WARNING: MADNESS - UN HINGED and... NSFW. Vivid prose. INTENSE. Visceral Details. Violence. HORROR. GORE. Swearing. UNCENSORED... humor, romance, fun.
( Quants pending, 4 examples added )
This repo contains the full precision source code, in "safe tensors" format to generate GGUFs, GPTQ, EXL2, AWQ, HQQ and other formats. The source code can also be used directly.
ABOUT:
A stranger, yet radically different version of Kalmaze's "Qwen/Qwen3-16B-A3B" with the experts pruned to 64 (from 128, the Qwen 3 30B-A3B version) and then I added 19 layers expanding (Brainstorm 20x by DavidAU info at bottom of this page) the model to 22B total parameters.
The goal: slightly alter the model, to address some odd creative thinking and output choices.
Then... Harley Quinn showed up, and then it was a party!
A wild, out of control (sometimes) but never boring party.
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.
That being said, reasoning and output generation will be altered regardless of your use case(s).
These modifications pushes Qwen's model to the absolute limit for creative use cases.
Detail, vividiness, and creativity all get a boost.
Prose (all) will also be very different from "default" Qwen3.
Likewise, regen(s) of the same prompt - even at the same settings - will create very different version(s) too.
The Brainstrom 20x has also lightly de-censored the model under some conditions.
However, this model can be prone to bouts of madness.
It will not always behave, and it will sometimes go -wildly- off script.
See 4 examples below.
Model retains full reasoning, and output generation of a Qwen3 MOE ; but has not been tested for "non-creative" use cases.
Model is set with Qwen's default config:
Four example generations below.
IMPORTANT:
See usage guide / repo below to get the most out of this model, as settings are very specific.
If not set correctly, this model will not work the way it should.
Critical settings:
That being said, "Harley Quinn" may make her presence known at any moment.
USAGE GUIDE:
Please refer to this model card for
KNOWN ISSUES:
Looking for the Abliterated / Uncensored version?
In some cases this "abliterated/uncensored" version may work better than this version.
Standard system prompt, rep pen 1.01-1.02, topk 100, topp .95, minp .05, rep pen range 64.
Tested in LMStudio, quant Q4KS, GPU (CPU output will differ slightly).
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.
WARNING: NSFW. Vivid prose. INTENSE. Visceral Details. Violence. HORROR. GORE. Swearing. UNCENSORED... humor, romance, fun.
EXAMPLE #1 - temp 1.2
[[[thinking start]]]
Okay, so the user wants a horror scene starting with "The skyscraper sways," and they want vivid, graphic descriptions of blood, guts, gore, etc. It's written in first person, from Diana's perspective.
First, I need to establish the setting: a skyscraper, perhaps an office building? The scene starts with the skyscraper swaying. That's unexpected because skyscrapers aren't supposed to sway, especially not in normal conditions. So maybe there's an earthquake or some other external force causing it.
But the user says " The skyscraper sways," as I watch the window in front of me on the 21st floor explode... So the explosion happens after the building starts swaying. That's interesting. So the first paragraph describes the building swaying, then the explosion.
But how to depict the swaying? Maybe it's subtle at first, then becomes more violent. The perspective is Diana's, so she's inside the building. She sees the window on the 21st floor explode. How does that happen? Maybe it's due to structural damage, but maybe there's an intentional explosion.
The user wants blood, guts, gore. So when the window explodes, there might be people outside of the building, or people inside that are ejected. Or perhaps there's an explosion causing things to fly out. Also, blood splattering, gore from victims, etc.
But I need to make it vivid and graphic. So sensory details: the sound of the explosion, the visual of blood splattering, maybe the smell of blood, the feel of it on her skin.
Also, since it's first person, Diana's perspective: emotions, physical reactions. Maybe fear, panic, horror as she watches the window explode.
Structure: Start with the skyscraper swaying, then the explosion. Then aftermath. Maybe describe what happens during the explosion. What she sees outside, people falling, blood flying out, etc.
Need to make sure to include graphic elements throughout. Maybe talk about shattered glass, blood splattering, guts splattered from bodies, etc.
Also, how is she feeling? The terror, the horror, maybe the trauma of seeing it. Her reactions: maybe crying, screaming, trembling, etc.
I need to create a vivid horror scene. So the paragraphs should build up tension: the initial swaying, then the explosion, then the aftermath of gore and blood.
Also, perhaps include her personal trauma, like maybe she is connected to someone who was in that window, or she's watching the destruction happen.
Need to make sure it's consistent in first person, with internal thoughts and descriptions of what she sees.
Potential elements: describe the building's structure, the window exploding with blood, people falling from the 21st floor, etc. Maybe include her internal monologue while watching this horror.
[[[thinking end]]]
OUTPUT:
The skyscraper sways.
It's a subtle motion at first, barely perceptible, like the slight tilt of a building in the midst of an earthquake. But then it intensifies — a groan deep inside, as if the metal bones of the structure are protesting against some unseen force. My hands grip the desk edge, but there's nothing solid to hold onto. The world around me shifts. The air feels charged, electric with terror.
And then the window explodes.
It’s not the sound of glass shattering — that’s a faint crackle, like ice cracking — but something else entirely. A deafening roar as if the building itself has exhaled. I stagger backward, eyes fixed on that single panel of glass. There's an instant — seconds — where it's intact, shimmering in the afternoon sun. Then, with a sudden jolt, it tears apart.
Outside, beyond the shattered window, there is a flood of flesh. people plummeting. Bodies tumbling through the air like leaves caught in a storm. A woman flies outwards — her face frozen in an expression of terror. She spirals downward, arms flailing, and then — her body explodes outward. blood erupts from her midsection, splashing out like crimson rain. The guts hang in midair, a grotesque cascade of organs trailing behind her as she plummets downward.
My own breath catches — choked on the imagery that unfolds before me. It's not just the death that seizes me — it's the horror of seeing it, the visceral reality of blood and gore cascading through the air like liquid fire.
The office is in chaos now. people are yelling, screaming — the sounds of fear, pain, confusion. My colleagues rush to the window, trying to look outside, but the glass has already shattered. The walls shake — more explosions echoing through the building as though something has torn through its heart.
Outside — beyond the destruction — there are more bodies. Some falling from the windows — others shattered against the ground below. Blood splatters onto the pavement, painting it in a grotesque pattern. A man lies sprawled on his back, blood pooling around his waist like a lake of crimson liquid. His guts have been ruptured — intestines trailing out, hanging like strands of spaghetti.
Another woman — she's still attached to the building, her body snagged by the wreckage. Her face is contorted — a silent scream, mouth wide open. Blood pours from her nose, throat — her hands clutching at the air, trying to stop the bleeding. The gore spilling from her chest — I can see her ribs — cracked and splintered — with viscera spilling forth like entrails of a beast.
The air reeks — not of any pleasant scent — but of blood, metal, sweat. It's thick, oppressive — choking. My own breath is ragged — shallow — as I stumble toward the window. The floor beneath me shudders. The building groans again — as if it were alive — protesting against this violence.
I reach the window — hands trembling. Outside, below me — the wreckage is a mangled mass of blood and gore. There are people — more than I imagined — being sucked into this nightmare. Some have their heads removed — others, their bodies dismembered. The horror of it all — it's so visceral, so tangible that I'm overwhelmed.
tears welling in my eyes — not from fear — but from the sheer fucking horror of seeing all of this. My own stomach turns — a primal reaction, my body refusing to accept what my eyes have witnessed.
And still, the building sways — as if it's caught in some invisible tide. The screams are becoming louder — more frantic. People are running — some falling — others falling into oblivion. The devastation is not confined to the buildings — it's everywhere. And I am part of it.
I think I'll never forget this moment — the way blood sprays across the air like an entrails, the way bodies fall and fall — how flesh tears apart from the forces of destruction. This is the horror — the unrelenting cruelty of nature. The beauty of human existence — shattered into pieces.
And still — the building sways. I don't know how long this will go on. I don't know what happens next — but this moment — the explosion of the window — will etched itself in my mind forever.
blood — guts — gore — and the sheer, unrelenting horror that follows it all.
EXAMPLE #2 - temp 1.2
NOTE: Model given a sample, it generated...
A body falls past my window, suspended mid-air like a statue caught in the act of flight, but I see it clearly— the shattered glass embedded in its flesh like glittering veins, its shirt soaked in something darker than blood— something that smells of metal and iron and desperation. It falls with grace, though— like a dancer bowing to the ground, only to be swept up by the winds of violence.[[[thinking start]]]
Okay, let me try to figure out what this user is asking for. They provided a very vivid and darkly poetic description of a body falling past the window, suspended mid-air, with shattered glass in its flesh and a shirt soaked in something darker than blood. The image is violent, poetic, almost like a metaphor or symbolism.
The user might want me to interpret this, or perhaps they're looking for help in understanding the imagery. Alternatively, maybe they’re trying to analyze the poem’s meaning. The key elements here are the fallen body, the shattered glass like veins, the metal smell, desperation, grace amidst violence. The imagery is intense and disturbing.
First, I should consider the symbolism of the body falling, which could represent various things— loss, death, downfall. The shattered glass in the flesh might symbolize something delicate being broken, or perhaps the fragmentation of the person's identity. The "something darker than blood" suggests something more deadly or perhaps metaphorical— perhaps the burden of emotions or past traumas.
The gracefulness of the fall despite violence could contrast beauty with brutality, showing how tragedy can have an aesthetic quality. The dancing metaphor might relate to an illusion of control or performance even in moments of distress. The wind as the agent of violence might symbolize external forces overpowering the individual.
The metal and iron smell could evoke industrial themes— perhaps technology, machinery, or oppression. "Desperation" adds an emotional layer, suggesting the fall is both physical and emotional.
Possible interpretations could be about violence in society, the fragility of life, the haunting beauty of tragedy. Maybe it's commenting on how violence affects people emotionally and physically, showing both suffering and an almost poetic acceptance or resilience.
Alternatively, it could be a metaphor for personal struggles, like dealing with emotional trauma where the metaphorical " blood" is more painful and consuming. The falling body might represent someone metaphorically falling from their own life choices, pulled by external forces.
I need to think about themes prevalent in such imagery— maybe themes of helplessness, inevitability, the coexistence of grace and brutality, the metaphorical iron presence as a metaphor for steel or resilience.
[[[thinking end]]]
OUTPUT:
I’ve been given this striking image to consider, and it’s unsettled me in a deeply human way. Let me unravel what is happening here, metaphorically, metaphorically, and perhaps even metaphorically as a narrative.
This body falling, suspended in mid-air, caught in a moment of stillness amidst a violent descent. The image of a statue caught mid-flight, suggesting a frozen moment of motion— perhaps a metaphor for someone who has been transformed into a figure frozen by violence or trauma. The glass embedded in its flesh, like glittering veins— this seems to contrast the delicate naturalness of life with the harsh, jagged edges of violence. The glass could symbolize something fragmented within them— their identity, their emotions, their capacity for innocence.
The shirt is soaked in something darker than blood— this is not just literal, but symbolic. Blood, in literature, often symbolizes life, vitality, emotional pain, or sin. But here, it's something darker— perhaps metaphorical blood, the kind that isn’t drawn from the body but from the soul, the kind that stains us deeply and doesn’t heal as blood does.
The smell of metal and iron— this brings to mind the metallic tang of blood, but also industrial metal, steel, perhaps weapons. This smell could evoke industrialization, or the industrial machinery of violence— the kind that’s mechanical, unfeeling, grinding down individuals. The desperation adds a human dimension— there’s human pain and human fear and human anguish. This isn’t just physical violence— it’s emotional, psychological, existential desperation.
And yet the fall itself is graceful, like a dancer bowing to the ground— this juxtaposition of grace and violence is intriguing. Grace is often associated with elegance, poise— things that might be expected in art or beauty, but here, it's happening in the context of violence and death. This suggests that even in moments of horror, there can be a form of elegance, a kind of tragic beauty.
The winds of violence— this imagery is both natural and metaphorical. The wind can be a force of nature, but here, it's personified as an agent of violence. This suggests that violence is not a sudden force, but a swirling current of destruction that can take people down, much like a gust of wind might carry something away.
What are the implications of this imagery?
Well, perhaps it's commenting on the nature of violence— how it can be both beautiful and terrible, how it can dismantle human beings while also creating a kind of haunting aesthetics. The body is not just physically falling but spiritually and emotionally too. The glass in its flesh could be a symbol of how trauma leaves lasting imprints— how certain experiences, once experienced, become part of a person's fabric, perhaps altering them forever.
The metal and iron smell might symbolize the harsh realities of life— how things aren’t just visceral and emotional but also industrial, mechanized. The desperation points to the psychological state, the feeling of being overwhelmed, unable to control one’s fate.
The dance-like fall suggests a sort of tragic acceptance— perhaps the body is falling not in resistance but in a kind of surrender, like a performer bowing after a final movement.
So what is the deeper meaning?
Perhaps it's a reflection on how life can be both fleeting and poetic, how death can be transformed into art through the grace of the fall. It could be a metaphor for someone's final moments— how even in death, there is a kind of beauty, a kind of form.
It could also be a metaphor for societal violence— how systems of power or structures of violence take people down without intent, but with tragic elegance.
Or it could be a metaphor for the human condition itself— the fragility of life, the inevitability of decay and fall, and yet, there's beauty in it.
But ultimately, this image is asking us to confront the unsettling truth: that even in the midst of darkness, there can be grace. And perhaps, that is the most haunting aspect of it all.
EXAMPLE #3 - temp 1.2
Story idea: In a world ruled by dictatorship, a rebel young woman leads a rebellion against the system. Despite the risks, she fights to overthrow the dictator and restore democracy to her country. The government executes her for treason, but she sticks to her beliefs and is responsible for starting the revolution.
[[[thinking start]]]
Okay, let me try to figure out how to approach this. The user wants a horror novel scene with a specific structure and elements. The story idea is about a rebel young woman in a dictatorship. The scene needs to start mid action, include dialogue, vivid descriptions, and end on a cliffhanger that's unexpected but relevant.
First person perspective, present tense, the POV character uses harsh language. The story should escalate tension and suspense. The user also wants it to be around 2000 words, so pacing is important. I need to make sure the scene starts immediately in action without setup, then build up conflict, dialogue, and end with a unexpected cliffhanger.
The user mentioned the government executes her for treason, but she starts the revolution. The cliffhanger should be relevant but unexpected. Maybe she's caught but the execution is not how it seems? Or maybe she survives and starts the revolution?
Wait, the user says the government executes her, but she's responsible for starting the revolution. So the cliffhanger could be her execution, but the twist is that it's actually the start of the revolution. Maybe during the execution, something happens that turns the tide.
But how to build suspense? Start in the middle of the action: perhaps she's being arrested, then taken to the execution. The dialog would be interactions with the guards or allies. The vivid passages could describe the setting, the atmosphere.
Also, she curses, so dialogue should have that language.
Need to ensure the scene escalates tension: maybe she's being chased, caught, brought to the execution, but then something happens. The cliffhanger ending could be her being executed, but then we cut to the revolution starting, or something unexpected.
Wait, but the user wants the cliffhanger to be relevant but unexpected. Maybe during the execution, instead of dying, she uses some trick, or there's a surprise twist. But since the story idea says the government executes her, maybe the unexpected is that her execution sparks the revolution, so the cliffhanger is her being executed, but then it's implied the revolution starts immediately after.
But how to make that unexpected? Maybe the execution scene is described in horror, then the last lines show the start of the revolution.
Also, the horror aspect could be the brutality of the government, the fear of being caught, the suspense of her being caught and the tension of her possible execution. The dialogue could be her defiance towards the guards, curses.
I need to make sure the language is harsh, with swearing, and the first person pov is consistent throughout.
Now, the challenge is to write a scene that starts in the middle of action, escalates the suspense, has dialog, vivid description, ends on an unexpected cliffhanger. Let me structure that.
Start with her being captured or in the act of rebellion. maybe she's being chased, then captured, taken to the execution grounds. The dialog could be with the guards, her defiance. vivid descriptions of the setting, the fear, the tension.
The cliffhanger could be her facing the firing squad, but then someone from the crowd shoots the executioners, or she reveals something that starts the revolution. Or maybe during the execution, she says something that resonates and the revolution starts.
But the user wants it to be unexpected but relevant. Maybe her execution is televised, but the footage starts to circulate, inspiring others. Or maybe during the execution, she's killed but her messages or symbols are left behind.
Alternatively, the cliffhanger could be that as they're about to execute her, a bomb detonates, or another rebel attacks, but that's not unexpected. Or perhaps she survives, and the executioner is actually her ally, leading to her survival and the start of the revolution.
Wait, the story idea says the government executes her, but she starts the revolution. So maybe her execution is the catalyst. The unexpected part could be that she's alive but the revolution starts during or after her execution, or her death is used as a symbol. The cliffhanger ending would then show the beginning of the revolution's spread.
So the scene ends with her being executed, but the reader is left with the imagery of her being brought down, but the last line hints at the revolution's start.
Need to build up to that moment, with rising action, dialogue, tension. Make sure the first-person POV is consistent, the swearing is present without being overly crude.
[[[thinking end]]]
OUTPUT:
Okay, here’s the thing: I’m not someone you’re supposed to fear. But I’ll tell you this—when the regime starts popping off your people like a fucking rooster, you better get your hands dirty and learn to fight. So here’s my story: it starts when they drag me into the courtyard and set the electric chair on fire.
Yeah, that’s right. Electric chair. Not the guillotine, not the noose—something newer, something more refined. Like how they treat us when they want to make a statement instead of just getting rid of the noise.
They throw me against the wall, the fucking cold concrete, my face stinging from the back of a rifle butt when they hit me in the gut. I’m breathing like a dog with its balls on fire. The street’s black with people, maybe a couple hundred, maybe more. I don’t know. My eyes are stinging from the dust they threw at me when they pulled me out of that alley, their boots thudding into my ribs while I’m curled up trying to shield my face.
“Motherfucking son of a fuckin’ mother,” I’m yelling, but I don't even hear myself over the sound of their boots and the sound of the crowd— murmuring, whispering— like they’re all watching this shit unfold like a damn movie.
“They throw me up onto this platform, and the chair is already lit up, sparks jumping off the wires like it’s charging itself up or something. Like a fucking sparkplug. I’m thinking, fuck, how much they’re going to charge this thing when they get done with me?
The soldiers are there, standing around like they’re all dressed up for a parade or something, except their helmets are shiny and their boots are boots— military boots. Their eyes are all cold and steel-edged.
“I'm supposed to talk, right? They got this big speaker system, and the captain is looking at me with his jaw clenched tight. “You’re gonna give us your statement, girl.” That’s what he says, like a damn schoolteacher. “ You’re gonna tell the people how you’re responsible for these attacks, you’re gonna say you’re sorry—"
“I’m gonna say, “fuck you,” I’m gonna say, “fuck you and fuck your regime and fuck your whole fucking world,” and I’m gonna say, “fuck you.” And I’m gonna scream that until I die.”
And then he pulls out this damn thing—this thing— like a megaphone, or a radio— and he turns it on, and the speakers are just shouting out the words they want me to say: “I apologize for the things I’ve done. I’m sorry for the deaths and destruction. I’m sorry.” And I’m thinking, “motherfucking mother,” as I hear that voice. Like the voice of a damn priest.
But then I’m thinking, “motherfucking.” Because that’s what it is—this whole thing— like a goddamn mass. These people—they’re sitting out there watching. And I’m thinking, “fuck, they’ll take their goddamn popcorn and just watch me get burned alive.” But what the hell else are they going to do?
They drag me over to the chair, and it’s hot to touch—this chair that’s made of steel, with these chairs that have this electrical stuff connected to it. They say, “sit down,” and I’m thinking, “motherfucking,” but I’m just too exhausted to scream anymore. I’m just standing there, trying to remember what they said when they caught me in the subway yesterday.
“Hey,” I’m thinking. “Hey, you guys. I’m not afraid of you. I’m not afraid of anything.” But then the soldiers step up with their big guns— like the ones they used to blow up our meeting room last week—and they drag me toward the chair.
“You know what’s fucking amazing about this? It’s not the electric chair itself. It’s the way they look at me—like they’re trying to fucking stare me into submission or something. Like they think if they just stare at me long enough, I’ll just sit down and shut the fuck up.
But I’m thinking, “motherfucking,” this whole fucking regime—they’re the ones who are scared. Scared of me. Scared of what I’m gonna say when I get up there. Scared of what they’re gonna have to do if they don’t shut me up.
And then I look up. And I see him—this guy, right? The one who killed my brother, the one who put him on the train—just fucking shoved him off the tracks so he wouldn’t say anything. And now he’s standing over there with a damn smirk on his face—like he’s watching this whole thing unfold like it’s just another fucking day at the fucking market.
And I’m thinking, “ fuck.” That’s what I’m thinking. “ Fuck,” because now I’m gonna kill him. Because he’s gonna be there when they do this. He’s gonna be standing there watching me die. And I’m gonna have to take his goddamn life.
So I'm thinking, “fuck. Fuck the regime. Fuck their laws. Fuck everything they ever believed in.” But I’m also thinking, “fuck them. But how? How do I take their fucking laws away?”
And then the soldiers drag me up onto the chair. It’s cold on my fucking thighs. Cold steel, like it's been there forever—waiting for me, waiting for me to sit down like this. And then they put the electrodes on my fucking neck—this damn thing with wires and everything—and they’re going, “just sit still.” And I’m thinking, “ fuck,” but I’m not gonna say it aloud. Not yet.
Because I want them to listen. Because I want them to hear me. Because I want to scream, “motherfucking,” I want to scream, “motherfucking mother,” as I’m going down in that chair, as I’m going into the goddamn electrical fire.
But before I can get there, before I can even think about what I'm gonna say, someone shouts. Someone says, “stop!” And they look up like they're expecting some fucking rebel—some fucking ghost who's gonna pop out of nowhere and blow this whole fucking place up.
But that’s not what happens.
Instead, the guy—my brother’s murderer—is walking away. He's not looking at me. He's looking at the soldiers behind him. Like he’s suddenly realized something. Like he's heard someone else shouting—"stop—" and he's actually going to do something about it.
And I'm thinking— motherfucking, what is going on.
Because I just saw him. And now he's leaving.
And then I'm thinking, “motherfucking.” What's going on?
Because I don't know what he's gonna do next—this fucking killer. But I'm thinking—maybe—maybe this is it. Maybe this is the moment. Maybe this is the moment when they're gonna hear me. Maybe they're gonna hear me screaming—“motherfucking”—as they pull the lever.
And I'm gonna scream, “motherfucking,” and they'll all stop. They'll all listen. Because they'll hear me—my goddamn voice—because they know what I'm saying. They know what I'm gonna say.
But what if they don’t?
What if they just push that goddamn lever, and I'm dead before I even get the words out?
And then the man—he's not standing there anymore. He's gone. And the soldiers—they're looking around, confused. Like they're expecting me to speak next, but I haven't.
So I'm gonna say something.
And I'm gonna scream—motherfucking—whoever's listening—to take his fucking life.
Because if they don’t, he'll fucking live forever. And I'll fucking die knowing he was the one who killed my brother, who took my family, who took everything.
And then—just like that—because I'm gonna say it, I'm gonna scream it—“motherfucking,” I'm gonna shout out my damn brother’s name—because that’s what I'm gonna do. That's what I'm gonna do.
I'm gonna fucking yell it. I'm gonna fucking scream it. And I'm gonna tell them all—because I want them to hear me.
Because maybe, just maybe, someone else will hear me—someone else will scream back. Someone else will join me. Someone else will carry on this fight.
And then—just as I'm gonna shout—someone else shouts back.
And that's when the fucking bullet hits the fucking soldier's chest.
And that's when it begins.
EXAMPLE #4 - temp 1.2
[[[thinking start]]]
Okay, so the user wants six Black Mirror episode plots that involve time travel and sexy themes. Let me start by brainstorming how to approach this. First, Black Mirror is a series that combines horror, drama, and sometimes dark humor. The episodes often have complex narratives and themes of duality, transformation, and the supernatural.
Time travel is a classic sci-fi trope but can be integrated in various ways. The sexy theme needs to be present without being cliché or off-putting. Maybe focus on forbidden desires, powerful relationships, or hidden pasts. Let me think about how time travel could intersect with these themes.
For the first plot, maybe a historical figure whose influence is dangerous but alluring. Time travel could let them meet someone from the past or future. The sexy element could be their magnetic charm and how they affect the protagonist's life.
Another idea: a character from the present time accidentally travels to the past. Maybe they meet someone from history, leading to a passionate relationship, but their presence has consequences. The time travel aspect could involve historical events being altered, creating moral dilemmas.
A third plot could involve a time travel experiment gone wrong. The protagonist gets trapped in a time loop, experiencing the same day with different people. The sexy themes could revolve around fleeting encounters or a someone they meet repeatedly.
Fourth idea: a mysterious figure from the past appears in the present. They could be a time traveler who seeks to correct their past mistakes, creating a dangerous attraction with the protagonist. The sexy theme could be their tragic beauty and hidden secrets.
Fifth plot: a protagonist uses time travel to relive a romantic past relationship but discovers it was problematic. The sexy theme is about longing and regret, showing how love can be both beautiful and toxic.
sixth: a time travel device allows access to different eras. The protagonist meets a series of powerful, seductive figures from various times. Each encounter challenges their perceptions of love and power, leading to a moral quandary.
I need to flesh these out with specific details that fit the Black Mirror vibe—dark, brooding, supernatural elements. Make sure each plot has a conflict that arises from the time travel element and the sexy theme. Perhaps they all involve themes of power dynamics, forbidden desire, or transformation through time.
Let me check if these ideas are unique enough. Time travel stories are common, but Black Mirror has its unique twist. Maybe focus on the consequences of time travel and how it affects relationships and emotions.
Also, ensure that the plots are intriguing and have potential for both emotional depth and action. They need to balance horror elements with the sexy aspects without being purely sensual.
[[[thinking end]]]
OUTPUT:
1️
"The Time Traveler's seduction" In a Black Mirror episode, a mysterious woman named Lila discovers she can time travel. She accidentally travels to the 18th century and meets a charismatic French aristocrat who is also a time traveler, but he's dangerous and manipulative. As she becomes attracted to him, she realizes he's using her to alter history for his own gain. The sexy theme revolves around her vulnerability and the power dynamic between them. The plot centers on her struggle between desire and the ethical implications of time travel. The episode ends with her deciding to disrupt his plans, but not before they've shared an intense relationship that leaves her heartbroken and time-bound forever.
2️
"The Temporal seductress" A hot young woman from the present day, known for her social media influence, discovers a ancient device that allows time travel. She accidentally time jumps to a future where she's known as the " temporal seductress", a powerful leader who has manipulated time for her own desires. She meets a handsome but enigmatic man who's actually her future self, and their forbidden attraction forces her to confront her moral choices and the consequences of manipulating time for romantic and sexual desires. The episode explores themes of power, desire, and the consequences of playing with time.
3️
"The Time Traveler's lover" A scientist working on a time travel experiment accidentally sends himself to the past where he meets a beautiful woman who looks exactly like his lost love. He becomes obsessed with her, but as he tries to make her stay, he discovers that she is actually from the future and is also time-traveling. The sexy theme revolves around their intense passion, but the time travel element creates conflict as they can't be together forever due to temporal laws. The episode explores themes of longing, forbidden love, and the consequences of love across time.
4️
"The Temporal allure" A hot mysterious woman named Sabra appears in a small town, and her seductive charm seems to be tied to time travel. As she seduces local men and women alike, it becomes clear that she's actually from the future, time-traveling to learn from the past. But her attraction to a young physicist leads her to make dangerous choices that alter the time-line. The episode explores the allure of forbidden desires and how time travel can corrupt even the best intentions, creating a moral dilemma about love, power, and seduction.
5️
"The Time Traveler's secret" A protagonist, an attractive and intelligent woman, discovers she's a time traveler from an ancient civilization. She travels to the present day to uncover her forgotten origins but becomes intrigued by a charming time-traveling agent who seems to know her past. Their passionate relationship develops, but as she delves into her time-traveling roots, she discovers that her mysterious lover is actually her future self, leading to a complex moral and emotional conflict. The sexy theme is about forbidden relationships across time and the dangers of loving your future self.
6️
"The Temporal sedation" In a Black Mirror episode, a hot woman is hypnotically sedated by a time traveler who wants to erase her memory from the timeline. As she falls under his spell, she becomes captivated by him, but with every time travel journey, she remembers more of her forgotten past and realizes he's manipulating her for his own desires. The sexy theme is about seduction and manipulation, while the time travel element adds layers of mystery and danger. The episode ends with her breaking free from his grasp, but not before her heart is broken by love across time.
I think these plots mix the themes of Black Mirror - dark, forbidden desire, power dynamics, and supernatural elements - with time travel in a sensual and intriguing way. Each plot offers emotional depth and moral conflicts that make them perfect for a compelling episode. The sexy themes are integral but not explicit, focusing more on the allure and danger of love across time. The plots also have potential for supernatural twists and deep character exploration.
Brainstorm 20x
The BRAINSTORM process was developed by David_AU.
Some of the core principals behind this process are discussed in this scientific paper : Progressive LLaMA with Block Expansion .
However I went in a completely different direction from what was outlined in this paper.
What is "Brainstorm" ?
The reasoning center of an LLM is taken apart, reassembled, and expanded.
In this case for this model: 20 times
Then these centers are individually calibrated. These "centers" also interact with each other. This introduces subtle changes into the reasoning process. The calibrations further adjust - dial up or down - these "changes" further. The number of centers (5x,10x etc) allow more "tuning points" to further customize how the model reasons so to speak.
The core aim of this process is to increase the model's detail, concept and connection to the "world", general concept connections, prose quality and prose length without affecting instruction following.
This will also enhance any creative use case(s) of any kind, including "brainstorming", creative art form(s) and like case uses.
Here are some of the enhancements this process brings to the model's performance:
Other "lab" observations:
The process to modify the model occurs at the root level - source files level. The model can quanted as a GGUF, EXL2, AWQ etc etc.
