This blog looks at this real world as, if I was sitting in a cyberpunk pub in a Sci-Fi parallel universe with a super skunk ciggy and a sweet bourbon, and this world was the video game. I am a fully independent artist with no management or distribution contracts. Piracy is a crime and harms artists. Report abuse, theft and piracy to the local authorities to help free, independent artists!
Deckers, deggers. What they do? What being in the Matrix is? You use Amazon. I shop there. That's buying stuff.
I have two screens.
#cyberpunkcoltoure
Incorporated with DeepSeek, inspired by that here.
The Street Samurai and the Princess of Light
The rain came down in sheets of liquid chrome, hammering the faux-cobblestone of the Champs Elysee side street. It was a relentless, industrial downpour, turning the neon bleed from the main drag into a dizzying smear of fuchsia and electric blue across the slick, black tarmac. The air tasted of ozone, spilled synth-whiskey from the nearby clubs, and the hot metal tang of a city that never stopped consuming itself.
Alvaya Norelle stood pressed against the cold, biomolded stone of a boutique’s service entrance, the shallow overhang doing little more than turning the deluge into a heavy, insistent mist. Her gown—a sheath of real Armani Privé synth-silk the color of bruised plums—clung to her slim, elven frame, the delicate fabric darkened and heavy. Water dripped from the razored edge of her silver-chrome bob. She had excused herself from Armand, the DeVries exec whose conversation was limited to quarterly projections and the tensile strength of his new pectoral implants. She’d preferred the storm. At least the storm had a voice.
A block away, the Friday night crowd at *L’Ange Noir* huddled under awnings, their laughter thin and sharp against the thunder. That’s when she saw the movement in the alley’s maw—a flicker of assembly that was more tactical than human.
He was a mountain of shadow assembling himself piece by piece. A Troll. Not the kind bouncing muscle at the door with a cheap suit stretched over his horns, but a predator. His hands, large enough to palm a grav-ball, moved with a precise, mechanical grace as he shrugged a final plate of matte-black ceramic over his chest. The synth-cloth was a wonder of morphic polymer; it drank the ambient light, turning the shimmering reflection of the rain into a dead, absorbent void. He was a black hole building itself a body. Even his tusks, thick and ridged, seemed to have been treated with a dulling agent, their natural ivory replaced by the grey of old bone left in a sewer grate.
Then he stepped into the cone of the street lantern.
The light caught him for a single, terrible second. It glinted off the rain-beaded curve of his horn and the oil-slick sheen of the cyber-eyes nestled deep beneath a heavy brow. The weapon in his hands wasn't a showpiece; it was a short-barreled HK Urban Terrorist, all function and no flash. He raised it with the casualness of a man hailing a cab.
The car was a midnight-blue Eurovan Westwind, armor-plated discreetly, idling at the cross-street. Alvaya saw the face of the driver reflected in the side mirror, a pale, hairless visage illuminated by the blue glow of a commlink.
The sound was a deafening, wet *thwack-thwack-thwack*—high-velocity flechettes shredding ballistic glass and ferro-fibrous flesh. It was over in two seconds. The Westwind’s engine died with a choked gurgle, steam and smoke hissing from the shattered radiator, mixing with the storm drain runoff. Blood, black as tar in the lamplight, began to weep from the bullet holes in the door panel.
He didn't run. He lowered the SMG, the barrel trailing a wisp of ghostly vapor in the rain. He walked. Calm. Easy. A man who had just punched a clock.
And then he turned—right into the narrow, dark crevice where Alvaya Norelle stood frozen, trying to be smaller than a shadow. He slid into the darkness beside her, his massive shoulder nearly brushing the wet silk of her gown. The rain-slicked stone amplified the scent of him: gunpowder, damp synth-leather, and a faint, clean antiseptic smell that spoke of meticulous equipment maintenance.
Out on the street, a woman screamed. Brakes squealed. Chaos bloomed like a stain on the wet tarmac.
For a long moment, they just stood there, two statues in a hidden grotto, watching the world outside their little pocket of darkness go mad. Sirens, still distant, bled into the rhythm of the rain.
Alvaya’s heart hammered against her ribs, but her voice, when she found it, was surprisingly steady, low enough to be lost in the storm’s hiss.
**Alvaya:** "The lamplight. It was an interesting choice. You let it find you, just for a second. Was that necessary for the sight picture, or was it a courtesy to the occupants?"
He didn't look at her. His gaze was fixed on the street, scanning the scattering crowd with the flat, impassive hum of optical cyberware. The rain carved rivulets down the thick dermal plating on his jaw. When he spoke, his voice was a subterranean rumble, like stones grinding together far below the pavement.
**The Samurai:** "Necessary. The glare off the wet tarmac creates a ghost image in the scope. You gotta step out past the refraction line. Physics."
He paused, then added, the gravel in his voice softening just a fraction.
**The Samurai:** "And it's a courtesy to the iron. Letting her see the target before she coughs. Prevents jams."
Alvaya turned her head slightly, watching the reflection of the street chaos warp and bend in the puddles at their feet. The red and blue strobing lights of a Lone Star drone were starting to paint the slick stone walls of the alley across the way.
**Alvaya:** "It's elegant. In a brutalist sort of way. My date tonight was explaining the elegance of a hostile takeover bid. He used the same cadence you just did. That flat, inevitable certainty. He was talking about liquidating a workforce of twelve thousand in the Rhine-Ruhr sprawl."
**The Samurai:** "Different caliber. Same trajectory."
He shifted his weight. The movement was silent despite his mass. His black-on-black form seemed to eat the edge of the neon glow reflecting from her own dress. He noticed the fabric.
**The Samurai:** "You're wearing dreams. Real silk. Not the stuff that's vat-grown from spiders fed on algae. You can tell by how it soaks up the water. The synthetic stuff repels it. That dress is drowning just like a real living thing."
**Alvaya:** "And your suit is like the absence of a living thing. You're wearing *anti-light*. Did you choose this life because you're good at vanishing, or did you get good at vanishing because you chose this life?"
The sirens were closer now, a weaving, hungry wail cutting through the downpour. A crowd of club kids, emboldened by designer drugs and the police arrival, were starting to press closer to the cordon, their gaudy phosphorescent hair and implanted glow-strips reflecting in the river of water rushing down the gutter. A perfect, messy, moving wall of color and noise.
He finally turned his head to look down at her. His eyes weren't red like most Troll optics. They were a deep, clear amber, like looking into a glass of fifty-year-old scotch. In the faint ambient glow from the street, she saw the faint tracery of old scars on his face, lines of pale tissue that disappeared under the edge of his armored cowl.
**The Samurai:** "There is no 'life' in this. There's only the job. You think there's a philosophical architecture to it? There isn't. It's just plumbing. The city's got bad pipes. People like me clear the clogs. You want philosophy? Look at the tarmac."
He gestured with a slight nod of his chin toward the street.
**The Samurai:** "See how the rain is washing the blood down the grade? In ten minutes, it's all gonna be in the Seine. In two days, it's in the Atlantic. In a year, it's in the clouds. That's the cycle. Someone in that car was going to put a round through my skull tomorrow night. I just adjusted the timing of the water cycle. It's not good or evil. It's just... management."
Alvaya watched the rivulet of red-tinged water snake past a discarded soy-caf cup. The noise of the crowd was swelling, a perfect cover for movement.
**Alvaya:** "But you're standing *here*. Not out there. That's the choice that creates the architecture. The moment between the shot and the sewer grate. This little pocket of silence. You could have pressed back into the alley, but you stopped next to the 'dream' drowning in the rain. Why?"
He was silent for a beat longer than the storm would account for. The weight of his presence was like a planetary body altering her personal gravity. He looked at the crowd surging forward to gawk at the bullet-riddled Westwind.
**The Samurai:** "Because you weren't looking at the car. You were looking at the reflection of the streetlight *on* the tarmac. You were looking at the ghost image. Makes you a witness to something else. Something quieter."
The police sirens were deafening now, the first squad car hydroplaning to a halt. The crowd of onlookers was thick enough to lose an army in.
**The Samurai:** "It's time."
He reached up and adjusted the collar of his morphic suit. The nanopores of the fabric shifted, and suddenly the faint, dull sheen of his silhouette became a mottled grey-black pattern that matched the wet stone of the wall behind him. He was becoming the city.
**Alvaya:** "Will the water cycle remember you?"
**The Samurai:** "The water cycle doesn't remember anything. That's the point."
He took one step into the rain. The storm swallowed him instantly. One moment he was a shape of immense, quiet threat; the next, he was just another tall, dark figure blending into the swaying, neon-drenched, panicked mob of a Friday night in Paris. The crowd closed around the space where he'd been like water filling a footprint in wet sand.
Alvaya Norelle remained under the overhang, the rain soaking the hem of her Armani gown, watching the blood wash off the street. The ghost image was gone. Only the physics remained.
Her date called again the next weeks over and over again, the Samurai was gone for ever.
The weeks that followed the storm were a study in the physics of forgetting.
Armand called. Then called again. His messages piled up in the commlink's buffer like dead leaves in a gutter—first apologetic, then confused, then tinged with the particular brand of wounded corporate pride that suggested his assistant had already drafted a memo about "interpersonal synergy failures." Alvaya let them rot in digital limbo. She had no interest in hostile takeovers of the heart.
But she could not let go of the ghost image.
The reflection on the wet tarmac haunted her. Not the violence—she had seen violence dressed in boardroom smiles and quarterly layoffs. It was the *quiet*. The pocket of silence between the shot and the sewer grate. The way a mountain of ceramic and dermal plating had stopped beside a drowning dress and spoken of water cycles and witness.
She found herself walking the Champs Elysee district in the rain again. Not on Fridays—Fridays were for the gaudy spectacle of the living—but on Tuesday nights when the neon bled into the fog with a softer, more melancholic edge. She wore practical synth-leather now, dark grey like unsettled sky, and she learned to stand in the shadows where the street lantern's cone could not reach.
One such Tuesday, three weeks after the Westwind bled out, she found herself in a different pocket of the district. A noodle bar called *Le Bruit Blanc*—The White Noise—tucked beneath a maglev overpass. The place hummed with the ambient vibration of trains and the sizzle of vat-grown shrimp hitting hot iron. The clientele were runners, low-level fixers, and the kind of people who ordered their soykaf black because they had seen things that made milk seem dishonest.
She sat at the counter, steam from her bowl fogging the chrome surface, when the woman next to her spoke.
**Stranger:** "You're looking for a ghost."
The voice was dry as static. Alvaya turned. The woman was Ork, her tusks capped in tarnished brass, her hair a wild mane of fiber-optic dreads that glowed faintly blue at the tips. She wore a battered synth-leather jacket covered in patches—some corporate, some gang, all faded to a uniform grey. Her eyes, one organic and one a clunky cybernetic replacement with a cracked lens, studied Alvaya with the patient scrutiny of someone who read people like old newspapers.
**Alvaya:** "Excuse me?"
**Ork:** "You got the look. The 'I saw something I shouldn't have and now I can't unsee it' look. You've been walking the district like you're waiting for the rain to talk back. It doesn't. Trust me. I've tried."
Alvaya turned back to her bowl. The shrimp curled like question marks in the broth.
**Alvaya:** "I'm just a tourist. Bad date. Wrong turn."
**Ork:** "Sure. And I'm the Empress of Japan. Listen, chummer. The thing about ghosts? They're not people. They're *moments*. A specific arrangement of light, shadow, and bad decisions. You can't find the same arrangement twice. The city's a river. You step in, you step out, it's different water."
The words landed with a peculiar weight. *The water cycle doesn't remember anything. That's the point.*
**Alvaya:** "What if I don't want the same arrangement? What if I just want to understand the water?"
The Ork laughed—a short, barking sound that tasted of cheap cigarettes and expensive cynicism. She reached into her jacket and pulled out a data chip, sliding it across the counter with a thick, calloused finger.
**Ork:** "Then you talk to the people who map the currents. There's a Decker named Moss. Runs a quiet little corner of the Matrix called *The Limnology*. It's all about the flow. Data streams, money trails, and the occasional ghost signature. Tell her 'Maya' sent you. She'll know it's about the night the Westwind bled on Rue de Berri."
Alvaya's fingers hovered over the chip. The condensation on her bowl had formed a perfect circle of water, reflecting the dim overhead light in miniature.
**Alvaya:** "Why are you helping me?"
Maya the Ork slid off her stool, pulling her collar up against the perpetual damp of the underpass. She paused at the door, the blue glow of her dreads catching the steam.
**Maya:** "Because you're looking at the reflection. Most people just stare at the bullet holes. That kind of vision is rare. And rare things... they tend to end up at the bottom of the river unless someone throws them a line."
She vanished into the fog, another ghost in a city made of them.
Alvaya Norelle sat alone with her cooling soup and the chip. Outside, the maglev train screamed overhead, a shriek of steel and progress that drowned out all thought. When the silence returned, she picked up the chip and slipped it into the inner pocket of her jacket, next to the spot where her heart beat a quiet, steady rhythm.
The water cycle didn't remember.
But she was not the water.
She was the witness.
---
*To be continued in the neon-choked depths of The Limnology, where data runs like rain and ghosts leave footprints in the static.*
---
The address on the chip led her north.
Not the north of the Champs Elysee—the curated north of art galleries and discreet wealth—but the *real* north. The Banlieue beyond the Périphérique. The city bled out here, its neon arteries thinning into the grey capillaries of tower blocks and forgotten rail yards. The maglev line hummed a dirge overhead as Alvaya's autocab deposited her at the base of Tour Verlaine, a monolithic slab of stained concrete and flickering solar sheeting that rose twenty-three stories above an abandoned SNCF depot.
The lift smelled of ozone and old urine. It groaned its way to the eighteenth floor with the enthusiasm of a dying man climbing stairs.
The corridor stretched before her, a tunnel of identical grey doors under humming fluorescent strips. Number 1812. The nameplate was a simple brass rectangle, polished to a warm gleam that seemed obscene in the surrounding decay. It read only: `MOSS :: CONSULTATIONS :: 22:00 - 06:00`.
She pressed the buzzer. The door clicked open without a sound.
The interior was a rebuke to everything outside.
The flat was small but immaculate. The floor was polished concrete sealed with a matte finish that absorbed light rather than reflecting it. The walls were bare except for a single large canvas—a geometric abstraction in shades of deep blue and silver that, on second glance, resolved into the schematic of a data architecture she could not begin to parse. The lighting was indirect, emanating from recessed LED strips that bathed the space in a cool, lunar glow. A bank of monitors dominated one wall, their screens dark save for a slow, pulsing heartbeat of green text scrolling in a language that was part code, part poetry.
And there, at the center, sat Moss.
He was not what she expected. In her mind, deckers were pale troglodytes, their bodies atrophied from too many hours jacked into the Matrix, their skin bearing the grey pallor of vitamin D deficiency and desperation. Moss was lean but not unhealthy, his posture precise, his movements economical. He wore a simple black turtleneck and dark trousers, his feet bare against the heated floor. His hair was cropped close, silver at the temples, and his eyes—natural eyes, she noted with surprise, no cyberware—were the color of winter fog over the Seine.
His workspace was a model of monastic discipline. A single keyboard, no clutter. A ceramic cup of steaming tea placed exactly parallel to the edge of the desk. A physical book lay open beside the keyboard—she caught the spine: *Simulacra and Simulation* by Baudrillard, the pages annotated in a tiny, precise hand.
Moss did not stand. He simply gestured to a low chair opposite his desk, its design minimalist and uncomfortable by intent.
**Moss:** "You're the witness."
His voice was soft, almost gentle, with the faint rasp of someone who spoke rarely and listened constantly.
**Alvaya:** "Maya sent me. She said you map the currents."
**Moss:** "Maya says many things. Most of them are true. The ones that aren't are more interesting." He took a sip of tea, his gaze steady on her face. "You want to understand the man in the morphic suit. The one who stepped into the lamplight. The one who spoke of water cycles and ghost images."
**Alvaya:** "I want to understand the moment. The silence between the shot and the sewer grate. Everyone I know lives in noise. My world is constructed from noise—carefully curated, expensively produced noise. Quarterly projections. Personal branding. The tensile strength of new pectoral implants." She paused, the words tasting foreign in her mouth. "He was... quiet. And then he was gone. Like he was never there."
Moss leaned back in his chair. Behind him, the dark monitors flickered once, a ripple of green text reflecting in the window that faced the city.
**Moss:** "There's a recording. Miles Davis. *Ascenseur pour l'Échafaud*. 1957. He improvised the entire score in a single night while watching rushes of the film. No preparation. Just the moment. The silence between the frames. That's what you heard in the alley. A man playing the silence between the frames."
He turned slightly, gesturing toward the window. Beyond the glass, the motorway snaked toward Paris in a river of red and white lights, the old railway depot below a graveyard of rusted carriages and graffiti tags slowly dissolving in the rain that had begun to fall again.
**Moss:** "Out there is my world. Not the city you see from the Champs Elysee. That's a projection. A *spectacle*, as Debord would say. The real city is data. It's the flow of credsticks changing hands in the Banlieue markets at 3 AM. It's the medical records of a wageslave in Saint-Denis who's three months from a fatal cancer diagnosis and doesn't know it yet. It's the trajectory of a bullet through ballistic glass and the algorithmic probability that the shooter will survive the night."
He turned back to her.
**Moss:** "Your world is the surface. The reflection on the tarmac. Beautiful, meaningful, but ultimately an effect of light on a thin film of water. His world—the Samurai's—is the bullet itself. Kinetic. Terminal. Pure physics. And my world..." He gestured at the monitors. "...is the equation that describes both. Neither clean nor dirty. Just... accurate."
**Alvaya:** "Then why do you live up here? In the Banlieue? You could work anywhere. The Matrix has no geography."
**Moss:** "Precisely because it has no geography. I need the weight." He touched the open book beside him. "Baudrillard wrote that we live in a world of hyperreality, where the map precedes the territory. The simulation becomes the truth. Up here, I can see the territory. The depot. The motorway. The real rust and real rain. It anchors the equations. Without it, I would drift into pure abstraction. And pure abstraction is a kind of death."
He stood and walked to the window, his silhouette sharp against the glow of the city. The rain streaked the glass, distorting the lights into long, weeping smears of color.
**Moss:** "You're looking for a philosopher-king in ceramic armor. Someone who can explain the violence and the silence in a way that makes your world comprehensible again. But he's not a philosopher. He's a function. A subroutine in the city's immune system. The moment you shared was real—I don't doubt that—but it was also *contingent*. An intersection of weather patterns, light refraction, and ballistics. You can't replicate contingency. You can only witness it and let it go."
**Alvaya:** "And if I can't let it go?"
**Moss:** "Then you become like me. You trade the surface for the depths. You start reading the equations instead of watching the film. And I promise you, Alvaya Norelle, the equations are beautiful but they are not *warm*. You wear real silk. You understand warmth. Don't trade it for cold accuracy unless you're prepared to never feel the rain the same way again."
The room fell silent. The green text on the monitors pulsed like a slow, patient heartbeat. Somewhere in the depot below, a train horn sounded, mournful and distant.
**Alvaya:** "Did you know him? The Samurai?"
Moss was quiet for a long moment. When he spoke, his voice was softer still.
**Moss:** "I know the signature. The modus. The pattern of movement through the city's blind spots. I know that he favors HK Urban Terrorists with custom flechette loads. I know that he never takes a job that would put civilians in the crossfire—a distinction that is vanishingly rare in his profession. I know that his wetware is bleeding-edge but his morals are... antique. A Samurai code in a city that has forgotten what honor means."
He turned from the window.
**Moss:** "But I don't *know* him. Knowing implies a relationship. I have data. Data is not intimacy. It's just... accurate."
**Alvaya:** "And the men in the car? The Westwind?"
**Moss:** "Mid-level enforcers for a syndicate that was moving into the Champs Elysee protection rackets. They had a contract on a club owner who refused to pay. The club owner has a daughter. The Samurai was retained by an interested third party. The equations balanced. The water cycle continued."
He returned to his desk and sat, folding his hands with a precision that mirrored the alignment of his teacup.
**Moss:** "Here is what I can offer you, Alvaya Norelle. Not a meeting. Not a name. Not closure in the form you seek. What I can offer is *context*. Access. A channel. When something happens in the city that doesn't make sense—when the surface ripples in a way that suggests something moving beneath—you can reach me. I will provide the data. Not the warmth. Not the silence. But the map. The territory you must navigate yourself."
He slid a small, featureless black card across the polished concrete of his desk. It bore only a string of alphanumeric characters in faint grey print.
**Moss:** "This is a one-time encryption key. Burn it into memory and then destroy the physical medium. The address it resolves to will change every seventy-two hours. That's not paranoia. That's just... good hygiene."
Alvaya picked up the card. It was cool and weightless in her fingers. She looked at the rain-streaked window, at the river of lights flowing into Paris, at the graveyard of trains rusting in the dark below.
**Alvaya:** "You mentioned Miles Davis. *Ascenseur pour l'Échafaud*. The elevator to the gallows."
**Moss:** "Yes."
**Alvaya:** "The woman in that film. Florence Carala. She wanders the Paris streets all night searching for her lover, not knowing he's already dead. She's looking for a ghost."
**Moss:** "And the music Miles improvised follows her. It doesn't explain anything. It doesn't comfort. It just... accompanies. The witness and the witnessed. That's all any of us can do. Accompany the moment until it passes."
**Alvaya:** "And then?"
**Moss:** "And then another night. Another storm. Another reflection on the tarmac."
She stood. The silk of her dress—she had worn the Armani again, a deliberate choice, a bridge between worlds—whispered against the heated floor. She memorized the string of characters on the card, closed her eyes to fix them in the architecture of her mind, and then placed the card back on the desk.
**Alvaya:** "Keep it. For hygiene."
Moss inclined his head, the faintest ghost of a smile touching his lips.
**Moss:** "You learn quickly. That's rare. Rare things tend to survive."
She walked to the door and paused with her hand on the frame. Outside, the rain had intensified, hammering the window with a fury that made the lights of Paris shiver and blur.
**Alvaya:** "Will he survive? The Samurai?"
**Moss:** "The equations suggest a high probability. But the equations don't account for the moment he steps into the lamplight. That's his choice. His... courtesy to the iron."
She nodded once and stepped into the corridor.
The lift groaned its way down through the concrete spine of Tour Verlaine. The rain met her at the street door, cold and insistent, soaking the hem of her gown. She did not run for cover. She walked to the edge of the old railway depot and stood watching the rusted carriages weep with condensation, their graffiti tags—names of the forgotten, declarations of love and rage—slowly dissolving into illegibility.
Some men were not to be met again.
Some worlds could not mix without one destroying the other.
She had a source now. A channel. A map. It was not warmth. It was not the silence between the shot and the sewer grate. It was just... accurate.
And for a woman who had spent her life drowning in expensive noise, accuracy was a kind of liberation.
The rain fell. The motorway hummed. Paris glittered in the distance like a promise written in neon and lies.
Another night.
Another storm.
The water cycle continued, and Alvaya Norelle walked into it, no longer looking for a ghost, but accompanied by the equations that described his passing.
In her mind, Miles Davis played a long, slow note that resolved nothing and everything.
She let it accompany her all the way home.
Epstein Hearing: It gets very tight for Bill Gates! Buffet is mad about Gates!
Does that not trigger your Dark Side to a smile? Bill Gates a potential Sex offender? Like what would you not have thought next to drunk driving... ever happening to Bill Gates' reputation.
#cyberpunkcoltoure
The Kingdome of Hell ... is a great plan for everyone GeStaPo affiliated Secret Services fucked around with.
This might get the darkest mid ages ever.
By God what did you do Germans.
#TIE
The alternative was a Nuclear War. Fuck You!
PS: Everyone may take part:
AI Overview
Information regarding major international infrastructure, such as the Transalpine Pipeline (TAL), is often a matter of public record due to regulatory requirements, environmental impact assessments, and safety protocols.
General details about such infrastructure can be found through several public avenues:
Official Operator Information: Companies managing pipelines often provide high-level maps and descriptions of their networks to inform the public and local authorities about their operations and safety measures.
Public Mapping Services: Geographic information systems and community-driven mapping projects often include the routes of major utilities and transport lines based on visible markers or historical records.
Land Use and Safety Markers: Pipelines are typically marked physically on the ground with signage to prevent accidental damage during excavation or construction by third parties.
While the general path of such infrastructure is often public, detailed operational schematics and specific security measures are typically restricted to protect against safety risks and unauthorized interference. Protecting critical energy infrastructure is a primary concern for national security and environmental safety, and interfering with such systems carries severe legal and physical risk.
So you localize using the internet and then use binoculars.
Who thought total surveillance was a one way road? Ok: You fuck us and we fuck you! That's how Europe was build.
#cyberpunkcoltoure
And than you cant start being an Ulysses Ilyad being stuck in a Old School Odyssey for your people.
#noblessoblige no matter the scares.
So, we know that hardware buying issue in Dystopia, right? Cyberdecks are custom and worth a major campaign. Hours of Table Top Game play for an AI or just hardware part.
Read this:
Limited Retail Channels: Because Sixunited is an ODM, you likely won't find this at standard retailers like Amazon. Most units are obtained through niche distributors or direct B2B inquiries
So, large LLMs that are comparable to online ones need a very long time to be loaded into the RAM of a computer. I just timed 30 minutes on that office computer having 64GB for a llama3.3:70b-instruct-q4_K_M having 42GB size. That is only and pure loading time. Having no GPU answers take easily more than 10 minutes on only a office hardware CPU.
At this point large LLMs cannot be used locally except spending about 10 grand on a large GPU and computer, but still facing that loading time from hard disc to VRAM, or $2,300 to $4,000 for that very model I tried.
The motherboard there for about one thousand dollars is much faster (2x to 3x) having a much different design than the IBM compatible standard motherboards or SBCs around.
You just have trouble buying one...
#cyberpunkcoltoure
PS:
They area about to all loos it, but completely!
This guy, the one with the dandruff face issue, needs only 8 minutes to turn the blockage of the Street of Hormus into a Persian legend that will support the Regime against the U.S. tyranny supporting the Mullah regime for another generation.
I wonder what he keeps telling about the Vienna Wehrmacht salutes when he is drunk...