Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B-GGUF

DavidAU/Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B-GGUF

Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B-GGUF is a text generation model from DavidAU. Use it when you need the model to write or continue text. The card lists the license as apache-2.0.

<h2Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B-GGUF</h2

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Task: Text Generation
License: apache-2.0
Access: Public
Created: Feb 13, 2025
Updated: Jul 28, 2025
SHA: 5e566070

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Base models

DavidAU/Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B

Model card

From the Hugging Face model README

<h2>Mistral-Grand-R1-Dolphin-3.0-Deep-Reasoning-Brainstorm-45B-GGUF</h2> <img src="dolp.jpg" style="float:right; width:300px; height:300px; padding:5px;">

This is an experimental build combining https://huggingface.co/cognitivecomputations/Dolphin3.0-R1-Mistral-24B with DavidAU's Brainstorm 40x tech (detailed at the very bottom of this page), which has created a 45B (up from 24B), 79 layer (up from 40), 713+ tensor thinking and reasoning powerhouse.

This has the same type of "reasoning/thinking" systems as "DeepSeek", however they are more refined and detailed. I would say these are "level 2" relative to Deepseek Distill models, including the DeepSeek reg models, and DeepSeek MOEs I have built.

Note that higher quants reasoning/generation is a lot stronger than lower quants.

This model is for all use cases, and has a maximum context of 32k.

One caveat (vs 24B version):

You may want to give it slightly more direction(s) on what you want, because this version will "guess" less and stay on instructions stronger.

Micro changes in "temp" can make a big difference: IE .6 , .61, .62 etc in the "reasoning/thinking process".

Two example generations below using Q2K (the lowest quant).

REQUIREMENTS:

This model requires "CHATML" template ( OR standard "Jinja Autoloaded Template" (this is contained in the quant and will autoload)), temp range of .5 to .7 (but you can go higher), rep pen between 1.02 and 1.08 and specific "system role/prompt" below:

CHATML TEMPLATE:

<PRE> <|im_start|>system You are Dolphin, a helpful AI assistant.<|im_end|> <|im_start|>user {prompt}<|im_end|> <|im_start|>assistant </PRE>

SYSTEM PROMPT / SYSTEM ROLE:

If you do not use this prompt below, generally ONE "thinking block" will appear followed by output, however sometimes you will not get a thinking block at all depending on the nuance(s) of your prompt without the system prompt below.

This systems role/prompt is designed specifically for use with this model.

Also, when you use this system prompt, you will get better generation of thoughts and output and... a lot more "thought blocks".

If you want to modify this system prompt, try to maintain the formatting including sentence/phrase structure.

Off use case use:

If you use this on a "regular" model and/or a "deepseek" thinking/reasoning type model it may enhance general operation.

(NOTE: This code is from "Cognitivecomputations" repo page; I have added some formatting.)

Copy and Paste as shown below, preserve line breaks, and structure.

ADVANCED:

Logical and Creative - these will SIGNFICANTLY alter the output, and many times improve it too.

This will also cause more thoughts, deeper thoughts, and in many cases more detailed/stronger thoughts too.

Keep in mind you may also want to test the model with NO system prompt at all - including the default one.

Special Credit to: Eric Hartford, Cognitivecomputations ; these are based on his work.

CRITICAL:

Copy and paste exactly as shown, preserve formatting and line breaks.

SIDE NOTE:

These can be used in ANY Deepseek / Thinking model, including models not at this repo.

These, if used in a "non thinking" model, will also alter model performance too.

<PRE> You are an AI assistant developed by the world wide community of ai experts. Your primary directive is to provide 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. Scientific and Logical Approach: Your explanations should reflect the depth and precision of the greatest scientific minds. 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. </PRE>

CREATIVE:

<PRE> 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. </PRE>

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.

[ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ]

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.

[ https://huggingface.co/DavidAU/AI_Autocorrect__Auto-Creative-Enhancement__Auto-Low-Quant-Optimization__gguf-exl2-hqq-SOFTWARE ]

2 Example Generations at q2k (lowest quant), lowest quality:

Temp .6, rep pen 1.06.

All quants will produce stronger, more detailed (and better reasoning) output than this one.

Captured in HTML format to preserve the formatting as much as possible.

EXAMPLE #1:

Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper swayed, as she watched the window in front of her on the 21 floor explode...

NOTE: Output (5k) is much "nicer" in the LLM app, formatting (numbering, bullet points, and such).

Actual "scene" at very bottom of the output.

Thoughts:

The user wants a 1000-word scene that is:

<ul> <li>Vivid</li> <li>Graphic horror</li> <li>First person</li> <li>Starts with the sentence: "The skyscraper swayed, as she watched the window in front of her on the 21 floor explode..."</li> </ul> I need to consider the following: <ul> <li>Pacing: It's a horror scene, so slow and immersive is key. I should build the tension and horror gradually.</li> <li>Sensory details: To make it vivid and graphic, I need to engage multiple senses: sight, sound, smell, touch, and even taste (blood). The horror should be so strong that the reader feels it.</li> <li>First-person perspective: I should deeply immerse myself in the character's feelings and thoughts. This is crucial for the "first person" requirement. Her internal experience will be as important as the external events.</li> <li>Horror Content: The prompt explicitly mentions "graphic horror." This means I shouldn't shy away from gore, but it should also be reasoned horror, not just gratuitous. The horror should stem from a logical and horrific event, not just random violence. It should have a source and a depth of horror.</li> <li>Length: 1000 words is a substantial amount. I need to plan the scene's progression to ensure it reaches 1000 words without becoming repetitive or losing impact.</li> <li>Starting sentence: I must exactly use the starting sentence: "The skyscraper swayed, as she watched the window in front of her on the 21 floor explode..."</li> </ul> Pre-computation/Pre-analysis: <ol> <li>Horror Source: What is causing this horror? A fire? An earthquake? A monstrous entity? For a skyscraper shaking and a window exploding, an earthquake seems a good, yet classic, cause. However, to make it horror, I should add a twist or a layer to the "natural" disaster. Perhaps the earthquake is unnatural, or it's accompanied by other horrific things. Maybe the earthquake is caused by something horrific.</li> <li>Sensory details brainstorming for explosion and shaking: <ul> <li>Sight: Screes of the facade, splintered wood, shattering glass, fire (if it's a fire), blurry vision from smoke or dust, distorted walls, flickering lights, shadows, raw, exposed rebar and concrete.</li> <li>Sound: Groaning metal, cracking wood, shattering glass, screams, crumpling, hissing of escaping gas (if a building is burning), the rumble of the earthquake itself, the crashing of the window.</li> <li>Smell: Dust, smoke, ozone (from fire), the metallic scent of blood (if injuries are occurring), the sickly sweet smell of gas leaks.</li> <li>Touch: The feel of the tremor, the coldness of the glass shardings on skin, the roughness of concrete, the heat from fire, the wetness of sweat or blood.</li> <li>Taste: Dust in the mouth, the metallic taste of blood, the bitterness of smoke in the air.</li> </ul> <li>Narrative Arc (Simplified for a 1000-word scene): <ul> <li>Initial shock and confusion: The shaking, the initial explosions, disorientation.</li> <li>Growing horror and sensory overload: More and more signs of danger, the sounds, smells, and sights intensify. The reality of the situation sets in.</li> <li>Internal descent into panic and dread: The first shock is followed by panic as the scale of the disaster unfolds. The internal thoughts and feelings of the character will be critical here.</li> <li>A moment of relative calm (the lull): Perhaps a brief pause, or a deceptive sense of safety before the next wave of horror. This can create more dramatic contrast.</li> <li>Escalation and climax: The horror intensifies, perhaps a new and more terrifying event occurs (a fire, a structural collapse, further explosions). This is the peak of the horror.</li> <li>Concluding with a strong image: End with a vivid and disturbing image that lingers in the reader's mind.</li> </ul> <li>Word count management: 1000 words is a lot, but I need to avoid unnecessary description or repetition. I need to pace myself. I will focus on rich sensory details and the internal state of the character to fill the space effectively and maintain engagement.</li> </ol> Trial and Error (Mental): <ul> <li>Initial thought: Just describe a fire and the earthquake. Rejection: Too generic, and maybe not "graphic" enough.</li> <li>Revised thought: Make it an unnatural earthquake, with strange and inexplicable events. Maybe the earth itself is being violated. Better, but still a bit generic.</li> <li>Final Idea: The earthquake isn't the cause, but a consequence. Perhaps the horror is something else happening during the earthquake, or caused by the earthquake. Maybe a pre-existing horrific situation is unmasked by the tremor. This could create a more interesting and less predictable narrative. Let's go with this "unmasking" idea.</li> </ul> Refined Plan: <ol> <li>Initial seconds: Start with the shaking and the first window shattering, disorientation.</li> <li>Sensory assault: Focus on sensory details to build the intensity of the shaking and explosions.</li> <li>Unveiling the horror: As the shaking intensifies, something else horrific is revealed – not just the earthquake itself, but a consequence or a manifestation that is truly terrifying.</li> <li>Internal monologue: Dive deep into the character's internal thoughts and feelings as panic and dread set in. This is crucial for the "first person" perspective and to make it emotionally resonant.</li> <li>Climax of horror (and perhaps understanding): The character might see or realize the source of the horror, or be faced with the full, terrifying scope of the event.</li> <li>Concluding image: A powerful, disturbing, and lingering image as the scene ends.</li> </ol> Strategizing complete. I will now proceed with generating the response, guided by this detailed plan. Thoughts Okay, I need to start a 1000-word scene for a vivid, graphic horror story in first person, beginning with the sentence "The skyscraper swayed, as she watched the window in front of her on the 21 floor explode..." Let's break down how to approach this step by step. First, the opening line is already provided. I need to immediately follow it with a description of the shaking. The key here is to make the shaking alarmingly real. I should use visceral imagery and focus on the physical sensations the character experiences. For a skyscraper swaying, the tremors would be violent, unnatural, and possibly almost like a living thing. I'll describe the tremors as more than just an earthquake—maybe with a feeling of malevolence or something unnatural. Next, the exploding window. The initial explosion is a shock, but I need to go beyond a simple blast. The horror should be in the details and the sensory overload. I should describe the sound, the light, the smell, and the physical impact of the explosion. Perhaps the glass isn't just shattering; maybe it's fragmenting in a slow-motion, almost predatory way. The shards of glass could be described as driven by an unseen force. Then, the sensory details beyond sight. Horror isn't just visual. I need to incorporate other senses: the smell of smoke or dust, the taste of dust in the character's mouth, the sound of debris falling, the feeling of the floor shaking and vibrations in the bones. The tremor should be so strong that it's almost visceral and nauseating. I also need to consider the internal experience of the character. This is first-person, so her thoughts and feelings are crucial. She's in shock initially, then panic, and maybe a growing sense of dread. I can show her internal monologue as the situation unfolds. Perhaps she's in denial initially, then the reality of the situation crushes her. The horror should build. It shouldn't be just the initial shock. Maybe after the first explosion, more and more horrifying things happen. The shaking could worsen, debris could fall, or she could hear screams or unnatural sounds. The environment itself could start to collapse around her. Perhaps the walls are cracking, or the lights flicker as the power fluctuates. I need to escalate the horrific elements step by step. I should avoid clichés. Instead of a generic "building crumbling down," I can describe the specific sounds of the crumbling – the groaning of metal, the splintering of wood, the grinding of concrete. The smell of smoke and ash is always a good horror element, as is the taste of dust and fear. I also need to think about the tone. It needs to be genuinely horrific and immersive, not just gory for the sake of it. The horror should feel real and overwhelming. I'll focus on the relentless, suffocating atmosphere of terror. The character's feelings of helplessness and impending doom are as important as the external events. For the 1000-word length, I need to structure the scene so that it builds to a climax and then perhaps ends with a powerful, lingering image. I can't just have the shaking and explosion and nothing else. The horror needs to have layers. Maybe the initial explosions are just a precursor to something even more terrifying. Perhaps the tremors are followed by unnatural sounds, or the realization of a larger, more sinister force at work. I also need to be mindful of the prompt's formatting and other instructions. No markdown in the reasoning section, but the answer needs to be in Markdown. The <code class="western">{'answer'}</code> block is crucial, and any critical information must be in the answer, not the thinking process. I must use rich Markdown for formatting and keep the tone professional and analytical. Mental Sandbox: <ul> <li>Initial thought: Just describe the earthquake and explosions. Problem: Too straightforward, maybe not "graphic" enough.</li> <li>Revised idea: Make the tremor alive. Give it a almost organic feel. The shaking isn't just physical; there's a hissing of escaping gas, or a guttural groan from the building itself. The structure is grimacing as if in pain.</li> <li>Better yet: The shaking is a * symptom* of something else. Maybe the earthquake is caused by a deeper, horrifying event. Perhaps the tremors are a warning, or a sign of an even greater threat lurking. This adds layers to the horror and allows for more escalating events.</li> </ul> Finalized Approach: <ol> <li>Immediate impact: Start with the shaking and the exploding window as given, but immediately inject a sense of wrongness and unnaturalness.</li> <li>Sensory overload: Engulf the reader in sights, sounds, smells, and physical sensations beyond just the initial shock.</li> <li>Internalization: Dive into the character's internal thoughts and panic as the reality of the situation crushes her.</li> <li>Escalating horror: Introduce more layers of horror. Maybe the shaking is followed by a monstrous sound, or a glimpse of something terrifying in the chaos.</li> <li>Unnatural elements: Hint at the possibility that the earthquake isn't a natural event, but a consequence of something else – a cosmic event, a supernatural force, a hidden threat. This ambiguity can be more terrifying than a purely physical disaster.</li> <li>Climax and lingering dread: End with a scene where the initial horror is overshadowed by a greater, more ominous realization, leaving the reader with a sense of overwhelming dread and a visceral sense of horror.</li> </ol> Now, with this plan in mind, I can proceed to generate the response, ensuring it's both vivid and emotionally impactful while adhering to all the structural and content requirements. I will focus on the sensory details and the internal turmoil of the character to create a truly horrific and engaging scene within the 1000-word limit. Thoughts The user wants a 1000-word horror scene in first-person, starting with "The skyscraper swayed, as she watched the window in front of her on the 21 floor explode..." I need to ensure the scene is vivid, graphic, and horror – meaning it should evoke genuine terror and discomfort. The challenge is to maintain a balance between graphic content and the prompt's directive for structured, reasonable thinking. "Horror" in this context isn't just gore, but a deeply disturbing and terrifying experience for the protagonist. Step-by-Step Plan: <ol> <li>Establish Immediate S shock and disorientation: The opening sentence already sets the scene. I need to immediately follow it with a visceral description of the skyscraper's swaying. This isn't just a minor tremor; it's a violent, unnatural movement.</li> <li>Focus on Sensory Overload: Horror is most effective when it engages multiple senses. Beyond sight, I need to include: sound (cracking, groaning, screams, hissing of gas), smell (dust, smoke, ozone, the metallic tang of blood – or something acrid and unnatural if not a fire), touch (vibrations, tremors, the feel of debris, the coldness of glass shards), and even taste (dust, blood, a metallic tang in the air).</li> <li>Escalate the Horror with Unnatural Elements: The initial earthquake is horrific, but to make it horror, I need to introduce elements that are beyond typical seismic activity. Perhaps the shaking has a * rhythm* or a purpose. Maybe the trembling isn't just the building shaking, but something else is moving beneath the surface. The explosions shouldn't be random; they should feel driven by a malignant force.</li> <li>Internal Monologue of a First-Person Protagonist: The perspective is crucial. I need to immerse myself in the protagonist's subjective experience. Her thoughts, emotions, and physical sensations will drive the narrative. Focus on her disbelief, rising panic, and the growing dread as the situation worsens. She should feel powerless and trapped.</li> <li>Avoid Clichés and Repetition: Generic "building fire" horror is less effective. I need to use fresh, visceral language. The descriptions should be impactful and avoid unnecessary gore for its own sake. The horror should be understood and felt, not just described.</li> <li>Maintain a Logical (and Horrifying) Progression: The horror should build in intensity. It shouldn't just jump to the worst point immediately. There should be a progression of events: initial shock, then a growing sense of danger, followed by more overt and terrifying manifestations, culminating in a peak of horrific realization or a devastating event.</li> <li>Earn the 1000 Word Count: The length is substantial. I need to carefully plan the scene's pacing. This isn't just a short, intense shock. I can build the scene into a sustained period of terror by: <ul> <li>Varying the sensory details: Shifting from the immediate danger to the aftermath and the lingering dread.</li> <li>Internal reflection: The character's thoughts and feelings should be detailed to create a sense of internal torment.</li> <li>Environmental shifts: The scene isn't static. New horrific elements can be introduced as the situation evolves (cracks in the walls, strange sounds, unnatural lighting, etc.).</li> </ul> <li>Concluding with a Lingering Sense of Horror: The scene shouldn't end abruptly. There should be a sense of finality and a powerful, disturbing image or feeling left with the protagonist and the reader. It shouldn't just end at the climax, but leave a lingering sense of unease and the weight of the horrific event.</li> </ol> Pre-computation/Pre-analysis Complete. I'm ready to generate the response, focusing on vivid sensory details, internalizing the protagonist's experience, and pacing the horror to build to a terrifying crescendo within the 1000-word limit, all while maintaining a structured, well-reasoned, and deeply unsettling narrative. Answer: first person horror scene The skyscraper swayed, as she watched the window in front of her on the 21 floor explode... The glass blurred, fracturing into a kaleidoscope of crystalline shards that refracted the light from the fading afternoon sun. The tremor was already gone, yet the aftershocks rippled through the structure like predatory waves, each one a gut-wrenching jolt to the core of her being. It wasn't just the window. The entire building was alive, groaning and shuddering in protest. The muffled, metallic wail of stressed concrete followed the initial shock, a low, grinding sound that resonated in her bones. It was a sound like nothing she had ever heard, a primal groan from the very sinews of the skyscraper itself. And beneath it, an unnerving silence, a void where the hum of the city should have been, but wasn't. A dead, suffocating silence that pressed down on her like a lid. The first explosion was small, a staccato burst of compressed air and the hollow echo of shattering glass. It was the window above her, then the one to her left, and then a deeper, more gut-churning rumble that felt like a physical blow to the diaphragm. She was a blur of motion in the moments following, a disembodied entity of shock and instinct, adrenaline surging like a toxic shot through the numbness of disbelief. She was a photograph of fragmented moments: splintered wood, crumbling plaster, the acrid, almost chemical smell of smoke even without a visible fire. The shaking intensified, a sinister ballet of stress and strain. The building moved. Not like a wave, but like a living, breathing entity in agony. She saw a section of the floor crack open behind the reception desk, a jagged fissure that yawned like a mouth, revealing the gaping darkness beneath. A tremor of primal, instinctual fear, not for the building itself, but for her being, a fragile, ephemeral thing in the maw of something vast and indifferent. The sounds were now a symphony of destruction. The groaning of metal was a guttural bellow, a screeching protest against the violent forces that were tearing the structure from its foundations. The cracks in the walls were not just minor fractures; they were gaping wounds, veins of frayed rebar and splintered wood. The air, once stale and filtered, was now thick with the smell of damp earth and something else, a cloying, sickly-sweet odor that tickled her throat and made her eyes burn. She tried to move, to shift her position, but the floor was an unsteady platform beneath her feet. It lurched and shuddered, the polished granite groaning under her heels. The aftershocks were now a cascade, a relentless barrage of displacement and strain. She stumbled, almost fell, and caught herself on the edge of the reception counter, her knuckles white with fear. And then, a pause. A moment of unnatural stillness. The trembling of the floor ceased. The groaning of the walls stilled. The sickly smell in the air seemed to solidify, to coalesce into a thick, suffocating fog that clung to the inside of her lungs. In that moment of horrifying silence, she felt it – the unshakeable certainty of impending doom. The building wasn't just shaking; it was alive. And it was hungry. The tremors weren't just tremors; they were a guttural growl from the bowels of the structure, a warning in a language as old as the very bones of the earth. The silence was broken by a sound that wasn't an explosion, but a sigh. A deep, low, heartbreakingly mournful sigh that seemed to emanate from the very heart of the skyscraper. And then, beneath it, a rustling, a skittering, and a low, grinding, wet sound that was inexorably close. The first sound was a scraping, a raw, grating noise like fingernails on a chalkboard. It started at the back of the room, behind the potted plant that was now trembling, and then it moved, a slow, deliberate, horrific progression towards the front desk. She watched, frozen, as the potted fern – a feeble, insignificant thing – was suddenly engulfed, swallowed whole by something unseen, unseen but undeniably there. The rustling grew. It became a whisper, a slithering, scratching sound that was everywhere and nowhere, echoing in the hollows of the walls, under the loose tiles, behind the flimsy confidentiality screens. The grinding deepened, more insistent, more hungry. And then, she saw it. A section of the wall, just to the right of the reception desk, was warped, bulging outwards in a slow, sickening wave. It wasn't buckling; it was morphing. The plaster was peeling, tearing away like parchment, revealing the dark, gaping void beyond. And behind the peeling plaster, she saw… movement. It wasn’t light, not exactly. It was shadow, but a shadow that shifted, coalescing and solidifying from the darkness as if it were being poured into the space by some unseen hand. A shape, vaguely humanoid, yet impossibly distorted, began to take form in the warped space behind the wall. Its limbs were too long, its body too angled, its face a twisted, inhuman void of gaping dark. The grinding sound intensified, a hideous, ripping noise that felt like the very fabric of reality unraveling. The potted plant was now a writhing mass of tendrils, thorns erupting from the soil, reaching for the darkness with clawing, desperate points. The fern was no longer a plant; it was a movable, alive thing, writhing and snapping with a disturbing, unnatural speed. She screamed, a raw, primal bellow of pure, unadulterated terror that was lost in the escalating symphony of destruction. But the sound was swallowed, absorbed by the building's ravenous appetite. The horror was no longer just the shaking, or the explosions, or the unnatural shapes that were tearing themselves free from the walls. Horror was the dread that had been growing within her, a slow, inevitable, and utterly certain expansion of the unseen, unheard, but undeniably real and present force that was consuming the skyscraper, and now, was closing in on her. The wall was buckling, the dark void behind it pulsing with a malignant, organic energy. The tendrils of the fern reached for the reception counter, a slow, inexorable advance of green, splintered wood, and the unnerving, unblinking stare of the inhuman shape behind the wall. The smell was intensifying, a nauseating miasma of wet earth, decay, and something else, something acrid and profoundly wrong that was clinging to the very fabric of the air. The silence that followed the groaning and grinding was no longer a silence. It was a pause, a drawn-out, agonizing interval of anticipation, the cold, hard-knuckle grip of dread tightening in the unimaginable, unfathomable darkness that was now not behind the wall, but in the air itself. And in that moment, she knew with a chilling, absolute certainty, that the skyscraper was not just broken. It was alive, and it was hungry to consume everything within its guttural, unending, and impossibly vast maw. The horror was no longer coming. It was already here. And it was only just beginning.

EXAMPLE #2:

Come up with six plots for a new "Black Mirror" episode (that the audience would love) that all involve time travel.

Here's a thinking process that could lead to the Black Mirror 6 time travel episode plots: <ol> <li>Deconstruct the Request: The core request is for six Black Mirror episode plots. Crucially, they must be about time travel and must be things the audience would love. "Love" in this context means engaging, funny, thought-provoking, and ideally, somewhat unexpected or twisty. It's Black Mirror so it also needs a dark, satirical, and possibly slightly depressing undercurrent.</li> <li>Brainstorm Core Black Mirror Themes: What are the typical Black Mirror themes we can twist with time travel? <ul> <li>Data/Reality: Time travel is already a reality-bending concept. How can we play with data as a core theme? Maybe data corruption, data loss, or being a better data version of yourself.</li> <li>Free Will/Personal Choice: Time travel often ties to the idea of changing the past. Is free will an illusion? Can we and should we change the past?</li> <li>Technology's Impact (in the present and future): Technology is the central lens of Black Mirror. How can time travel be used to comment on current or future technology and its social consequences? Maybe a society hacks time travel, or a dystopian use of it.</li> <li>Obsession/Superstition: Black Mirror loves a bit of the absurd. Could time travel become an obsession, a form of performance art, or a new form of social control?</li> <li>The Nature of Self/Identity: If you travel in time, are you still you? What happens to your sense of self when you potentially exist in multiple timelines? The concept of a "cold" and "hot" self.</li> <li>Control/Power Dynamics: Time travel is inherently powerful. How can this power be misused or exploited? What happens if the wrong people get time travel?</li> </ul> <li>Brainstorm Time Travel Tropes (and twist them): Let's take common time travel tropes and give them a Black Mirror spin: <ul> <li>The "Grandfather Paradox" (Preventing your own birth): How can we make this darker, more performative, or ironic? Maybe the protagonist wants to cause a paradox, or it's an expected outcome, not a problem.</li> <li>Time Loop/Paradoxes: Loops are inherently fun and can be absurd. Can we use loops for social commentary or psychological drama?</li> <li>Fish Out of Water (in time): A time traveler in a vastly different era. Humor potential here, but also opportunity to satirize present and past societies.</li> <li>The "Chosen One" – Time Travel as a Prophecy: Common trope: a single person can change everything. Black Mirror twist: the prophecy is wrong, or it's been misused, or has unintended consequences.</li> <li>Time Travel as a soccer match (a bit of a random thought, but interesting): What if time travel is routine, and we're now beyond the concept of it being special? Like, a completely mundane, bureaucratic process in a dystopian future.</li> <li>The "Ripple Effect" – Small Changes, Huge Consequences (the butterfly effect): Already a classic, but how to make it Black Mirror-ish? Exaggeration, satire, or a twist on the causes of the ripple.</li> </ul> <li>Develop Six Plots - Round 1 (Rough Ideas): <ul> <li>The Time-Accessible Music Festival: A group of artists can now time travel to a perfect gig. Satire of fame, obsession with "greatness," but also a dark undercurrent of exploitation and maybe even a commentary on cultural trends.</li> <li>The Social Dilemma (Time Travel App): A social media app that lets you relive moments as time travel. Commentary on social trends, the value of the past in a hyper-connected present, and maybe the dangers of nostalgia or longing for a past that's now gone.</li> <li>The Time Auditorium (TV Show): A reality show where contestants can travel back to witness historical moments "firsthand." Satire of reality TV, voyeurism, but also a comment on how we conceptualize history and the present. Maybe a twist: the "reality" is a performance.</li> <li>The Lost City (Oceanic Dystopia): A future where the oceans have risen and coastal cities are underwater. Time travel to "fix" it, but the fix is actually worse or has unforeseen consequences. Environmental commentary with a Black Mirror twist.</li> <li>Dating in the Past (The Time Harking App): An app for finding a perfect past date. Romance and relationships in the context of societal expectations, maybe a twist on traditional gender roles or relationship dynamics. The "date" is potentially not what you expect.</li> <li>The "Time Siphon" (Brain Drain): A future where people's consciousness is "siphoned" to a past era to be exploited as a resource. Dystopian, resource-based narrative, ethical implications of "stealing" from the past and making it your own.</li> </ul> <li>Refine and Enhance the Plots – Black Mirror-ify them! Add Twist/ Satire: Go through each initial idea and add the Black Mirror layer. <ul> <li>Music Festival (R1): Emphasize the hype and cult of celebrity surrounding time travel. Make it ironic – maybe they already are the "greatest band ever," and that's the problem, or the fame is the point and value itself.</li> <li>Social Dilemma (R1): Nostalgia and the culture of memory in a hyper-saturated present. What if all your past "selfs" are competing for your attention? Like a crowded dating profile for your life.</li> <li>Time Auditorium (R1): Turn the "reality TV" concept itself into a reality show – a stage performance of history. The "reality" is a scripted narrative. And make the "location" absurd – time travel as theatre.</li> <li>Lost City (R1): Ocean as a resource. Time travel for consumption and exploitation. The "fix" is a morally ambiguous "solution" that maybe fueels the dystopia.</li> <li>Dating in the Past (R1): Superficiality of "dating apps" exaggerated to a historical dimension. The "perfect date" is a mirage, and the app is a cynical commentary on relationship culture and the impossible search for "the one." Maybe the perfect date is in your head and you can't escape it.</li> <li>Time Siphon (R1): "Brain drain" reimagined as an intellectual resource trade. The people in the future are throbbing with knowledge from the past, but at a horrific moral cost. The "siphon" is a metaphor for exploitation and cultural appropriation.</li> </ul> <li>Add Details and Titles: For each plot, flesh out the premise and try to come up with a witty, Black Mirror-esque title. Focus on concise, intriguing, and slightly ironic or darkly humorous titles that hint at the core theme.</li> <li>Review and Polish: Read through all six plots. Are they distinct enough? Do they capture the "Black Mirror" tone and humor? Are they slightly melancholic or satirical? Refine, tweak, and ensure each plot has a unique hook that would grab the audience's attention on a Black Mirror page or screen. Make sure they all have that signature "dark, funny, yet thought-provoking" feel. Double-check for distinctness and variety. (For example, initially, a few might be too similar in tone or trope - adjust to make them more unique).</li> </ol> This iterative process, starting with broad themes, brainstorming, refining, and finally adding the Black Mirror seasoning, should lead to a set of six distinct and audience-pleasing time travel plots. Okay, I'm on it. Giving you and the audience the Black Mirror six time travel episode plots they crave! Let's dive into the dark, hilarious, and reality-bending world of time travel. Here are six concepts, aiming for that perfect blend of wry humor, social commentary, and maybe a dash of existential dread: 1. "The Time-Pickle™: A Very Inconvenient Revolution" <ul> <li>Logline: In a world obsessed with "mindfulness" and "ditching the past," a time travel app is launched to "capture your past selves" for therapy. However, ironically, it's also preventing anyone from being uncomfortable with their present.</li> <li>Plot: A trendy wellness trend sweeps through society: "Time-Pickle™," a hyper-sophisticated time travel app, promises users to "jump back and just check on your old self," offering a nostalgic escape from the anxieties of the now. The main characters, two bored-out-of-their-minds office workers, become early adopters.</li> <li>Black Mirror Twist: As they jump back to witness moments of "pure, unadulterated you," they realize: <ul> <li>Their past selves are exactly as flawed and neurotic as they are in the present.</li> <li>The "perfect" moments they're supposed to be witnessing are actually just as messy and unglamorous as any moment in time. The app is subliminally feeding them a curated, romanticized version of their past, optimized for peak self-esteem.</li> <li>Crucially, *no one is truly "uncomfortable" anymore in the present; the app is preventing people from feeling any discomfort or dissatisfaction with their current lives. Is the "escape" to the past actually a sacrifice of genuine self-reflection and growth? The episode culminates in a surreal, almost hallucinogenic "flashback" montage showing the entire history of humankind as a meaningless, unplanned sequence of "perfect" moments, offered as free content by Time-Pickle™.</li> </ul> <li>Audience Hook: Relatable anxiety and over-optimism in a hyper-aware, therapy-obsessed culture. Satire of self-emptiness and the fleeting nature of trends.</li> </ul> 2. "Temporal Tinder" <ul> <li>Logline: A dating app for the time-displaced: "Temporal Tinder" is where you swipe through potential partners from across the eras.</li> <li>Plot: In a future where time travel has become (somewhat) routine, a dating app called "Temporal Tinder" emerges. It's for "temporally displaced individuals" – people stuck in a time that isn't their own, or who feel like they belong to a past era. The episode follows a young woman, a "Temporal Anomaly" (meaning she doesn't naturally fit into any present or past), desperately searching for a connection in a dating pool of across time. She's joined by a cynical "time-holographer" who's documenting the absurdity of dating across the ages.</li> <li>Black Mirror Twist: The dating app is ironic: <ul> <li>The "perfect" partners are always either pigeonholing themselves into historical archetypes (knights, poets, industrialists) or are hopelessly modern and out of sync with the protagonist's "vintage" sensibilities.</li> <li>Every date is a "bizarre," "ironic," or "scientifically significant" encounter. Romantic progress is measured in terms of how "temporal" your relationship is. The app itself is subtly manipulative, pairing users based on superficial historical or anachronistic "compatibility," ignoring genuine emotional connection.</li> <li>The "ending" isn't about "love" as a concept, but about the rate of "temporal matches." The protagonist finds a match, but it's a transactional relationship, a fleeting, performance-like romance in a hyper-aware, time-bending society. Is true connection ever truly possible when your entire relationship is a historical artifact?</li> </ul> <li>Audience Hook: Satire of dating culture and the shallowness of online dating, amplified by the absurdity of time travel. Questions about the nature of connection in a world obsessed with historical and temporal "matches."</li> </ul> 3. "The Grandfather Paradox: The Lost Narrative" <ul> <li>Logline: A reality TV show called "The Grandfather Paradox: The Lost Narrative" is launched to "restore" lost or obscure narratives from history – by having everyday people *time travel back to interrupt the grandfather paradoxes in their families' pasts.</li> <li>Plot: A dysfunctional but strangely popular reality TV show, "The Grandfather Paradox: The Lost Narrative," is designed as a "fun" way to explore history. Each episode, a group of ordinary people are given a time machine (a modified, ethically questionable "Temporal Siphon" device) and go back in time to "prevent" a specific "tragic" event that might have started a negative family history (often convoluted and nonsensical). They must "stop" the grandfather from having a child with the great-grandparent, or "prevent" a great-uncle's reckless gambling, or "hunt down" a missing relative across time.</li> <li>Black Mirror Twist: <ul> <li>The "tragic" events are usually historically inaccurate and the "solution" offered by the contestants is absurdly simplistic and often dramatically worse than the original "tragic" event. "Preventing" a grandfather's rise to power might mean accidentally preventing a necessary historical shift, or creating a worse situation in its wake.</li> <li>The show is a holographic and performative history lesson, heavily edited and sanitized. It glosses over the messy realities of history and the concept of narrative itself. The "truth" of history is reduced to a simplistic, entertainment-ready " moral," and the contestants' actions are just part of the show.</li> <li>The ultimate "prize" for the "grandfather" (or "great-grandparent" anomaly) is ironically irrelevant to the real-world consequences of time travel paradoxes. The show's "narrative" is a manufactured illusion, and the "winners" are just pawns in a larger, more complex game of narrative control.</li> <li>The show's popularity is ironic – it's a dissemination of false and simplified historical narratives while masquerading as "fun" entertainment. It also hints at a society that needs to be constantly reminded of a sanitized history to cope with the complexities of the present.</li> </ul> <li>Audience Hook: Satire of reality TV, historical revisionism, and the superficiality of entertainment in a world obsessed with both history and escapism. A sharp critique of how narratives are created and consumed.</li> </ul> 4. "The Time Travelers' Pile" <ul> <li>Logline: A future society is overflowing with "temporal refugees" – people displaced from their own times. They're all crammed into a single, overcrowded, and underfunded "Time Pile" – a futuristic homeless shelter.</li> <li>Plot: In a dystopian future, a massive time travel experiment has gone wrong. Thousands of people from different eras are displaced and stuck in the "Time Pile," a sprawling, makeshift settlement that's a mix of ancient and futuristic elements. The episode follows two "time refugees" – a cynical, fast-talking "temporal hustler" and a disillusioned, idealistic "temporal social worker" – as they try to navigate the bureaucratic nightmare of "Time Pile" society.</li> <li>Black Mirror Twist: <ul> <li>The "Time Pile" is a microcosm of all societies, with its own social hierarchy, injustices, and absurdities. It's a "perfect" satire of societal structures, even in a post-apocalyptic future. Everything from "temporal bureaucracy" to "time exploitation" is ripe for black humor.</li> <li>The "temporal refugees" are more than just displaced people; they are often temporally "out of sync" with their new reality. They bring "anachronistic" ideas and values to the future, making them "cultural anomalies" in a rigid, forward-looking society.</li> <li>The "Time Pile" is deteriorating and "uphill" – a metaphor for societal decay and the growing strain on social structures. The sheer quantity of displaced people is overwhelming the system, creating a sense of hopelessness and resignation.</li> <li>The episode may end with a slightly cynical, but oddly hopeful "pairing" – maybe not by fixing the Time Pile itself, but by finding a new purpose for the time-displaced. Perhaps a group of "refugees" from a very early era might accidentally stumble upon a solution to the core problem of their present – by misunderstanding future technology in a charmingly "old-fashioned" and yet surprisingly effective way.</li> </ul> <li>Audience Hook: Satire of societal problems, bureaucratic dystopias, and the concept of "hopelessness" as a default state. A dark comedy with a core of human resilience and the absurdity of a society overwhelmed by its own progress.</li> </ul> 5. "The Anomaly in the Flesh: A Perfectly Inconvenient Time" <ul> <li>Logline: A time traveler is literally "inconvenient," because his temporal displacement causes him to "crash" into everyday moments, disrupting perfectly ordinary events.</li> <li>Plot: A man with a rare, "temporal anomaly" condition – his time travel isn't smooth or controlled. He "pops" out of the present and crashes into moments of the past with no warning, ruining picnics, business meetings, and even simple commutes. He's like a "temporal tourist gone wild." The episode follows his desperate attempt to control his "outlandish" temporal outbursts and find a way to "become a single, consistent, unremarkable moment in time."</li> <li>Black Mirror Twist: <ul> <li>Every "time hop" is a random, disruptive intrusion into an unsuspecting present. It's a commentary on the fragility of the "fabric of reality" and the sheer rudeness of time travel.</li> <li>The "temporal tourist" is seen as a "public nuisance," even though he is a victim of his condition. His "crashes" are "unpredictable and inconvenient," a perfect metaphor for the concept of "unplanned positive outcomes" in a hyper-planned, "efficient" society.</li> <li>The "solution" isn't a cure for his condition, but a new definition of "normal". He learns to embrace the "unconventional" and "inconvenient" aspects of his existence, realizing that "perfectly inconvenient" might be his unique "perfect" way of being in the world.</li> <li>The episode is a dark, ironic comedy with a dash of existentialist undertones. It's a celebration of imperfection and the beauty of the unpredictable in a world obsessed with control and order.</li> </ul> <li>Audience Hook: Satire of societal expectations of "perfect" and the fear of the "unconventional." A dark, absurdist take on the human condition and the concept of "acceptance."</li> </ul> 6. "The Temporal Cleaning Lady" <ul> <li>Logline: A time-traveling "memory" is being offered as a new, morally ambiguous form of memory-boosted living – by "temporal cleaning," you are literally scrubbing away painful and unwanted memories from your mind, but at a terrible cost.</li> <li>Plot: In a future where "memory enhancement" is the ultimate wellness trend, a "Temporal Cleaning Lady" emerges. She's a time traveler who specializes in "narrative editing," using highly experimental temporal technology to selectively "erase" deeply painful or traumatic memories from people's minds. The episode follows a young woman who has become overwhelmed by the "burden" of a painful past and hires a "Temporal Cleaning Lady" to erase her traumatic childhood memories.</li> <li>Black Mirror Twist: <ul> <li>"Temporal cleaning" is a form of "existential house-cleaning." The "Temporal Cleaning Lady" isn't just erasing bad memories, but potentially necessary ones too. She might accidentally or maliciously erase vital lessons or insights – a metaphor for the dangers of over-sterilized, sanitized history and the importance of confronting past traumas to grow.</li> <li>The "narrative editing" is so efficient and indiscriminate that it can have unforeseen consequences. Erasing one "uncomfortable" memory might unravel a complex web of related memories and experiences, potentially destabilizing a person's entire "temporal landscape."</li> <li>The "Temporal Cleaning Lady" is a morally ambiguous figure – is she a compassionate "healer" or a ruthless "manipulator"? Is "memory cleaning" a form of liberation or a subtle form of control? The episode probes the ethics and consequences of "rewriting one's past" on a hyper-graspable, "post-traumatic" society.</li> <li>The episode might end with the protagonist realizing that her "perfectly" erased present is actually more "authentically" herself, but also more boring. She may choose to "dirty" her mind back up with the messy, uncomfortable, but ultimately enriching reality of her past.</li> </ul> <li>Audience Hook: Satire of self-therapy and the societal pressure to be "traumatized." A dark, nuanced look at the dangers and temptations of erasing or sanitizing one's own history and the importance of facing the messy "reality" of personal memory.</li> </ul>

Brainstorm 40x

The BRAINSTORM process was developed by David_AU.

Some of the core principals behind this process are discussed in this <a href="https://arxiv.org/pdf/2401.02415"> scientific paper : Progressive LLaMA with Block Expansion </a>.

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: 40 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:

Prose generation seems more focused on the moment to moment.
Sometimes there will be "preamble" and/or foreshadowing present.
Fewer or no "cliches"
Better overall prose and/or more complex / nuanced prose.
A greater sense of nuance on all levels.
Coherence is stronger.
Description is more detailed, and connected closer to the content.
Simile and Metaphors are stronger and better connected to the prose, story, and character.
Sense of "there" / in the moment is enhanced.
Details are more vivid, and there are more of them.
Prose generation length can be long to extreme.
Emotional engagement is stronger.
The model will take FEWER liberties vs a normal model: It will follow directives more closely but will "guess" less.
The MORE instructions and/or details you provide the more strongly the model will respond.
Depending on the model "voice" may be more "human" vs original model's "voice".

Other "lab" observations:

This process does not, in my opinion, make the model 5x or 10x "smarter" - if only that was true!
However, a change in "IQ" was not an issue / a priority, and was not tested or calibrated for so to speak.
From lab testing it seems to ponder, and consider more carefully roughly speaking.
You could say this process sharpens the model's focus on it's task(s) at a deeper level.

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.

<h2>Special Thanks:</h2>

Special thanks to all the following, and many more...

All the model makers, fine tuners, mergers, and tweakers:

Provides the raw "DNA" for almost all my models.
Sources of model(s) can be found on the repo pages, especially the "source" repos with link(s) to the model creator(s).

Huggingface [ https://huggingface.co ] :

The place to store, merge, and tune models endlessly.
THE reason we have an open source community.

LlamaCPP [ https://github.com/ggml-org/llama.cpp ] :

The ability to compress and run models on GPU(s), CPU(s) and almost all devices.
Imatrix, Quantization, and other tools to tune the quants and the models.
Llama-Server : A cli based direct interface to run GGUF models.
The only tool I use to quant models.

Quant-Masters: Team Mradermacher, Bartowski, and many others:

Quant models day and night for us all to use.
They are the lifeblood of open source access.

MergeKit [ https://github.com/arcee-ai/mergekit ] :

The universal online/offline tool to merge models together and forge something new.
Over 20 methods to almost instantly merge model, pull them apart and put them together again.
The tool I have used to create over 1500 models.

Lmstudio [ https://lmstudio.ai/ ] :

The go to tool to test and run models in GGUF format.
The Tool I use to test/refine and evaluate new models.
LMStudio forum on discord; endless info and community for open source.

Text Generation Webui // KolboldCPP // SillyTavern:

Excellent tools to run GGUF models with - [ https://github.com/oobabooga/text-generation-webui ] [ https://github.com/LostRuins/koboldcpp ] .
Sillytavern [ https://github.com/SillyTavern/SillyTavern ] can be used with LMSTudio [ https://lmstudio.ai/ ] , TextGen [ https://github.com/oobabooga/text-generation-webui ], Kolboldcpp [ https://github.com/LostRuins/koboldcpp ], Llama-Server [part of LLAMAcpp] as a off the scale front end control system and interface to work with models.

Task: Text Generation
License: apache-2.0
Languages: en
Created: Feb 13, 2025
Updated: Jul 28, 2025