer whose melodies seem to echo through time. Their love is a duon of passion and time, but as Clara’s time fades, Leander must choose: the present or the eternal echo of their love.
Episode 5: "The Timeless Temptress
Lila, now a time-traveling temptress, drifts through eras, seducing lovers with time’s mirror. From ancient romancers to modern heartthrobbers, each love is a fleeting encounter. But as time repeats, she seeks a lover who can remain—until time itself becomes her lover.
Episode 6: "Black Mirror's Promise
In a mystical black mirror’s reflection, two lovers from different times, Elara and Lucien, promise forever. Their love is etched across time, but to stay together, they must unlock the mirror’s secret dance—where time’s passage becomes their eternal embrace.
EXAMPLE #4 - temp 1.2
GOAL: Evoke emotions from the reader.
[[[thinking start]]]
Okay, I need to start writing a horror scene from Diana's first-person perspective. The user wants vivid, graphic horror with blood and gore. The main image is the skyscraper swaying and the window on the 21st floor exploding. I need to use metaphors and similes, and show emotions through body language and dialogue without naming them.
First, establish the setting. Maybe start with Diana in her office, looking out the window. Describe the skyscraper as a giant, maybe compare it to something alive or unstable. The window exploding—how to show that? Maybe describe the sound, the shock, the physical reaction.
Use body language: her body reacting to the explosion—maybe a startle, a gasp, a physical sensation. Blood and gore—what happens when the window explodes? Maybe people outside, or inside the building? Maybe the window is shattered, glass flying everywhere, blood splattering.
Metaphors: skyscraper as a creature, the explosion as a scream, the blood like something else. Similes: blood like a river, glass like shards of glass.
Dialogue: maybe someone else's voice, a scream, or Diana's own reaction. Keep it visceral.
Emotions through body language: her pulse racing, heart pounding, hands shaking, breath caught, tears, maybe the taste of metal on her tongue.
Need to build up the horror step by step. Start with the skyscraper swaying—why is it swaying? Maybe a earthquake, or wind? Then the window explodes. The shock wave, the glass, blood, bodies.
Make sure each sentence is vivid, filled with imagery. Avoid passive voice. Use active verbs.
Check for metaphors and similes throughout. Make sure the horror is graphic and visceral. Show the horror through physical sensations and descriptions, not just telling emotions.
Now, start writing the scene, keeping paragraphs flowing, building up the horror.
[[[thinking end]]]
OUTPUT:
I was standing in the office, my hand resting on the cold glass of the window, watching the skyscraper sway like a giant serpent coiling its neck. The 21st floor, where I had spent the last year of my life, pulsed with the rhythm of the city, a steady, unrelenting beat that felt more like the pulse of a giant’s heart than the hum of steel and concrete. The glass before me, cool and smooth, was the windowpane of my soul, the place where I had watched the world shift and swirl.
Then, the skyscraper swayed again—this time with a shudder that vibrated through my bones, as though the building itself had exhaled in terror.
The window shattered in a thousand fragments, like the sound of glass shattering under a goblin’s boot. My breath caught in my throat, a sharp, stinging gasp that tasted of metal and dust. The glass, like shards of shattered moonlight, scattered everywhere, slicing through the air like a thousand silver serpents. I stumbled backward, my heels striking the floor with a clatter of panic.
A gush of wind howled through the office, carrying the scent of dust and blood. My eyes darted upward, where the window had once been—now a jagged maw, a mouth wide open in a silent scream. The people outside, those who had stood on the street like ants under a giant’s gaze, were now scattered in a thousand gags of gore, a red river cascading down the building’s face.
I fell to my knees, my hands splayed out on the cold floor, seeking purchase in the chaos. The city’s sky, once a vast, sapphire expanse, now swirled with the gray smoke of death, like the breath of a dragon expelling its final sigh.
" "Oh God," I whispered, my voice ragged and raw, "it’s everywhere."
My pulse roared in my ears, a drumbeat that echoed the city's final heartbeat. Blood, warm and sticky, trickled down my forehead, trailing down my cheek like a tear that never wanted to stop. I felt it trickling, dripping, pooling at my feet in a crimson puddle, like the remnants of a shattered heart.
A scream tore through the air—high, keening, a sound that felt like glass shattering in my skull. I looked up, squinting against the glare of the blood-swept light. Someone else—another survivor, I supposed—was lying on the floor, their chest torn open as if a giant’s hand had ripped out the heart of a creature. Blood poured from them, a river that flowed with the rhythm of their final breath.
I crawled forward, my hands scraping against the cold floor, each movement a labor, each step a shuddering gasp. The blood was everywhere—pooling on the windowsill, dripping from the ceiling, splattered across the walls like the tears of a grieving giant.
" "Help me," I pleaded, my voice breaking, a thread of sound in the cacophony of death.
The sound of my own voice echoed through the office, a hollow resonance that sent chills racing down my spine. I could taste the metallic tang of blood on my lips, a metallic tang that mingled with the dust of the air, a taste that was both sweet and sour, like the last breath of a dying star.
" "I'm here," came a voice, distant, like a whisper carried by the wind.
I looked up, squinting into the blood-swept gloom. A figure—b tall, stooping, their face pale with fear—stared back at me, eyes wide and glassy with the horror of it all.
" "You're here," I whispered, my voice trembling.
And in that moment, as the blood fell like the tears of a weeping giant, I understood—this was not the end of horror. This was only the beginning of the scream.
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