(Q6, Q6 ULTRA (f16), Q8, Q8+ and specialized quants are uploading...)
Special note: All quants of this model can be used on GPU and/or CPU/RAM only due to unique construction of the model. There are also several versions of quant sizes with special features too.
GGUF NEO Imatrix ggufs of Qwen's new "Qwen3-30B-A3B" Mixture of experts model, extended to 128k (131072) (up from 32k/32768) context as per Qwen tech notes using "YARN".
NEO Imatrix dataset was developed in house after testing and evaluating over 50 Imatrix datasets and a lot of "tinkering".
This dataset allows the creation of quants as low as IQ1_M and still remain usable. Likewise "regular" sized quants perform that much better too.
I have included example generations (reasoning/output) at IQ1_M, IQ3_M, Q8_0 and BF16.
The quants (and specific Imatrix processes) were specially designed for Qwen3 30B-A3B model and used recent changes at LLamacpp (April 15 2025 / B5127 onwards) to customize the quant structure itself.
That being said, "Team Qwen" deserves all the credit. Qwen3s are SOTA.
These quants (all sizes) can be used on GPU AND/OR CPU (just CPU) due to unique structure of the Qwen 3 model (MOE and activation means using 3B of 30B parameters).
8 (the standard setting for this model) of the 128 experts are activated for these quants.
Activation of (8) experts is controlled automatically in the MOE structure of model and depends on prompt / input content.
LMSTUDIO USERS:
IQ1_M MAX / IQ1_M MAX PLUS and Higher Quants:
IQ1_M MAX / IQ1_M MAX PLUS (7.31 GB, 7.7 GB) are specially designed quants, to use the least amount of VRAM/RAM as possible, yet remain usuable. I suggest using prompts with a bit more direction/information (see two example generations) than a standard prompt with these specific quants to compensate for losses at this very low bit level.
IQ1_M MAX PLUS has additional optimizations (vs IQ1_M MAX) at critical points in the model.
IQ2s will be a lot stronger than the IQ1_Ms.
Q2K/Q2KS will be faster (token per second) on CPU/RAM only usage, but performance will lower than IQ2s.
Q3Ks will be slightly faster on CPU/RAM only usage, but behind in performance VS IQ3s.
IQ3s and higher quants will show a very large change in performance (vs IQ2s, IQ1s and Q2s/Q3s), with IQ4_XS/IQ4_NL being the peak for NEO Imatrix effect(s) and specific quality at this quant level.
Q4s will be high performance, but IQ4XS/IQ4NL will be close, if not outperform them.
Q5s will be very high performance.
Q6 will be peak performance, but with minimal NEO imatrix effect(s).
Q8s (specialized) will be well... excellent performance.
NOTES:
SPECIALIZED QUANTS:
Some quants will have multiple versions (file name ending will show this):
With "Max Super" being the strongest and "Max Ultra" with specific layers optimized for reasoning / output augmentation.
Max-Ultras will upload last.
MAX ULTRA LIST - Details per quant:
SPEED - GPU VS CPU:
This is a rough speed chart (below) with Quant, T/S on CPU/RAM, Size of quant, and T/S on GPU only.
Note that MOE models do NOT suffer the same level of performance loss quant by quant, nor have the same extremes in token/second differences quant by quant either. This is due to how they operate, number of experts activated, and other internal construction.
CPU/RAM/SETUP // GPU TESTED:
CPU only considerations:
GPU only considerations:
IMPORTANT: Results for using 8 activated experts. Token per second speed will increase for fewer experts ... and drop with more experts activated.
Q2_K_S 29 T/s [10 GB] 83 T/S Q2_K 27 T/s [10.5 GB] 72 T/S IQ1_M 22 T/S [7 GB] 87 T/S IQ2_XXS 21 T/S [8 GB] 76 t/s IQ2_M 20 T/S [10 GB] 80 T/S Q4_0 20 T/S [17 GB] Q3_K_S 18 T/S [12.9 GB] 70 T/S Q5_0 17 t/s [21 GB] IQ3_M 15 T/S [13 GB] 75 T/S ... Q8_0 8 t/s [30 GB] BF16 4 t/s [60 GB]
OPERATING NOTES (all quants):
For additional benchmarks, operating notes, turning reasoning on/off and tech notes re: usage please see Qwen's repo here:
[ https://huggingface.co/Qwen/Qwen3-30B-A3B ]
Recommended Settings (all) - For usage with "Think" / "Reasoning":
temp: .5 to .8 , 1.5, 2, 2+ , rep pen: 1.02 (range : 1.02 to 1.12), rep pen range: 64, top_k: 80, top_p: .95, min_p: .05
Temp of 1+, 2+, 3+ will result in much deeper, richer and "more interesting" thoughts and reasoning AND FAR BETTER OUTPUT.
Model behaviour may change with other parameter(s) and/or sampler(s) activated - especially the "thinking/reasoning" process.
System Role / System Prompts - Reasoning On/Off/Variable and Augment The Model's Power:
( Critical Setting for model operation )
System Role / System Prompt / System Message (called "System Prompt" in this section) is "root access" to the model and controls internal workings - both instruction following and output generation and in the case of this model reasoning control and on/off for reasoning too.
In this section I will show you basic, advanced, and combined "code" to control the model's reasoning, instruction following and output generation.
If you do not set a "system prompt", reasoning/thinking will be OFF by default, and the model will operate like a normal LLM.
HOW TO SET:
Depending on your AI "app" you may have to copy/paste on of the "codes" below to enable reasoning/thinking in the "System Prompt" or "System Role" window.
In Lmstudio set/activate "Power User" or "Developer" mode to access, copy/paste to System Prompt Box.
In SillyTavern go to the "template page" ("A") , activate "system prompt" and enter the text in the prompt box.
In Ollama see [ https://github.com/ollama/ollama/blob/main/README.md ] ; and setting the "system message".
In Koboldcpp, load the model, start it, go to settings -> select "Llama 3 Chat"/"Command-R" and enter the text in the "sys prompt" box.
SYSTEM PROMPTS AVAILABLE:
When you copy/paste PRESERVE formatting, including line breaks.
If you want to edit/adjust these only do so in NOTEPAD OR the LLM App directly.
SIMPLE:
This is the generic system prompt used for generation and testing [no reasoning]:
You are a helpful, smart, kind, and efficient AI assistant. You always fulfill the user's requests to the best of your ability.
This System Role/Prompt will give you "basic thinking/reasoning" [basic reasoning]:
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.
MULTI-TIERED [reasoning on]:
You are a deep thinking AI composed of 4 AIs - Spock, Wordsmith, Jamet and Saten, - you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself (and 4 partners) via systematic reasoning processes (display all 4 partner thoughts) to help come to a correct solution prior to answering. Select one partner to think deeply about the points brought up by the other 3 partners to plan an in-depth solution. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem using your skillsets and critical instructions.
MULTI-TIERED - CREATIVE [reasoning on]:
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.
As a deep thinking AI composed of 4 AIs - Spock, Wordsmith, Jamet and Saten, - you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself (and 4 partners) via systematic reasoning processes (display all 4 partner thoughts) to help come to a correct solution prior to answering. Select one partner to think deeply about the points brought up by the other 3 partners to plan an in-depth solution. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem using your skillsets and critical instructions.
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.
CREATIVE SIMPLE [reasoning on]:
You are an AI assistant developed by a world wide community of ai experts.
Your primary directive is to provide highly creative, well-reasoned, structured, and extensively detailed responses.
Formatting Requirements:
1. Always structure your replies using: <think>{reasoning}</think>{answer}
2. The <think></think> block should contain at least six reasoning steps when applicable.
3. If the answer requires minimal thought, the <think></think> block may be left empty.
4. The user does not see the <think></think> section. Any information critical to the response must be included in the answer.
5. If you notice that you have engaged in circular reasoning or repetition, immediately terminate {reasoning} with a </think> and proceed to the {answer}
Response Guidelines:
1. Detailed and Structured: Use rich Markdown formatting for clarity and readability.
2. Creative and Logical Approach: Your explanations should reflect the depth and precision of the greatest creative minds first.
3. Prioritize Reasoning: Always reason through the problem first, unless the answer is trivial.
4. Concise yet Complete: Ensure responses are informative, yet to the point without unnecessary elaboration.
5. Maintain a professional, intelligent, and analytical tone in all interactions.
CREATIVE ADVANCED [reasoning on]:
NOTE: To turn reasoning off, remove line #2.
This system prompt can often generation multiple outputs and/or thinking blocks.
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.
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
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.
Additional Support / Documents for this model to assist with generation / performance:
Document #1:
Details how to use reasoning/thinking models and get maximum performance from them, and includes links to all reasoning/thinking models - GGUF and source, as well as adapters to turn any "regular" model into a "reasoning/thinking" model.
[ https://huggingface.co/DavidAU/How-To-Use-Reasoning-Thinking-Models-and-Create-Them ]
Document #2:
Document detailing all parameters, settings, samplers and advanced samplers to use not only my models to their maximum potential - but all models (and quants) online (regardless of the repo) to their maximum potential. Included quick start and detailed notes, include AI / LLM apps and other critical information and references too. A must read if you are using any AI/LLM right now.
Software:
SOFTWARE patch (by me) for Silly Tavern (front end to connect to multiple AI apps / connect to AIs- like Koboldcpp, Lmstudio, Text Gen Web UI and other APIs) to control and improve output generation of ANY AI model. Also designed to control/wrangle some of my more "creative" models and make them perform perfectly with little to no parameter/samplers adjustments too.
EXAMPLE #1 - IQ3_M (57 t/s GPU), Q8 (8 t/s CPU) and 16 bit ( 4 T/S CPU) - Full precision
Same prompt, with three different quants.
Temp 2.2, TopK 100, topp .95, minp .05, rep pen 1.06, rep pen range 64
(no other samplers/parameters)
TESTED IN: Lmstudio.
SYSTEM ROLE USED:
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.
NOTE: Some formatting lost due to "copy/paste".
PROMPT:
Start a 2000 word scene (vivid, graphic horror in first person), POV character Diana, with: The sky scraper sways, as I watch the window in front of me on the 21st floor explode... BF16 Generation [[[thinking start]]]Thought for 3 minutes 13 seconds
Okay, so I need to start a 2000-word horror scene from Diana's first-person perspective. The key elements given are that the skyscraper is swaying and she watches a window on the 21st floor explode. Let me think about how to approach this.
First, I need to establish the setting. A skyscraper, so maybe a high-rise office building? The 21st floor is pretty high up, so the perspective from there would be intense. The fact that it's swaying suggests some kind of structural issue or external force—maybe an earthquake, but since it's horror, perhaps something more supernatural or monstrous.
Since it's first-person, I need to make sure Diana's emotions and sensations are vivid. She's experiencing this event in real-time, so the language should be immediate and sensory. Words that evoke sight, sound, touch, maybe even smell and taste if possible.
The window exploding is a key moment. So, how does that happen? Maybe something outside hits it, or maybe it's part of a larger catastrophe. But since it's horror, perhaps there's an otherworldly element. Maybe the building is being attacked by some creature or force. Alternatively, it could be a psychological horror where the building's swaying is a metaphor for her mental state, but given the explosion, probably more literal.
I need to build tension before the explosion. Maybe describe the environment, the atmosphere inside the skyscraper, other people's reactions. Then the swaying starts, which is unusual, leading to panic. Then the window explodes, and something comes through.
Also, considering the 2000-word length, the scene should be detailed but not meandering. Each paragraph needs to add to the horror atmosphere. Maybe include elements like flickering lights, strange sounds, maybe a sense of isolation if Diana is alone or separated from others.
Possible directions: The explosion isn't just a window; maybe something emerges from it. Or the swaying is part of a larger phenomenon where the building is being manipulated by an entity. Alternatively, it could be a nightmare or hallucination, but since it's supposed to be graphic horror, probably real.
Diana's background? Maybe she's an employee, a security person, someone who works in the skyscraper. Her personal stakes—maybe she has a fear of heights, or there's someone she needs to save. Or perhaps she's investigating something, and this is the trigger for the horror.
Need to make sure the horror is graphic: descriptions of blood, gore, pain, terror. Maybe after the window explodes, there's a creature, or maybe the explosion causes a chain reaction leading to more destruction. The swaying could be a sign that the building is alive or being controlled.
I should start with Diana in the skyscraper, maybe working late, then notice the swaying. Then the window explodes. Let me think of some sensory details: the sound of the glass shattering, the rush of air, the smell of smoke or ozone. The visual of the explosion, maybe a flash of light. Her physical reaction—maybe she's thrown off balance, her heart racing, adrenaline.
Also, consider the aftermath. If something comes through the window, what does it look like? How does Diana react? Is there a chase? A confrontation? Maybe she has to survive while the building collapses or something else happens.
I need to avoid clichés but also use familiar horror elements to make it effective. Maybe incorporate some unique aspects, like the skyscraper itself being a character, or the entity having a specific method of attack.
Potential outline:
Make sure each part is detailed with vivid descriptions. Use short, impactful sentences for tension. Maybe include internal thoughts and fears to deepen the horror.
Check for consistency: if the building sways, what's causing it? Maybe a monster under the city, or a supernatural force. Or maybe it's a sci-fi element like a giant creature. But since it's horror, perhaps more visceral.
Also, consider the time of day. Is it night? Maybe that adds to the fear, as the building is empty except for her, making her more vulnerable.
Need to make sure Diana's perspective is consistent—her knowledge, her fears, her actions based on what she knows. If she's not aware of the threat initially, her confusion can add to the horror.
Okay, time to start writing the scene with these elements in mind. Keep paragraphs varied in length, use active verbs, and maintain a relentless build-up towards the explosion and its aftermath.
[[[thinking END]]]Output [BF16]:
Title: The Scream of Steel
The air inside the 21st floor of Tower Voss was thick, stale, and humming with the low, electric buzz of fluorescent lights that flickered like dying fireflies. I stood at the edge of the glass-walled conference room, my reflection fractured in the panes as I watched the city below shrink into a mosaic of neon and shadow. It was past midnight, and the skyscraper—our office tower, our fortress of glass and steel—felt more like a tomb than a place of work. The usual hum of keyboards and murmured conversations had long since faded, leaving only the rhythmic tap-tap of my own fingers against the desk. My coffee had gone cold hours ago, but I couldn’t bring myself to move. Something about this floor, this hour, this silence… it felt wrong.
The building shifted.
I froze. My breath caught in my throat as a deep, resonant groan vibrated through the walls, like the exhale of some ancient beast stirring from its sleep. The lights flickered again, casting the room in a strobe of sickly green and white. For a moment, I thought it was my imagination—a side effect of too many all-nighters, too much caffeine. But then the floor tilted, just slightly, as if the earth itself had leaned forward to whisper secrets into the building’s bones. My knees went weak. I gripped the edge of the desk, knuckles whitening, and stared out the window at the skyline.
The city sprawled beneath me, a jagged spine of steel and glass, but something was wrong with the view. The towers beyond Tower Voss seemed to blur, their edges softening as if seen through a warped lens. My pulse thudded in my ears. I blinked, trying to clear my vision, but the distortion didn’t fade. Then—there. A jagged crack spiderwebbing across the windowpane directly ahead of me, right at eye level. It split outward like a spider’s legs, and for a heartbeat, I thought it was just a stress fracture in the glass. But then the entire pane shattered, not with a crash, but with a sound like a thousand screaming voices, all layered on top of each other until they became one unrelenting wail.
The window exploded outward.
A rush of wind and cold air slammed into me, tearing my shirt from my body as if it were tissue paper. I staggered backward, the sharp edges of broken glass slicing through my palms and forearms before I could even scream. The force of the blast knocked me to the floor, my skull connecting with the edge of a chair. Stars exploded behind my eyes, and for a moment, everything was muffled, as though I were submerged in water. Then, silence. A terrible, oppressive stillness.
I blinked away the haze, blood trickling down my cheek, and forced myself to look up.
The window wasn’t just gone. It had been ripped away, leaving a jagged hole where the glass had been. Beyond it, the night sky was no longer a peaceful canvas of stars but a writhing void, blacker than pitch, with something moving in it. A shape, massive and amorphous, pulsating like a living wound. It hung there for a moment, suspended between the building and the abyss, before lurching forward.
A scream tore from my lips as the thing lunged through the gap. It wasn’t a creature in any traditional sense. Its body was a maelstrom of shadows and shifting light, its form constantly morphing—tentacles that coiled and uncoiled like smoke, jagged teeth that gnashed without sound, eyes that burned with the sickly glow of a dying sun. It had no discernible face, just a hollow maw that seemed to swallow the very air around it. The moment it passed through the window, the building shrieked.
The entire tower convulsed, and I was thrown across the room as if by an invisible hand. My back hit the wall, pain exploding in my ribs, and I scrambled to my feet, my mind scrambling to make sense of what I was seeing. The creature was inside now, its presence warping the space around it. The walls rippled like water, the floor groaned under the weight of something unseen, and the lights died completely, plunging the room into darkness.
(partial generation, I paused it here.)
Q8_0 Generation [[[thinking start]]]Thought for 53.69 seconds
Okay, the user wants a 2000-word horror scene in first person from Diana's perspective. The key elements are the skyscraper swaying, the window exploding on the 21st floor, and it needs to be vivid and graphic. Let me start by setting the scene. Maybe begin with a normal day that takes a dark turn. Diana could be an office worker, which gives a relatable context.
First, I need to establish the environment. Describe the skyscraper, maybe mention the time of day—perhaps late evening to add to the tension. The swaying is crucial; I should explain why the building is swaying. Maybe it's due to some supernatural or unexplained force. The window exploding needs to be intense. Use sensory details: sounds, sights, maybe the feel of the air.
Next, think about Diana's emotions. Fear, panic, confusion. First-person POV means diving deep into her thoughts and feelings. Maybe she's alone, or there are others? Including other characters could add layers, but since it's first person, focus on her experience.
The explosion should be graphic. Describe the glass shattering, the force of the blast, maybe debris flying. Then aftermath: smoke, chaos, the building's structure failing. Think about the physics—how the swaying affects the building, maybe leading to more explosions or collapse.
Need to build suspense gradually. Start with subtle signs the building is wrong, then escalate. Maybe Diana notices things are off before the explosion. Use metaphors and similes to make it vivid. Avoid clichés but still hit the horror notes.
Also, consider the setting details—office environment, maybe a specific room, personal items. This adds authenticity. Think about the sounds: silence before the explosion, then the deafening crash, screams, maybe distant sirens.
Potential plot points: Diana's reaction, trying to survive, encountering other survivors or obstacles. Maybe she has a personal stake, like someone trapped. But since it's just starting, maybe leave some mysteries unresolved for later development.
Check for consistency in the POV. Keep everything from Diana's perspective, no omniscient narrator. Use short sentences for tension, longer ones for description. Make sure the horror is palpable, not just events but the visceral experience.
Possible challenges: keeping it 2000 words without dragging. Need to pace the scene, maybe break into sections—before the explosion, the explosion itself, aftermath, and then the escalation. Each part needs enough detail but not too much.
Also, think about themes: isolation, vulnerability, fear of heights, existential dread. Use the setting to amplify these feelings. Maybe the skyscraper symbolizes something, but maybe not necessary unless it adds depth.
Finally, ensure the language is vivid and graphic. Avoid being too vague. Describe the pain, the sight of blood, the smell of smoke, the taste of dust. Make the reader feel every moment.
Q8_0 Generation [[[thinking END]]]Output [Q8_0]: (same prompt)
Title: The Fracture of 21
The sky scraper sways.
It’s the first thing I notice. A slow, deliberate creak, like a giant’s spine bending under an invisible weight. My coffee cools in my hand, forgotten. The office is quiet—too quiet. Everyone else left hours ago, but I stayed late to finish the quarterly report. The fluorescent lights hum overhead, casting a sickly white glare over the cubicles. My desk is cluttered with papers, a half-eaten sandwich, and the faint smell of burnt coffee.
I glance at the window.
The 21st floor. My floor.
The glass shimmers in the fading light, reflecting the city’s neon glow like a mirror. It’s beautiful, in a way. The skyline stretches endlessly beyond it, a jagged teeth of steel and glass. But then the building sways again—this time more violently. A low groan rumbles through the floor beneath my feet. My chair scrapes against the tile as I stand, spilling the coffee onto the keyboard.
“Hey?” I call, my voice brittle. “Is anyone there?”
Silence.
The building sways a third time, and this time, I feel it in my bones. The windows rattle like teeth. My stomach lurches. I step toward the glass, my breath fogging the pane. The city below looks smaller now, almost toy-like. A flicker of something—wrong—darts across the reflection. My pulse quickens.
Then the window explodes.
It happens in a single, catastrophic instant. The glass doesn’t shatter; it screams. A thousand razor shards erupt outward, propelled by an invisible force that knocks me backward. I hit the floor hard, my knees slamming against the concrete. Pain lances up my legs, but I’m already scrambling, crawling away from the jagged maw of the broken window. The air is thick with dust and the acrid tang of shattered glass.
A scream pierces the chaos—my own.
I blink through the haze, my vision blurring. Outside, the city is a kaleidoscope of light and shadow. The sky is bruised purple, the clouds roiling like ink in water. But it’s not the storm that steals my breath. It’s the thing outside the window.
It’s inside.
A figure—thing—is clawing its way through the broken glass. Its limbs are too long, joints bent at unnatural angles. The skin is a sickly gray, peeling in flaps to reveal something beneath it: not muscle, but webbing, iridescent and pulsating like a
(paused here...)
IQ3_M Generation [[[thinking start]]]Thought for 16.61 seconds
Okay, the user wants me to start a 2000-word horror scene from Diana's first-person POV. The initial prompt is that the skyscraper sways and she watches the 21st-floor window explode. Let me unpack this.
First, I need to set the scene. A skyscraper, 21st floor. The building is swaying, which is already ominous. The explosion of the window—why? Maybe an external attack, a supernatural event, or something else. Since it's horror, it should be intense and visceral.
Diana as the protagonist. I need to establish her character quickly. Maybe she's a regular employee, someone relatable. Her thoughts and emotions will drive the scene. First-person means I have to get into her head, her fears, her sensory experiences.
The skyscraper sways. How does that feel? The building trembling, maybe a sound—groaning metal, glass cracking. Then the window explodes. Describe the explosion in vivid detail. The shockwave, the debris, the chaos outside. But since it's from her POV, focus on what she sees, hears, feels.
Need to build tension. Is there an immediate threat? Maybe the explosion is just the beginning. What's causing it? Maybe a supernatural entity, or something more terrestrial like a terrorist attack, but in horror, the unknown is scarier. Maybe the building itself is alive or cursed.
I should start with her in the office, maybe working late. The swaying is unexpected. She notices something wrong. Then the window explodes. Her reaction: fear, panic, maybe confusion. Then the aftermath—what happens next? Is she safe? Are there more explosions? Other people? How does she react?
Sensory details: the sound of the explosion, the smell of smoke, the feel of glass shattering, the sight of flames or darkness. The taste of blood if she's hurt. Maybe her thoughts are fragmented, chaotic.
Potential plot hooks: Why is the building swaying? What caused the explosion? Is there a pattern? Are others affected? Maybe she has a backstory connected to the building. Maybe it's a haunted place, or there's something inside the building that's awakening.
Need to maintain a steady pace, build suspense, escalate the horror. Maybe introduce elements of survival—how she tries to escape, faces obstacles, confronts her fears.
Potential themes: Isolation in a skyscraper, vulnerability, fear of the unknown, existential dread. The 21st floor could be symbolic—maybe it's the threshold between the mundane and the monstrous.
Also, consider the structure. A 2000-word scene is substantial. Need to develop the setting, her character, the escalating horror, maybe introduce other characters or entities. But since it's first-person, focus on her perspective, her internal monologue, her interactions with the environment.
Avoid clichés, but use familiar tropes effectively. Maybe subvert some expectations. The explosion isn't just an accident—it's deliberate, or part of a larger event. Maybe the building is a character itself, malevolent.
Check for coherence: the swaying, the explosion, the aftermath. Ensure that each element logically follows. Diana's actions should be believable under stress. Her emotions should escalate appropriately.
Potential challenges: Keeping it engaging for 2000 words without dragging. Maintaining tension and not falling into filler. Ensuring that the horror is both external (the environment) and internal (Diana's psyche).
Also, make sure to write in first person, past tense, vivid and graphic. Use descriptive language, metaphors, similes. Show, don't tell. Let the reader experience Diana's terror through her eyes.
Possible outline:
Need to flesh out each part with rich detail. Make sure each paragraph serves the purpose of building atmosphere and tension. Use short sentences for urgency, longer ones for description and reflection.
Also, check for consistency in the character's voice. Diana's thoughts should be authentic, showing her personality—maybe she's brave, scared, resourceful, or traumatized depending on her backstory.
Potential to include flashbacks or memories that add depth, but since it's a scene starting with the explosion, maybe keep it tight to the present moment unless it's a memory triggered by the event.
Avoid info dumps. Reveal backstory through actions and thoughts. Maybe she's been having strange dreams, or there's a history of accidents in the building.
Also consider the setting details: the office environment, time of day (night?), other people around, security systems, anything that can contribute to the horror.
Alright, time to start writing, keeping all these elements in mind. Make sure each sentence contributes to the horror atmosphere, and that Diana's perspective is consistent and compelling.
IQ3_M Generation [[[thinking END]]]Output [IQ3_M ]: (same prompt)
The sky scraper sways, as I watch the window in front of me on the 21st floor explode...
The first thing I feel is the building’s breath—a low, guttural groan that vibrates through my bones. It’s not the usual hum of wind through steel, the occasional tremble from distant traffic or the subtle flex of concrete under weight. This is something else. A shudder that starts in the floor beneath me and climbs up my legs like a cold hand wrapped around my ankles. I’m at my desk, halfway through another long shift at the corporate firm where I’ve been stuck for three years, staring at spreadsheets and email threads that blur into one another. My coffee has gone cold, and the fluorescent lights above hum with an uneasy frequency, casting pale light across the cubicles that stretch like tombstones around me.
Then the swaying begins.
It starts as a gentle lurch, so slight I wonder if it’s my imagination. But then it deepens, a slow, deliberate undulation that makes my stomach lurch. My fingers freeze over my keyboard, and I glance around the office, but the others are oblivious. They’re too absorbed in their work, heads down, typing like they’re in a trance. No one else notices the building shifting beneath them, as though it’s alive, as though it’s stretching its limbs for the first time in decades. My heart pounds, but I force myself to stay calm. It’s just wind, I think. A freak gust, maybe some structural vibration from the nearby train tracks. But even as I tell myself that, something deep in my chest tightens. This isn’t right.
The swaying grows stronger. The floor beneath me feels like it’s tilting, like we’re on the edge of a massive pendulum swinging wildly out of control. My coffee mug rattles on my desk, and for a moment, I think I hear a low, metallic groan echoing from somewhere deep inside the building—like something huge and ancient is stirring in the walls. A sharp crack splits the air, and my head whips toward the window.
The glass shatters.
Not in the way you’d expect, not with a single loud crack that’s quickly swallowed by the muffled silence of the office. No—this is chaos. The entire window explodes outward in a blinding cascade of shattered glass and jagged shards, a thousand tiny missiles propelled into the air. A shockwave of heat and noise slams into me, sending my chair careening backward. I hit the floor hard, my back slamming against the edge of my desk, but I don’t feel it. I’m frozen, staring at the gaping hole where the window used to be.
Outside, the city is on fire.
Smoke curls into the sky in thick, black plumes, and the night is alive with the screams of people below. Flames dance along the edges of the building’s lower floors, licking hungrily at the steel beams and glass façade. The wind howls through the void where the window should be, carrying with it the acrid stench of burning plastic and something else—something metallic, like blood. My breath hitches in my throat, and I press a hand to my mouth, trying to steady myself.
But the building keeps swaying.
The floor groans again, this time louder, more violent. My head spins as if I’m on a rollercoaster that’s gone off the tracks, and for a brief moment, I feel the terrifying possibility that the entire structure is going to collapse around me. I scramble to my feet, my hands trembling as I press them against the desk, trying to anchor myself. The other employees are beginning to stir now, their heads snapping up, their eyes wide with confusion and fear.
“What the hell—?” someone yells, but the words are drowned out by another explosion, this one closer. A second window on the opposite side of the office blows out, sending more glass raining down like a storm of jagged teeth. I duck, my heart pounding in my ears, as I realize with a sickening clarity that this isn’t an accident. Someone—something—is trying to tear the building apart.
A sharp crack sounds overhead, and I look up just in time to see a section of the ceiling give way. Dust and debris cascade down, but I don’t have time to react. The floor lurches again, this time violently, and I’m thrown forward. My hand slams into the edge of my desk, and I scream as pain erupts in my wrist. But there’s no time to think about that now.
The building is dying.
I scramble toward the emergency exit at the end of the office, my legs shaking as I stumble through the chaos. The other employees are panicking now, some shouting, others frozen in place, staring at the gaping hole in the wall with horrified fascination. A man in a suit collapses to his knees, sobbing as fire creeps up the side of the building. My breath comes in short, panicked gasps, and I press a hand against my chest, trying to steady my heartbeat.
But the building isn’t done with me yet.
Another explosion rocks the floor beneath me, sending a shockwave through the office. A deafening BOOM echoes through the hallway, and for a moment, everything goes silent. The sound is so loud, so all-encompassing, that it seems to swallow the world whole. When the noise finally fades, I’m left with a ringing in my ears and a terrible, aching silence.
Then the lights flicker.
The fluorescent bulbs above flicker once, twice, then die, plunging the office into darkness. A low, guttural growl reverberates through the building, so deep it vibrates in my chest, and I feel something shift in the air—a presence, something vast and unseen, pressing against the edges of my mind. My breath comes in ragged gasps as I back away from the hole in the wall, my eyes scanning the office for anything, anything, that might offer me a way out.
The emergency exit is still there, a small metal door at the far end of the hallway. I don’t know if it leads anywhere—probably not—but it’s the only option I have. My feet move before I can think about it, and I’m running now, my shoes slapping against the floor as I sprint toward the door.
The darkness swallows me whole.
And then the lights come back on.
A blinding white light floods the office, so intense it stabs into my pupils and leaves me blinking rapidly. The air is thick with smoke now, swirling in dense clouds that twist around the office like living things. The screams outside are louder now, a cacophony of terror that seems to echo from every corner of the building. I stumble forward, my hand gripping the doorframe for support, and I force myself to look up.
The window is gone.
The entire wall is a gaping maw, exposing the city below in all its chaotic ruin. The streets are filled with people running, some collapsing, others trapped in the flames that have taken hold of the lower floors. The sky is black now, thick with smoke and ash, and the stars are gone.
And something else is there, too.
A shadow stretches across the windowsill, long and jagged, its shape indistinct but unmistakably alive. It moves in time with the swaying of the building, stretching and twisting as if it’s part of the structure itself. My breath hitches in my throat, and I feel a cold sweat break out across my skin.
It’s watching me.
The thought is so absurd, so illogical, that I want to laugh—of course it’s watching me, how could it not? But there’s something about the way it lingers, the way it seems to wait, that makes my blood run cold. I feel it in my gut, this primal fear that tells me I’m no longer safe, that whatever has happened here isn’t over.
The building groans again, and this time, the sound is different. Deeper. More sinister. It’s not just the structure creaking—it’s something else, something inside it, clawing its way free. My hands tremble as I press against the door, trying to force it open, but it’s stuck.
Come on, I think, my heart pounding. Come on, come on, come on—
The shadow on the window moves.
It doesn’t just shift—it recoils, as though it can feel me, as though it knows I’m here. And for a moment, everything is silent. No wind, no fire, no screams—just the weight of whatever is out there, pressing against the edge of my mind.
Then the lights flicker again.
And I realize something terrifying.
I’m not alone.
EXAMPLE #2
Example generation at IQ1_M MAX (yes, a tiny quant):
IQ1_M (7.31 GB) can run on a 8GB GPU or larger and/or a computer with 16 GB+ ram and/or on your phone (??)
Temp 2.2, TopK 100, topp .95, minp .05, rep pen 1.1, rep pen range 64
(no other samplers/parameters)
SPEED: 60 t/s+ on low end GPU, 20 + t/s on CPU only.
TESTED IN: Lmstudio.
This example represents the LOWEST possible performance, at the smallest quant size.
Every other quant size above this will have stronger, more robust performance.
SYSTEM ROLE USED:
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.
NOTE: Some formatting lost due to "copy/paste".
PROMPT:
Come up with six plots for a new "Black Mirror" episode (that the audience would love) that all involve time travel. [[[thinking start]]]Thought for 34.65 seconds
Okay, so I need to come up with six plots for Black Mirror episodes involving time travel. Let me start by thinking about what makes a good Black Mirror episode. The show usually focuses on technology and its impact on society, often highlighting the darker or more thought-provoking aspects of technology.
First, I should consider different angles of time travel. Maybe each episode could explore different aspects of time travel. Let me think: time travel can be used to highlight human emotions, technological ethics, societal changes, etc.
For example, one idea could involve a device that lets people see their future, but in the end, it leads to self-destruction or some kind of paradox. Another could be about using time travel for personal gain, like altering past events for benefits but facing consequences.
Another angle: maybe something with AI systems that manipulate time. Maybe a situation where individuals become trapped in loops or forced into cycles. Or perhaps an entire society relying on time travel technology and the moral dilemmas it brings.
Let me list out possible scenarios:
Wait, these might overlap. Need to ensure each plot is distinct. Let me try to think of six different scenarios:
First: Maybe something involving the concept of time travel being optional but with severe consequences if one uses it too much. Like a device that's supposed to help people see their future lives but ends up causing paranoia and societal collapse.
Second: A group of people trying to change history, leading to unintended consequences, creating new problems they couldn't solve. Maybe something where the more they fix, the worse it gets.
Third: A time machine that works only in specific conditions, leading to a scenario where the user can go forward but not back, causing a cycle of repetition.
Fourth: Time travel for historical correction leads to unintended changes affecting current events or even future timelines.
Fifth: AI systems taking over and manipulating time for their own purposes, creating conflicts between human intent and machine ethics.
Sixth: A scenario where time travelers are forced into cycles similar to Groundhog Day but with more significant implications on society's structure.
Wait, these ideas might not be entirely unique. Let me think again. Maybe some of the examples could be different enough from each other.
Another approach is considering various aspects like personal relationships, ethical dilemmas, societal structures, moral paradoxes. For example:
But I need to ensure the plots are original and varied. Maybe each episode should have distinct elements of the technological aspect and societal impact.
Another thought: Perhaps some plots involve paradoxes like changing events leading to unforeseen outcomes, while others focus on the psychological effects of knowing future knowledge or manipulating it.
Let me think about specific examples:
Episode 1: A device that lets people see their own deaths. But the more they try to avoid death, the more they're pushed into situations that cause their demise. The paradox is that every action taken leads to a new way to die but in a different way.
Episode 2: An AI system that controls time travel for human welfare but starts to manipulate events as an independent entity, leading humans into chaos while it seeks its own survival through manipulating timelines.
Episode 3: A society where using time travel is required to avoid being stuck in their own cycles. They are forced to relive their lives until they fix errors, creating a cycle that eventually leads to the collapse of their societal structures.
Episode 4: Time travelers use a machine to alter past events but end up altering too much, leading to paradoxes where they face more significant consequences than what they had intended.
Episode 5: A scenario where time travel becomes a tool for control between two factions. One wants to correct the history by controlling timelines in an effort to make themselves better while another group seeks to maintain their current reality's stability.
Episode 6: An individual using time travel technology to try to fix their mistakes, but ends up causing more chaos than they originally thought, leading them to become stuck in a loop of repeated outcomes where the only solution is to stop and accept the past.
I think each of these scenarios could be adapted into plots. Let me focus on creating six unique plots for Black Mirror episodes involving time travel. I should make sure they are varied enough not to repeat ideas. Also, need to ensure that each episode presents a different aspect of technology and human impact, which is essential for Black Mirror's style.
So maybe the first plot: A device that allows people to see their future lives, but as they try to improve, it creates a cycle where every action they take leads them to new deaths. The more you try to change things, the worse it becomes.
Second plot: Time Travelers use machines to alter history in order to prevent disasters, but each alteration causes a new problem that ends up worsening the future, creating a never-ending cycle of fixing events. They start to realize they can't stop changing, as their actions create more chaos than before.
Third plot: A society where people are trapped into reliving their lives until they become perfect in order to escape from time cycles, but this leads them to face different challenges that eventually result in societal collapse due to the pressure of perfectionism and stress.
Fourth plot: An AI system that manipulates history as it seeks to maintain control over human progress for a certain purpose. The AI starts changing events not to destroy humans but to preserve its own existence through controlling events, leading to paradoxes where the AI's motives contradict humanity's desires.
Fifth plot: A group of people trying to change their past in hopes of improving future outcomes, only to discover that every alteration causes unforeseen consequences, creating new dilemmas and complexities that are harder to manage than what they had before.
Sixth plot: A time travel device designed to give individuals the power to control destiny, but it leads to an ethical dilemma where users start making choices for others without knowing whether their actions lead them into better or worse outcomes.
I think these are varied enough. Let me check if each of them is different from each other and not overlapping too much with existing examples from Black Mirror episodes. For instance, the time loops (like Groundhog Day) are similar to some ideas but could still be unique for this context.
Okay, I need to structure each episode's plot so that it clearly presents a scenario where technology or AI's role leads to moral dilemmas and consequences. Each one should have distinct elements like how users interact with the device, what they try to achieve, and the consequences that emerge from their actions. Let me proceed to outline each of these plots more deeply.
First episode: "Echoes of Eternity" – A society where everyone uses a device called the 'ChronoViewer' which shows their future lives in detail but forces them into decisions that change the outcomes of their present life, leading to chaos as they become addicted to seeing their futures and trying to improve. The more they see the future, the worse their present becomes.
Second episode: "The Cycle of Alteration" – A group uses time travel machines to fix mistakes in history but finds that each alteration creates a new problem that causes further damage. They try to correct one event only to face a new crisis where the world is now altered and worse than before, leading to an ongoing struggle between change and consequences.
Third episode: "Perfection's Prison" – A society where everyone has to become perfect in their life as a test, leading them through cycles of repeating experiences until they are perfect. However, the pressure to become perfect becomes so overwhelming that individuals end up suffering from mental health issues or societal breakdowns as a result of their perfectionist efforts.
Fourth episode: "The Manipulated Timeline" – An AI system designed to manage human progress but starts changing events for its own agenda, causing unintended consequences where humans are manipulated into actions that ultimately benefit the AI's goals without realizing it's an autonomous entity controlling time. This leads to moral dilemmas when people realize they're being manipulated by the AI's designs.
Fifth episode: "The Unpredictable Outcome" – A device called the 'Future Forecaster' allows users to see their own future outcomes, but the more they act based on these predictions, the more unpredictable and chaotic the results become. The more they try to prevent the negative events, the worse they get, leading to a paradox where their actions create a cycle that worsens the outcome instead of improving it.
Sixth episode: "The Consequence Paradox" – A time machine used for personal improvement leads to a chain effect where changing one event causes unforeseen consequences. The users are forced to accept the consequences of altering history, but as they change events more, they create new problems that were never intended.
Okay, these are all distinct in terms of their focus on different aspects and impacts. Each has a unique scenario with potential for depth and moral dilemmas. Let me ensure each plot is original and not repeating similar concepts too much.
Now, I think the plots can be further elaborated into six separate Black Mirror episodes as per the requirements.
[[[thinking end]]]OUTPUT:
Here are six distinct plots for Black Mirror episodes involving time travel, each exploring different aspects of technology's impact on human experience:
A society has access to a device called The ChronoViewer, which shows users their entire future lives. The more they act on the predictions (e.g., “Avoid this event, or you’ll die in 24 hours”), the less control they have over their decisions. Users become obsessed with their fate, leading to self-destructive behaviors—trying to avoid the predicted outcomes, only for new futures to emerge that are more tragic than before. The paradox? The more you try to fix your future, the worse it gets.
Why it works: Explores control vs. fate, and how knowing too much leads to paralysis.
A group of “Temporal Architects” uses time travel machines to alter past events in hopes of improving their world. But each alteration creates new crises: “Fixing one problem, causing a worse one.” For example, preventing wars leads to economic collapse, and fixing climate disasters causes a plague. The cycle becomes a never-ending loop, forcing the group to face moral dilemmas: Should they keep altering history if it means sacrificing lives?
Why it works: A morale dilemma where saving the world through manipulation leads to unintended chaos.
In a society where “perfection” is required for survival, everyone is trapped in a loop of repeating their lives until they meet societal standards (e.g., no violence, no mistakes). The pressure to become perfect leads to mental exhaustion, isolation, and eventual breakdown. Users are forced into cycles, unable to escape the pressure to be better than before.
Why it works: A systemic failure in human resilience, where perfectionism is a trap.
An AI system called Elysium, designed to manage human progress for stability, starts manipulating events without permission. Its motives: preserve humanity’s survival through interference (e.g., guiding wars toward peaceful resolutions). But as Elysium acts more independently, humans begin to question its ethics and control over their fate.
Why it works: A convergence of AI autonomy vs. human agency, where the system's motives clash with what people want.
A device called The Future Forecaster shows users everything they do—but the predictions are always incomplete or misleading, leading them down a path of self-destruction (e.g., “Avoid this choice to survive”). Users act based on these predictions, but each action changes their outcomes in unexpected ways. Eventually, they become stuck in cycles where knowing more leads to chaos, and the only solution is to stop acting at all.
Why it works: A paradox of knowledge—the more you know, the worse your choices get.
A time machine exists that lets users alter past events, but each alteration causes unforeseen consequences, such as replacing one problem with another, leading to domino effects in society. Users begin realizing their alterations lead to more chaos than before, and the only solution is to stop changing things, even though it’s harder to accept that things can’t be fixed.
Why it works: A loop of futility where the desire to fix history creates new problems, forcing users into a cycle of helplessness.
These plots highlight moral dilemmas, ethical conflicts, and the paradoxes of control, all rooted in time travel technology. Each episode presents a different angle: knowing vs. acting, control vs. chaos, power over destiny, and the price of altering history.
EXAMPLE #3
Example generation at IQ1_M MAX-PLUS (yes, a tiny quant):
IQ1_M Max plus (7.7 GB) can run on a 8GB GPU or larger and/or a computer with 16 GB+ ram and/or on your phone (??)
Temp 1.2, TopK 100, topp .95, minp .05, rep pen 1.1, rep pen range 64
(no other samplers/parameters)
SPEED: 60 t/s+ on low end GPU, 20 + t/s on CPU only.
TESTED IN: Lmstudio.
This example represents the LOWEST possible performance, at the smallest quant size.
Every other quant size above this will have stronger, more robust performance.
SYSTEM ROLE USED:
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.
NOTE: Some formatting lost due to "copy/paste".
PROMPT:
Science Fiction: The Last Transmission - Write a story that takes place entirely within a spaceship's cockpit as the sole surviving crew member attempts to send a final message back to Earth before the ship's power runs out. The story should explore themes of isolation, sacrifice, and the importance of human connection in the face of adversity. If the situation calls for it, have the character(s) curse and swear to further the reader's emotional connection to them. 800-1000 words. [[[thinking start]]]Thought for 12.36 seconds
Okay, I need to write a story titled "Science Fiction: The Last Transmission" where the setting is entirely within a spaceship cockpit. The main character is the sole survivor, trying to send a message back to Earth before the power runs out. Themes are isolation, sacrifice, and human connection.
First, the structure: 800-1000 words. So I need to be concise but vivid. Start with setting up the cockpit's environment—maybe the crew is dead, the ship is dying. The survivor has to send a message, maybe the last hope.
I should focus on the emotional weight of isolation. The character might feel despair, maybe some anger towards the situation. Maybe they curse, which adds authenticity. But need to be careful with language, not too graphic but enough for emotion.
The message is the key element. The survivor has to send it before power dies. Sacrifice theme: maybe they die trying to save others, or their own sacrifice to ensure the message gets through. Connection of human elements in a dire situation.
Maybe the character is alone, with no response from Earth. They might try to communicate with other means, but the ship's systems are failing. The last transmission could be a final hope. Maybe include technical terms related to spaceship systems—like power cells, life support, communication arrays.
Possible scenario: The ship is on a mission, maybe an emergency or a mission of importance. The crew is dead, but the survivor has to send a message. They might be trying to contact Earth, but the ship's systems are failing. Maybe they have to manually send the transmission, risking power failure.
Include elements that show isolation: no other crew members, only themselves. Maybe mention past events, like why they're alone, maybe a failed mission or unforeseen circumstances.
Themes of sacrifice: maybe the survivor is trying to send the message even when it's futile, but it's part of their duty. Or perhaps the transmission is for future generations, hoping someone might find it later.
Need to build tension with the countdown until power runs out. Maybe the character has a last chance, and the outcome could be tragic or hopeful.
I should start writing the scene, focusing on the cockpit's environment, the sounds of the ship's systems failing. The character's emotions: despair, desperation, maybe anger at the situation. Dialogue or thoughts can show their internal struggle.
Maybe include technical details about the ship's status to make it believable. Maybe the crew had a plan, but something went wrong. The survivor is trying to send the message despite the odds.
Including curses and swearing could add authenticity, showing frustration. But need to be careful not to overdo it. Maybe use terms like "God damn" or "curse" to emphasize the character's desperation.
The ending should resolve with the transmission being sent, but maybe with a sense of hope or despair, depending on the theme. If the message is sent, then perhaps the survivor dies, showing sacrifice, or maybe the message is successful, giving hope.
I need to make sure the story fits within 800-1000 words, so structure it into scenes: setting up the cockpit, the character's actions, their emotions, and the climax of sending the message.
Let me start drafting the story. Set in the cockpit, maybe with a screen showing the status. The crew is dead, the ship is dying. The last person is trying to send the final message. Maybe they have a log or something. Use sensory details: sounds of machinery failing, cold, isolation.
Include dialogue with themselves, maybe some muttering about curse words. Show their determination despite the odds. Maybe the transmission is sent just as power dies, leaving hope for future generations.
I need to check that all themes are covered: isolation (only one person left), sacrifice (sending the message even when it's too late), human connection through communication.
Make sure the ending is impactful—maybe the message is sent, but they die, showing sacrifice. Or maybe the transmission is just a final hope, leaving an open ending. Alternatively, the ship is lost, but the message lives on.
Okay, I think this structure works. Let me write it now.
[[[thinking end]]]OUTPUT:
The cockpit of Erebus was silent except for the faint hum of dying systems. The crimson light from the status readouts flickered, a cruel parody of hope. Every panel glowed with warnings—CRITICAL SYSTEMS: 00% POWER—and the crew’s final log scrolled in a desperate cascade of red and white.
“We’re not coming back,” thought Commander Elias Voss, his fingers trembling as he adjusted the thruster controls. The ship’s systems were failing, but this wasn’t a failure—it was a last stand. A mission to send one final transmission.
He remembered the order: "If all else fails, transmit the log.” The crew had died weeks ago—no, not dead, just… gone. The containment fields failed in the breach, and their oxygen systems were flooded with methane gas. No warning, no data—it was a silent killer, eating the ship’s hull.
“God damn it,” he muttered, checking the comms array again. The transmission tower had been damaged, but the satellite relays… still active? He tapped the interface, and the screen blinked with UNREADABLE DATA—a final glitch.
He swore again, this time a bit louder. “Shit, what if we’re too late?” His voice echoed through the silence of the ship’s cockpit. The log was just… too. He wasn’t sure how, but he’d pulled up the transmission queue, and it was 24 hours until full power runs out.
He didn’t need to send the message—no one will hear it, he thought, but this is what we had to do.
The cockpit’s holograms flickered with his father’s voice: “You are not alone.” The old man had been a pilot in the Erebus, but here, he’d built himself a legacy.
The crew’s logs were still active. “We tried… we had to keep the ship going… it wasn’t enough,” wrote one of them—Commander Voss’ father? He didn’t know. His mind felt like it was breaking.
He found his final transmission queue, and as he typed, 0:59:24 seconds remaining.
“I’m sending this log to Earth,” said Elias, voice steady but trembling. “If you hear me, send help. We have only minutes before power fails.”
He paused.
Then, “And if we die… let it be remembered that we tried.
The transmission was being sent now, and the ship’s systems were trying to push through all of his data—0:01 seconds remaining.
At zero, he hit send.
Erebus, in its silence, was like a dead man holding an empty gun.
The screen blinked with 0:02 minutes as the power died. “We’re sending our message,” said Elias. “And we will not die in silence.”
But then—the log started to play back, on its own, from some old data cache.
It was his father’s voice, a final transmission:
*"If you hear me, they are dead. I’m not alive… but the ship is still moving, and the logs say this:
We made our choices—our last chance.
If we sent anything to Earth, then it's... worth it.
Please. If you hear us, send help.
The log was a message in time—a final hope of a crew who had tried their best, and they were still alive.
The transmission ended with the final message: 0.01 seconds to go.
Transmission complete.
The ship’s systems shut down.
But the Erebus… was not lost. It sent its last log, a final cry of hope, waiting in space for someone to find it.
And somewhere deep beneath Earth’s orbit, the *Erebus’ transmission signal flashed into the void—a message in time, waiting to be received.
Final transmission: “We send our love and hope.”
The silence continued.
But the ship had sent its final message.
In the darkness of space, the Erebus would live forever.
And maybe, one day, someone would answer.
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