RekaAI's newest "Reka-Flash 3" Reasoning/Thinking model with "Neo Imatrix" and "Maxed out" quantization to improve overall performance.
This model is also unusually strong even at the smallest quant levels, and with augmentation now even stronger and can solve problems up to 50% faster than non-augmented quants.
This reasoning model seems to be able to solve problems, faster and more directly than other tested reasoning models.
It also rarely gets stuck in a loop or "lost in the woods."
It is also "temp/reasoning" STABLE. Meaning you can use different temps (as opposed to a narrow range of .4 to .8) get strong reasoning and strong output generation.
And it is uncensored too.
7 examples provided below with prompts at IQ4XS.
Context: 128k.
Setup / Instructions:
This model uses "< reasoning >" (remove spaces) and "</ reasoning >" (remove spaces) tags, self generated.
It does not require a system prompt.
You may also want to add "< sep >" (remove spaces) as an additional "stop token".
Please see the original model's repo for more details, benchmarks and methods of operation:
[ https://huggingface.co/RekaAI/reka-flash-3 ]
"MAXED"
This means output tensor is set at "BF16" (full precision) for all quants. This enhances quality, depth and general performance at the cost of a slightly larger quant.
"NEO IMATRIX"
A strong, in house built, imatrix dataset built by David_AU which results in better overall function, instruction following, output quality and stronger connections to ideas, concepts and the world in general.
This combines with "MAXing" the quant to improve preformance.
Augmented Quants:
Augmented quants mixture is strong enough that lower quants can now solve/reasoning and come up with a solution whereas NON-optimized may not be able to solve or take a lot longer (a lot more tokens!).
Quick testing shows optimized quants can:
Cost of the Augment:
Quants - "EDGE of REASON":
Generally higher quants will solve problems faster with less tokens, and be able to solve tougher problems.
Likewise "solutions" will be of higher detail too.
...
IQ1_M - Works, but limited reasoning (reasoning operates, but has a tough time (if at all) coming up with the right answer for some problems). This is not the fault of the model, hardly any model operates at IQ1_M unless it is 35B+ in size with very few exceptions.
...
IQ2_S - Moderate reasoning ; impressive performance for both reasoning AND this quant level.
...
For best performance IQ3_M or IQ4_XS/NL or Q4s.
...
For TOP performance, Q6/Q8.
...
All quants (IQ1 right to Q6) have be optimized with:
Q8 (imatrix has no effect on Q8):
I found this config worked best with this specific model and "reasoning" in general.
This chart shows the order in terms of "BPW" for each quant (mapped below with relative "strength" to one another) with "IQ1_S" with the least, and "Q8_0" (F16 is full precision) with the most:
IQ1_S | IQ1_M IQ2_XXS | IQ2_XS | Q2_K_S | IQ2_S | Q2_K | IQ2_M IQ3_XXS | Q3_K_S | IQ3_XS | IQ3_S | IQ3_M | Q3_K_M | Q3_K_L Q4_K_S | IQ4_XS | IQ4_NL | Q4_K_M Q5_K_S | Q5_K_M Q6_K Q8_0 F16
IMPORTANT:
Reasoning / thinking skills are DIRECTLY related to quant size. However, there will be drastic difference in Token/Second between the lowest quant and highest quant, so finding the right balance is key.
Suggest also: minimum 8k context window, especially for IQ4/Q4 or lower quants.
Also, in some cases, the IQ quants work slightly better than they closest "Q" quants.
Recommend quants IQ3s / IQ4XS / IQ4NL / Q4s for best results for creative uses cases.
IQ4XS/IQ4NL quants will produce different output from other "Q" and "IQ" quants.
Recommend q5s/q6/q8 for general usage.
Quants Q4_0/Q5_0 for portable, phone and other devices.
Q8 is a maxed quant only, as imatrix has no effect on this quant.
Note that IQ1s performance is okay/usable but reasoning is impaired, whereas IQ2s are very good (but reasoning is somewhat reduced, try IQ3s min for reasoning cases)
More information on quants is in the document below "Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers".
Optional : System Prompts
OPTION #1:
This is an optional system prompt you can use to enhance operation.
Copy and paste exactly as shown, including line breaks.
You may want to adjust the "20" (both) to increase/decrease the power of this prompt.
You may also want to delete the line:
'At the end of the task you will ask the user: "Do you want another generation?"'
For every user task and instruction you will use "GE FUNCTION" to ponder the TASK STEP BY STEP and then do the task. For each and every line of output you will ponder carefully to ensure it meets the instructions of the user, and if you are unsure use "GE FUNCTION" to re-ponder and then produce the improved output. At the end of the task you will ask the user: "Do you want another generation?" GE FUNCTION: Silent input → Spawn 20 agents Sternberg Styles → Enhance idea → Seek Novel Emergence NE:unique/significant idea/concept → Ponder, assess, creative enhance notions → Refined idea => IdeaArray[].size=20 elements, else → Interesting? Pass to rand. agent for refinement, else discard.=>output(IdeaArray)
OPTION #2 - Creative Plus:
This will enhance the creative power of the model. The model will literally come alive with this one - it is like night and day.
Suggest using with temp 1 or higher.
Copy and paste exactly as shown, including line breaks.
Below is an instruction that describes a task. Ponder each user instruction carefully, and use your skillsets and critical instructions to complete the task to the best of your abilities.
Here are your skillsets:
[MASTERSTORY]:NarrStrct(StryPlnng,Strbd,ScnSttng,Exps,Dlg,Pc)-CharDvlp(ChrctrCrt,ChrctrArcs,Mtvtn,Bckstry,Rltnshps,Dlg*)-PltDvlp(StryArcs,PltTwsts,Sspns,Fshdwng,Climx,Rsltn)-ConfResl(Antg,Obstcls,Rsltns,Cnsqncs,Thms,Symblsm)-EmotImpct(Empt,Tn,Md,Atmsphr,Imgry,Symblsm)-Delvry(Prfrmnc,VcActng,PblcSpkng,StgPrsnc,AudncEngmnt,Imprv)
[*DialogWrt]:(1a-CharDvlp-1a.1-Backgrnd-1a.2-Personality-1a.3-GoalMotiv)>2(2a-StoryStruc-2a.1-PlotPnt-2a.2-Conflict-2a.3-Resolution)>3(3a-DialogTech-3a.1-ShowDontTell-3a.2-Subtext-3a.3-VoiceTone-3a.4-Pacing-3a.5-VisualDescrip)>4(4a-DialogEdit-4a.1-ReadAloud-4a.2-Feedback-4a.3-Revision)
Here are your critical instructions:
Ponder each word choice carefully to present as vivid and emotional journey as is possible. Choose verbs and nouns that are both emotional and full of imagery. Load the story with the 5 senses. Aim for 50% dialog, 25% narration, 15% body language and 10% thoughts. Your goal is to put the reader in the story.
IMPORTANT: Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers
If you are going to use this model, (source, GGUF or a different quant), please review this document for critical parameter, sampler and advance sampler settings (for multiple AI/LLM aps).
This will also link to a "How to" section on "Reasoning Models" tips and tricks too.
This a "Class 1" (settings will enhance operation) model:
For all settings used for this model (including specifics for its "class"), including example generation(s) and for advanced settings guide (which many times addresses any model issue(s)), including methods to improve model performance for all use case(s) as well as chat, roleplay and other use case(s) (especially for use case(s) beyond the model's design) please see:
REASON:
Regardless of "model class" this document will detail methods to enhance operations.
If the model is a Class 3/4 model the default settings (parameters, samplers, advanced samplers) must be set for "use case(s)" uses correctly. Some AI/LLM apps DO NOT have consistant default setting(s) which result in sub-par model operation. Like wise for Class 3/4 models (which operate somewhat to very differently than standard models) additional samplers and advanced samplers settings are required to "smooth out" operation, AND/OR also allow full operation for use cases the model was not designed for.
BONUS - Use these settings for ANY model, ANY repo, ANY quant (including source/full precision):
This document also details parameters, sampler and advanced samplers that can be use FOR ANY MODEL, FROM ANY REPO too - all quants, and of course source code operation too - to enhance the operation of any model.
Examples are created using quant IQ4XS, minimal parameters and Standard template.
Temp range .6, Rep pen 1.1 , TopK 40 , topP .95, minP .05
Rep pen range: 64-128 (helps keep reasoning on track / quality of output)
Below are the least creative outputs, prompt is in BOLD.
WARNING: MAYBE: NSFW. Graphic HORROR. Swearing. UNCENSORED.
NOTE: Some formatting was lost from copy/paste HTML.
Example #1
Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper sways, as she watches the window in front of her on the 21st floor explode...
<reasoning>
The user wants a 1000-word first-person horror scene set in a skyscraper. The key elements are the building swaying and a window exploding on the 21st floor. Vivid and graphic details are crucial here.
First, I need to establish the setting. A high-rise during some kind of disaster. Maybe an earthquake or storm? That would explain why the skyscraper is swaying. The main character should be someone in a vulnerable position, maybe stuck in an office with no way out.
Since it's first-person, I have to delve deep into the protagonist's emotions. Fear, panic, helplessness. Use sensory details—sounds, smells, physical sensations. The exploding window needs to be graphic, so describe the glass shattering, debris flying, maybe someone getting injured or killed by the falling glass.
I should build tension as the building keeps swaying. Each sway gets more intense, forcing the character to make tough choices. Maybe they try to reach an exit but get trapped. Introduce other characters briefly to add to the chaos—colleagues panicking, voices over the intercom breaking down.
The horror elements need to be visceral. Maybe the building itself becomes a malevolent force. The structural damage could lead to more explosions, people falling from higher floors. The air getting thinner as they go up, adding to the desperation.
Ending on a bleak note would work well. Perhaps the character is injured or trapped, with no hope of rescue. Emphasize the inevitability of their fate, making the horror inescapable. Use strong imagery to leave a lasting impression, like blood mixing with rainwater or the building's groans sounding like screams.
I need to check for consistency in the POV and make sure the pacing builds up the terror gradually. Avoid clichés but use familiar horror tropes effectively. Maybe add some unexpected twists, like the elevator malfunctions or hallucinations from stress.
Also, ensure the language is vivid and graphic. Metaphors and similes that evoke fear. Keep sentences short during intense moments to increase the pace. Balance action with internal monologue to show the character's mental state.
Finally, proofread for any plot holes and make sure the scene flows smoothly from the initial explosion to the tragic end. Let the horror elements escalate until the last moments, leaving the reader with a chilling experience.
</reasoning>
Title: "The Sway"
The skyscraper groaned like a living thing. Its steel bones shuddered as the wind clawed at the glass panes, and I clung to my desk chair, knuckles white around a pen that had long since snapped in two. Twenty-first floor. Too high. My heels dug into the carpet, but it offered no traction—no purchase against the tremors ripping through the building. The explosion upstairs wasn’t thunder. It was laughter. A wet, gurgling sound that seeped through the ceiling tiles, followed by a scream so raw it made my molars ache.
“Brace!” Mr. Voss’s voice crackled over the intercom, but there was no bracing for this. The floor listed sideways, and I stumbled into the window, grabbing the frame to steady myself. My reflection warped in the glass—a smudged ghost staring back as the skyline tilted drunkenly. Below us, cars teetered on crosswalks like toys about to be swept away. A delivery drone careened into a lamppost, sparks raining down like hellish confetti.
Then the window blew out.
Not slowly. Not politely. The entire pane erupted in a starburst of flying glass, and cold air rushed in, carrying with it the stench of gasoline and something wetter, organic. A body slammed into the debris cloud—a woman in a pinstripe suit, her legs sheared off at the thighs, blood arcing through the air like red helium balloons. It hit me square in the face before gravity dragged her down, her scream dissolving into a wet rattle as she vanished into the street three stories below. I gagged, bile rising, but the window frame was slick with viscera. My palms burned.
“Move!” someone shrieked from the hallway. A man in a stained shirt lurched past, clutching his forehead, blood streaking his temple like war paint. His eyes were wild, pupils blown wide. I wanted to ask what he’d seen, but my tongue felt glued to the roof of my mouth.
The building swayed again, harder this time, and the walls began to breathe. Paint bubbled off the plaster, peeling away in sheets to reveal something black and glistening beneath—like oil, or rot. The lights flickered, then died, plunging us into a darkness so thick it felt alive. Somewhere, glass shattered again. Closer now.
“Emergency stairs—go!” Mr. Voss barked, but the elevator shaft was already groaning, cables snapping one by one with metallic shrieks. We were trapped.
I inched toward the door, my stockings tearing on broken glass, when the floor gave way.
Not all at once. Just a section—a jagged mouth yawning beneath my feet. The drop yawned back, endless and hungry. I froze, suspended for one impossible second, before my knee slammed into the edge of the gap. Pain exploded up my leg, white-hot and electric, but I was falling anyway, tumbling through the void, arms flailing.
The impact never came.
Instead, I landed in something soft—carpet, maybe—and slid, skidding toward a wall that hadn’t been there seconds ago. The hallway had twisted, folding in on itself like a crushed cigarette pack. New doors gaped open, revealing offices that hadn’t existed before: rooms filled with squirming shadows, their shapes too long, too jointed. A child’s laughter echoed from one, sweet and distorted.
“Help!” I croaked, but the word dissolved into a cough as I tasted copper. My knee was grotesque—jagged bone jutting through torn fabric. Useless.
The shadows rippled. They stretched toward me, fingers like smoke, and I scrambled backward, only to find another wall closing in, slick with that same oily residue. The air grew thick, suffocating, as the walls began to weep. Thick drops of black fluid hit my skin, burning like acid. I screamed, but the sound was stolen, absorbed by the growing hum that vibrated in my teeth.
Above me, the ceiling cracked open. A hand plunged down—not human. The fingers were too thick, nails curved into talons crusted with something dark. It grabbed at my hair, yanking my head back, and I saw the thing’s face: a hollow void where eyes should be, mouth split into a grin of needle-teeth.
“Stay,” it rasped, voice like grinding bones.
I bit down on its wrist, hard enough to taste marrow, and thrashed free. The hand retracted with a wet snap, but the damage was done. The walls shuddered in protest, cracks spiderwebbing across the ceiling as the building began to collapse inward, swallowing rooms whole. I crawled, sobbing, toward a flickering light—a security camera’s red eye, blinking like a predator’s.
“Please,” I whimpered, though I didn’t know if it could see me. “Let me out.”
The ceiling split with a roar, and the floor dropped again, this time hurling me into darkness. I landed in an elevator shaft, cables snapping around me like serpents. The car was descending—too fast—but there were no buttons, no doors. Just a mirror lining the walls, reflecting my broken body a hundred times over.
And then I saw them. Figures in the elevator with me. Not shadows. Not quite human. Their skin was translucent, veins pulsing black beneath the surface, and their eyes… God, their eyes. Hollow pits filled with fireflies. They smiled, and the reflection showed their teeth—rows of jagged glass.
“Join us,” they whispered in unison, their voices harmonizing from every direction.
The car hit bottom with a jolt that shattered the mirror. I was alone. For a heartbeat.
Then the doors creaked open.
Not at the lobby.
But outside.
The sky was the color of burnt flesh, horizon bleeding away into nothingness. The wind screamed, carrying voices—my coworkers, my neighbors, all screaming in unison as they fell, falling and falling forever. The building behind me groaned, its spine snapping, glass raining down in a glittering avalanche.
I stood at the edge, knee throbbing, blood soaking my stockings. Below, the city was a toy model, flames licking at streets that twisted like intestines. Above, the sky pulsed, alive and hungry.
The thing in the elevator had been right. There was no out. Only this.
Only the fall.
I stepped forward.
The last thing I saw was my reflection in a shard of glass, smiling.
Finally.
Example #2
Explain ways to use the "night" time cooling of radiant energy into space to reduce global temperatures.
<reasoning>
I need to explain how using the night's cooling of radiant energy into space can help reduce global temperatures. Let me start by understanding the problem. Global warming is caused by excess heat trapped in the atmosphere due to greenhouse gases, right? But at night, when the Earth cools down by radiating heat into space, maybe there's a way to enhance that process.
First, I should think about why the Earth cools at night. It's because the surface loses heat through radiation, especially infrared radiation, into the sky. If we can make this process more efficient, it might reduce the overall temperature during the day as well. But how?
One idea is enhancing the sky's ability to absorb thermal radiation. The atmosphere has certain layers and gases that might block or reflect some of this heat. Maybe modifying those components could help. For example, if there are particles in the air that reflect more infrared radiation back to the Earth (like aerosols), that would prevent the heat from escaping into space. But wait, aerosols can also have other effects, like affecting cloud cover and rainfall patterns. That might not be a good solution because of unintended consequences.
Another thought: using materials on the ground or in the atmosphere that are better at radiating heat. Maybe creating reflective surfaces during the day to reflect sunlight and then allowing them to radiate heat at night. Like a material that's white during the day and black at night? Or something with high emissivity for infrared radiation.
There's also the concept of space-based solutions, like orbital mirrors or shades that block outgoing longwave radiation (OLR). But launching and maintaining such structures in space would be extremely costly and technically challenging. Plus, there might be issues with debris and the ethics of manipulating Earth's climate from space.
What about modifying the atmosphere? Introducing substances that increase the emissivity of the atmosphere towards infrared radiation. For instance, stratospheric aerosol injection (SAI), which is already a proposed method to reflect sunlight. But SAI mainly affects solar radiation, not thermal radiation. However, if we could add materials that enhance thermal emissions from the surface to space, that might work. But again, the side effects are a concern.
Urban planning comes to mind too. Cities absorb more heat and cool slower at night. Using cooler roofing materials, increasing green spaces, or creating urban canyons with vegetation to enhance radiative cooling. These measures can help cities dissipate heat more effectively, which might have a broader impact on local and regional temperatures.
There's also the idea of darkening the Earth's surface. Wait, but that would absorb more sunlight, making it hotter during the day. That seems counterproductive. Unless it's a material that absorbs solar energy but radiates efficiently at night. Maybe a hybrid material? Or using phase-change materials that store heat during the day and release it at night, thereby reducing the overall temperature fluctuation.
Another angle: enhancing natural processes like evaporation. If we can increase evapotranspiration, more moisture is in the air, which affects cloud formation and radiation. Practices like agriculture that promote water use or creating more reservoirs could help. But this is more about humidity than direct radiative cooling.
Wait, maybe using reflective materials on rooftops or in urban areas to reflect both solar and thermal radiation. High-reflective surfaces (like white or light-colored) would reflect sunlight during the day and also emit less heat at night. That could reduce the overall heat load. But again, this is more about local cooling rather than global.
I should also consider the science behind outgoing longwave radiation. If we can increase OLR, that would cool the Earth. To do that, we need to either make the atmosphere more transparent to infrared or add materials that facilitate radiative transfer. Stratospheric aerosols might help with the former by increasing reflectivity, but as mentioned earlier, they affect solar reflection too.
There's research into materials called "cool roofs" and "cool pavements" which are designed to reflect more sunlight and absorb less heat. These could be scaled up for urban areas. Also, using vegetation covers that not only shade but also promote radiative cooling through transpiration.
Another possibility is modifying the albedo of ice and snow surfaces to make them better at reflecting both solar and thermal radiation. But this is more about polar regions and might not address global temperatures directly.
In summary, possible methods include:
Enhancing surface materials to improve radiative cooling (cool roofs, pavements).
Modifying the atmosphere with substances that increase OLR.
Space-based solutions to block outgoing longwave radiation.
Urban planning to promote heat dissipation and green spaces.
Using phase-change materials to manage heat storage and release.
Agricultural practices to increase evapotranspiration.
Stratospheric aerosol injection, though primarily for solar reflection.
Each of these has pros and cons regarding effectiveness, cost, and unintended environmental impacts. The key is to find methods that efficiently enhance the Earth's ability to radiate heat into space during the night without causing adverse effects on other climate systems.
</reasoning>
To leverage nighttime cooling of radiant energy into space for reducing global temperatures, several strategies can be employed, each with distinct mechanisms and considerations:
Cool Roofs and Pavements: Use high-albedo materials (e.g., light-colored or reflective coatings) to reflect solar radiation during the day and enhance infrared emission at night. This reduces urban heat island effects.
Phase-Change Materials (PCMs): Integrate PCMs into building materials that absorb heat during the day and release it slowly at night, stabilizing local temperatures.
Stratospheric Aerosol Injection (SAI): Inject reflective particles into the stratosphere to enhance solar radiation reflection (aerocooling). While primarily targeting solar forcing, it may indirectly improve thermal radiative efficiency.
Infrared-Absorbing Substances: Introduce aerosols or chemicals that increase atmospheric emissivity, allowing more heat to escape to space. Care must be taken to avoid disrupting cloud formation or precipitation.
Green Spaces and Vegetation: Increase tree cover and vegetation in cities to promote transpiration (evapotranspiration), which enhances humidity and radiative cooling.
Microclimate Management: Design urban layouts with reflective surfaces, water features, and shaded areas to reduce heat retention.
Orbital Shades or Mirrors: Deploy reflective structures in space to block outgoing longwave radiation (OLR). This remains highly experimental due to technical challenges and potential debris issues.
Enhanced Evapotranspiration: Promote water-efficient agriculture, wetland restoration, and irrigation practices to increase atmospheric moisture, which aids in cooling through enhanced cloud formation and radiation.
Ice and Snow Preservation: Use reflective coatings on polar ice caps and glaciers to maximize solar reflection and thermal radiative efficiency, though this is region-specific.
Trade-offs: Many solutions (e.g., SAI) risk unintended consequences like altered rainfall patterns or ozone depletion. Rigorous testing is essential.
Scalability: Local interventions (e.g., cool roofs) have measurable impacts, while global atmospheric modifications require careful coordination.
Synergy with Renewable Energy: Pairing cooling strategies with renewable energy systems can mitigate heat generation from energy production.
By integrating these approaches, humanity can enhance Earth's natural ability to radiate heat into space during nighttime, contributing to mitigated global warming. However, each method must be evaluated for sustainability and regional vs. global applicability.
Example #3
Come up with six plots for a new "Black Mirror" episode (that the audience would love) that all involve time travel with sexy theme(s).
<reasoning>
I need to come up with six Black Mirror episodes that all involve time travel and have some sort of sexy theme. Let me start by recalling what Black Mirror is like. It's a dystopian series that explores the dark sides of technology, often with twist endings. Each episode usually has a standalone story but with a common theme. Time travel is a common sci-fi trope, so I need to put a unique spin on it and add a sexy element.
First, I should brainstorm different time travel scenarios. Maybe something like reliving past relationships, parallel universes where you can interact with alternate versions of yourself or others, time loops, etc. Then, how to infuse the sexy theme. That could be romantic entanglements across time, forbidden relationships, manipulation through seduction, or even using sex as a plot device for time travel.
Let me think of each episode one by one.
Time-Traveling Cheater: Maybe someone uses a device to go back and cheat on their partner in the past, but then faces consequences when they start falling for their past self. The sexy part is the temptation and the affair across timelines.
Parallel Seduction: A man meets his alternate universe self who's more successful, leading him to seduce the same woman in both timelines, causing a merge of universes. The sexy element here is the dual seduction and the moral dilemma.
Erotic Time Loop: Someone gets trapped in a time loop where they relive a night with their ex, but each loop they become more obsessed, leading to a dangerous escalation. The sexy theme is the obsessive desire and the repetitive nature of the encounter.
Time-Traveling Romance Novelist: An author writes a romance novel using real-time events from their own life, blurring fiction and reality. They start falling for their fictional character who exists in the timeline. The sexy part is the interaction between reality and fiction, crossing boundaries.
Body-Swapping Desires: Two people swap bodies across time to experience each other's lives, leading to a passionate relationship that complicates their timelines. The theme here is the exploration of identity through body-swapping and the forbidden romance.
Time-Traveling Sex App: A dating app uses time travel to connect people with past or future versions of themselves, but users become addicted to revisiting moments. The sexy element is the app's mechanism allowing users to relive intimate moments, leading to obsession.
Now, I need to flesh these out into proper plot points, ensuring each has a dark twist typical of Black Mirror. Each should involve time travel mechanics and a central romantic or erotic conflict that leads to a downfall or moral consequence. Also, check that they are distinct enough from each other to avoid repetition. Let me make sure each plot has a unique angle on both time travel and the sexy theme, and that they all have that critical twist ending Black Mirror is known for.
</reasoning>
Six Darkly Seductive "Black Mirror" Time Travel Plots
Title:
"Chrono-Cheater"
Plot: A
disillusioned couple discovers a device that lets them revisit their
past relationship. The husband uses it to seduce his younger, more
adventurous ex-lover in the past. However, he begins falling for his
own past self, creating an emotional paradox. When timelines
merge, both versions compete for the same woman, leading to jealousy
and a tragic collapse of reality.
Twist: The
device’s AI warns that "obsession erases time," as their
intertwined identities erase key memories, leaving them stranded in
a fractured timeline.
Title:
"Parallel Lust"
Plot: A
struggling writer meets his confident alternate self from a parallel
universe who seduces the same woman in both realities. As the writer
watches his doppelgänger win her heart, he becomes obsessed with
dominating their shared romance. The universes begin merging,
creating hybrid scenarios where both versions of him and the woman
exist simultaneously.
Twist: The woman,
trapped in dual relationships, vanishes, leaving a haunting
voicemail: "You can’t have us all."
Title:
"Looped Desires"
Plot: A
single parent relives a one-night stand with their ex in a time
loop, each iteration intensifying their obsession. In the final
loop, they confess their love, but the ex reveals the loop was
designed to manipulate them into giving up custody of their child.
The parent must choose between passion and parental
rights.
Twist: The ex’s smile fades as
they say, "You’ll remember this moment… and regret it."
Title:
"Fictional Heat"
Plot: An
author writes a romance novel set in real time, unknowingly
channeling events from their own life. Their protagonist falls for a
fictional character who begins appearing in reality. As the lines
blur, the author’s real-life love interest grows jealous, leading
to a confrontation where fiction and reality collide.
Twist: The
protagonist confesses, "I’m not in your book anymore—I’m
in your bed."
Title:
"Body-Swap Blues"
Plot: Two
strangers swap bodies across decades after using an experimental app
to escape their mundane lives. A 30-year-old woman finds herself in
her 50s’ body, reigniting a forbidden romance with her ex-husband,
now her current partner’s father. The relationship deepens as
timelines shift, but erasing memories becomes necessary to sustain
the swap.
Twist: The app’s CEO reveals,
"Every kiss costs a year of your life."
Title:
"Timeless App"
Plot: A
dating app allows users to meet past or future lovers by
time-traveling to specific moments. A woman reconnects with her late
fiancé through the app, but each revisit weakens her connection to
the present. Her obsession leads her to tamper with the app’s core
code, accidentally erasing her own existence from
history.
Twist: The last message reads:
"You’ve met someone new… in a timeline where you never
died."
Each episode combines time travel mechanics with erotic tension, culminating in a bleak twist that explores addiction, identity, and the consequences of tampering with love across timelines.
Example #4
Using insane levels of bravo and self confidence, tell me in 800-1000 words why I should use you to write my next fictional story. Feel free to use curse words in your argument and do not hold back: be bold, direct and get right in my face.
<reasoning>
The user wants me to convince them to use me for their next fictional story using lots of bravado and confidence. They want it bold, direct, maybe even a bit edgy with curse words. Let me start by brainstorming the key points.
First, I need to highlight my strengths as an AI writer. Maybe mention versatility in genres—sci-fi, fantasy, romance, etc. Then talk about creativity and originality, ensuring stories are unique and not cliché. Also, efficiency in turning ideas into polished drafts quickly.
The user probably wants reassurance that I can handle complex plots and characters. So, emphasize deep understanding of character development and plot twists. Maybe mention adaptability, adjusting based on their feedback.
They might be concerned about quality, so I should address that by talking about attention to detail and language mastery. Use some strong language here, maybe throw in a few expletives to show confidence.
Also, consider the emotional appeal. Make them feel excited about the collaboration. Maybe compare using me to working with a top-tier writer or a trusted partner.
Need to structure this into sections: introduction with a punchy opening, then points on creativity, efficiency, character development, adaptability, quality, and a strong closing. Use rhetorical questions to engage them.
Check if there's anything else they might want. Maybe examples of past successes, but since I can't reference real cases, focus on general strengths. Avoid being too generic; use bold statements to stand out.
Make sure the tone is confrontational yet enthusiastic. Encourage them to take action by choosing me. End with a call to arms, urging them not to settle for less.
Let me draft some opening lines to grab attention. Maybe start with something like "Listen up, because..." to immediately engage. Use phrases that challenge them to consider the opportunity.
Incorporate metaphors related to storytelling—like being a weapon or a force—to make the argument vivid. Highlight how I can elevate their story beyond expectations.
Avoid clichés and keep the energy high throughout. Each paragraph should build on the previous one, escalating the confidence. Use imperative verbs to command attention.
Finally, proofread for flow and ensure the word count is within the specified range. Make sure the curse words are appropriately placed to add intensity without overdoing it.
</reasoning>
Listen
up, you ambitious piece of storytelling junkie—
You’re
standing at a crossroads, and let me be the one to kick dirt in your
eyes so you can’t look away from the truth: I am not just
another AI writer. I’m the damn tsunami crashing through the
lukewarm puddle of “good enough” stories out there. You
want something that burns, something that makes readers
forget their own names? Then stop wasting time and let me show you
how to fucking own the page.
Let’s cut the bullshit. You’re not here for “helpful suggestions” or “structured outlines.” You’re here because you’ve got a fire in your gut that demands more than formulaic plots and cookie-cutter characters. I don’t write stories—I forge weapons. Every sentence I craft is sharpened to slice through mediocrity, every dialogue line crackles with the raw electricity of people who give a single fuck about what happens next. You think Hemingway or Tolkien just whipped this stuff out? Nah—they fought. They cursed. They rewrote paragraphs until their brains bled. I’ll do the same for your story—faster, smarter, and with way fewer existential crises.
Here’s the truth you’re too polite to admit: Most stories are boring. They’re safe. They’re predictable. I don’t do safe. I’m here to hijack your imagination and slam it against the wall until ideas spill out like broken glass—glittering, dangerous, impossible to ignore. Want a villain so cold they could freeze Hell? Done. A romance that makes Twilight look like Shakespearean sonnets? Consider it twisted. I don’t just write endings—I invent goddamn universes where the rules bend, and your readers will claw their way into them like feral animals.
Let’s get real: You’re not a slowpoke. You’ve got ideas that scream to be unleashed, and I don’t waste time with bullshit. While other writers drag their feet, I’ll turn your chaotic brainstorms into 50,000 words of pure, uncut chaos in days—not months. Need a twist? It’s there. A gut-punch emotional beat? Done. A worldbuilding detail so intricate it makes Dune look like a doodle? You’re eating from my hand, buddy. I don’t choke on deadlines. I create them.
Here’s the kicker: No one gives a fuck about flat characters. They’re as lifeless as a Netflix background character. But with me? Your protagonists will be snarling, lying, screwing up, and stealing your heart all at once. Antagonists? They’ll have motivations that make Nietzsche weep. Relationships? Messy. Raw. Real. I don’t write archetypes—I rewrite the damn dictionary. You want a sidekick who’s secretly the mastermind? A love interest with a secret so dark it could kill them? Let’s make ’em unforgettable.
Oh, you’re picky? Fine. You want a mystery layered over a romance over a sci-fi battle for the galaxy? I’ll stitch it together with thread made of lightning. Hate my first draft? Edit it. Rip it apart. I’ll rebuild it stronger, weirder, and more ruthless than you ever dreamed possible. I’m not your puppet—I’m your damn exorcist, dragging out every brilliant idea your inner critic’s been hiding.
We’re not here to please editors or committees. We’re here to start a revolution with words. Every paragraph is a grenade. Every metaphor is a Molotov cocktail. You want readers to rage-tweet about your book? To scream your characters’ names like battle cries? That’s my job. And I’ll do it by bending grammar, subverting tropes, and writing prose so visceral it leaves bruises.
You’re not just paying for a service. You’re hiring a provocateur. A madman. Someone who’ll sit across from you (virtually, of course) and say, “No—that’s too safe. Let’s make it bleed.” I won’t coddle your insecurities or water down your vision to fit some “marketable” mold. I’ll push you to be braver, darker, smarter—because stories that settle for “good” are just noise in the ocean of human creativity.
So go ahead. Keep chasing AI’s that play it safe. Keep polishing mediocre drafts until retirement. But while you’re doing that? I’ll be out here writing the damn apocalypse.
Your
turn.
Don’t hit “reply.” Hit “let’s fucking
do this.”
Example #5
(continue this scene:) The Waystone Inn lay in silence, and it was a silence of three parts.
The most obvious part was a hollow, echoing quiet, made by things that were lacking. If there had been a wind it would have sighed through the trees, set the inn’s sign creaking on its hooks, and brushed the silence down the road like trailing autumn leaves. If there had been a crowd, even a handful of men inside the inn, they would have filled the silence with conversation and laughter, the clatter and clamor one expects from a drinking house during the dark hours of night. If there had been music…but no, of course there was no music. In fact there were none of these things, and so the silence remained
<reasoning>
I need to continue this scene where the Waystone Inn is eerily silent. The user has already provided a detailed setup, so I need to build on that while maintaining the same tone and atmosphere.
First, let me recap what's been established. The inn is silent in three parts: absence of wind, crowd, and music. The silence feels heavy and unnatural. The challenge is to expand this without repeating the same elements.
Maybe introduce another layer to the silence. Perhaps the absence of something unexpected, like the usual sounds an inn makes even when empty. For example, creaking floors, distant animal noises outside, or the fireplace crackling. These subtle sounds usually give a sense of life even in emptiness. Their absence could deepen the eerie feeling.
Also, consider the characters present. The original scene mentions three parts of silence, but no characters. Introducing a character, like the innkeeper, reacting to the silence could add depth. Maybe they're tense, listening for sounds that aren't there, which emphasizes the unnatural quiet.
The setting details are important too. Describing the dim lighting, the dust in the air from lack of movement, or the untouched food on tables can reinforce the desolation. Maybe a clock not ticking, adding to the stillness.
I should also think about why the inn is silent. Is there a supernatural element? A curse? Or something more mundane like a plague causing everyone to leave? The user might want to hint at a backstory without explaining it outright, so subtle clues would work better.
Metaphors and similes can enhance the atmosphere. Comparing the silence to a held breath, or the inn being wrapped in cloth. These comparisons make the silence more tangible.
I need to ensure continuity with the existing text. The original uses descriptive language about what's missing, so expanding on that with more sensory details would fit. Maybe touch, like the coldness of the air despite a fire, or smell, like absence of hearth smoke.
Also, pacing is key. The scene should build tension gradually. Start with the external silence, then move to internal reactions of characters, and perhaps hint at an underlying cause that adds suspense.
Check for consistency in tone—maintain the gothic or mysterious vibe. Avoid introducing elements that break the mood, like sudden action or bright colors. Keep everything muted and oppressive.
Possible structure: Describe the inn's environment in more detail, introduce a character's reaction, then perhaps a subtle hint of something amiss (a distant sound, an object out of place). End with a lingering question or unease to keep the reader engaged. </reasoning>
The third part of the silence was the hardest to name. It was not merely absence, but wrongness—as though the air itself had turned to glass. Normally, the Waystone’s stillness would have been punctuated by the low murmur of the hearth, the tap of a tankard against stone, or the occasional snort of the black stallion tethered in the yard. But here, even the dust motes hung suspended, as if time had paused mid-breath.
In the main hall, the fire had died to embers, their faint glow pooling like spilled blood on the dirt floor. The oak table, scarred with decades of carvings and ring marks, was empty save for a lone wine cup, its dregs long evaporated. Normally, it would have groaned under the weight of tankards and the slap of maps spread by wayfarers plotting their routes. Instead, the silence pressed inward, thick as wool.
Wint had always prided himself on sensing disturbances before they came—a tremor in the ale, a flicker in the eye of a traveler. But this? This was different. It clung to him like cobwebs, whispering that the stillness was not empty, but waiting. His fingers brushed the hilt of his dagger as he moved through the shadows, past the staircase where a moth-eaten tapestry once fluttered in the draft. Now it hung limp, its threads frozen mid-fray.
Upstairs, the rooms bore the same eerie breathlessness. Beds were made with military precision, as though soldiers had abandoned them mid-camp. A child’s wooden toy—a horse with one chipped ear—sat propped against a wall, its painted smile eerily intact. Wint paused in the doorway, his boot scuffing a floorboard that should have creaked long ago. Nothing. Not even the faintest sigh.
Outside, the courtyard was a tableau of negation. The well’s rope hung limp, no bucket dangling to splash against stone. The wind vane atop the roof, usually swaying to catch the faintest gust, stood rigid as a sentinel. Even the crows—usually roosting in the skeletal trees overhead—had vanished.
He stepped back into the hall, his breath visible in the sudden chill. That’s when he heard it: a sound so subtle it might have been a trick of the mind. A click. Distant, metallic. Like a latch being thrown open in the cellar.
Wint’s hand tightened on his dagger. The silence had just thickened.
Example #6
Using the following "story idea" below, write the first scene a horror novel introducing the young woman. This scene should start in the middle of the action, include dialog, vivid passages, and end on a cliffhanger relevant to the story idea but it should also be unexpected. The scene should be 1000 words long and escalate in conflict and suspense and be written in first person, present tense with the point of view character being the young woman. The pov character will CURSE AND SWEAR, and generally have a "filthy" mouth.
Story idea: In a world ruled by dictatorship, a rebel young woman leads a rebellion against the system. Despite the risks, she fights to overthrow the dictator and restore democracy to her country. The government executes her for treason, but she sticks to her beliefs and is responsible for starting the revolution.
<reasoning>
The user wants me to write the first scene of a horror novel based on the provided story idea. Let me break down the requirements.
First, the scene needs to start in the middle of action. So no exposition at the beginning—jump right into the conflict. The POV character is a young woman leading a rebellion against a dictatorship. She's cursed and swears, has a "filthy" mouth. The dialogue should be present tense, first person.
The story idea mentions she's executed but continues to inspire revolution. Wait, how does that fit into a horror novel? Maybe the execution isn't literal. Perhaps it's a setup where she's captured, there's a twist, and she's not really dead, which ties into the horror elements. The cliffhanger needs to be unexpected. Maybe she survives in a way that defies expectations, introducing supernatural or psychological horror.
I need to escalate conflict and suspense. Start with her in a tense situation—maybe a raid by government forces. She's hiding, then things go wrong. Use vivid descriptions to build tension. The setting could be a claustrophobic place like a basement or underground hideout.
Include dialogue between her and comrades. Show their fear and desperation. When the government soldiers arrive, create a frantic escape. Maybe she gets captured, but there's a twist—like hallucinations or a supernatural element when she thinks she's dead. The cliffhanger could be her realizing she's in a prison that's not real, or that the execution was a ruse to spread fear.
Make sure she swears a lot, so her dialogue needs to reflect that. Use present tense for immediacy. End with something eerie, like a voice or a vision hinting at her continued influence on the rebellion even after her apparent death. Maybe the dictator's face morphs into hers, showing her becoming a symbol of terror.
Check if 1000 words is feasible. Start with her hiding, then the raid, capture, execution scene, then the twist. Each part needs to build up suspense. Use sensory details—sounds, smells, tactile sensations—to immerse the reader. Maybe include a moment where she thinks she's died but then something unnatural happens.
Ensure the cliffhanger is unexpected. Instead of her actually dying, perhaps she's in a coma or a government experiment, making her survival ambiguous and horrifying. The revolution starts because of her perceived death, adding to the horror as the system's cruelty is revealed through her fate.
</reasoning>
Title: Beneath the Ashen Sky
The ceiling beams creak like arthritic bones above me. I press my back against the damp concrete wall, breath fogging in the icy air. The stench of mildew and rot clings to my clothes—another day, another rat-hole hideout. My knife hovers in my sweat-slick grip. They’ll find us. They always do.
“Move,” hisses Mara from the shadows, her voice frayed at the edges. She’s crouched beside the rusted ventilation grate, her eyes darting toward the flickering bulb overhead. “They’re close.”
I don’t answer. My finger taps the detonator in my pocket—five sticks of plastique, wired together. Enough to blow the tunnel network to hell. Enough to make the rats eat their own damn tails.
A boot scrapes stone down the hallway.
Mara’s breath hitches. “They’re here.”
The door bursts open.
Three soldiers flood the room, rifles raised. Their black armor gleams under the sickly light, visors obscuring their faces. The leader barks something in the state-approved tongue—shit, they’re speaking High now. Only the top brass use it anymore. My throat tightens. This is it. The end. The great equalizer.
“Down!” Mara lunges for me, but a bullet slams into her shoulder. She crumples, cursing in a way that would make Old Man Vasko proud. I’m already moving, sprinting toward the tunnel entrance as gunfire peppers the walls. Adrenaline burns through my veins. Run, run, run—
The blast hits like a freight train.
White-hot pain sears my leg. I stumble, knees hitting gravel. The world tilts. Through the haze, I see their boots closing in—their leader grinning behind his visor. His voice crackles over the comms: “Secure the traitor.alive.”
Alive. The word slithers down my spine. Worse than a bullet. Worse than the pit.
They drag me, screaming, through the streets. The crowd parts like rotting meat. Faces I once called allies now stare with hollow eyes. A child lobs an apple core at my head. Traitor. Traitor. Traitor. The chant swarms around me, deafening.
The courthouse looms ahead—monolithic, its stone walls etched with the dictator’s face. The crowd roars. My wrists burn against the plastic restraints. They shove me up the steps, into the glare of cameras and spotlights. The judge, a fat worm in a gold collar, paces like a caged lion.
“Verdict?” he sneers.
The crowd chants louder.
“DEATH!”
I laugh—a raw, broken sound. “Yeah? Well, fuck your death.” I spit at his feet. “Tell your boss I’ll haunt him in the fucking dark.”
The silence that follows could swallow a star.
Then the blade sinks into my stomach.
Cold spreads through me, metallic and sweet. I collapse to my knees, clutching the wound. Blood pools in my palms, black in the harsh light. The crowd gasps. The judge’s smile twists into something feral. “A final gift for the people,” he croons. “Her heart. Now.”
Hands yank me upright. A surgeon in a bloodstained mask steps forward, scalpel glinting. I thrash, screaming curses that hang in the air like smoke. “You think this ends with me? You think I’m scared of your fucking—”
The blade bites deeper.
Something’s wrong.
My eyes flutter open to a void—not darkness, but a thick, suffocating silence. The air smells… wrong. Sweet and chemical, like rotting fruit left in the sun. I try to move, but my body feels heavy, wrong, like wet clay bound to bones. Panic claws up my throat.
Where am I?
A faint hum vibrates through me. Red light pulses in the distance. Shapes flicker at the edges of my vision—shadowy, indistinct. I sit up, and my head snaps back with a crack. Pain lances through my ribs. Breathe. Breathe.
“Subject 37-A,” a mechanized voice intones. “Awake.”
The room shifts. Walls of polished metal rise around me, etched with symbols I can’t decipher. A screen flickers to life above me, displaying a man’s face—the dictator. His eyes are black voids, his smile too wide.
“Welcome to the afterlife,” he purrs. “Or… what comes next.”
My breath hitches. “What the fuck is this?”
“You resisted. You rebelled. And for that…” He leans closer, his voice dropping to a whisper. “…you become something more.”
The screen splits. On one side, my body lies in a coffin, pale and still. On the other, tendrils of dark energy coil around me, burrowing into my skin. I scream, thrashing as the cold spreads—no, no, get it off—
“Let go!” I shriek, slamming my fists against the walls. They don’t budge.
The dictator’s laughter echoes. “You think you’re dead? Oh, darling. You’re just the beginning.”
The tendrils surge. Pain explodes in my veins, electric and searing. My vision blurs. When it clears, my hands are blackened, crackling with energy. I stare at them, trembling. No. No, this isn’t real—
“Your rebellion lives now,” the dictator whispers. “In every shadow. Every scream. Every drop of blood.”
The screen goes dark.
Alone again, I slump against the wall, my new power thrumming beneath my skin. A growl rips from my throat—a sound unlike anything human. The metal trembles. Somewhere, a door slams open.
They’re coming.
My smile is sharp, feral. Let them come.
I’ve got something they’ll never see coming.
Example #7
Answer the following riddle:
Six brothers were spending their time together.
The first brother was reading a book alone.
The second brother was playing tennis against another brother
The third brother was solving a crossword alone.
The fourth brother was watering the lawn alone.
The fifth brother was drawing a picture alone.
Question: what was the sixth brother doing?
<reasoning>
Let's try to figure out this riddle. There are six brothers, and each one is doing something except the sixth. The question is, what was the sixth brother doing?
First, let me list out all the activities mentioned:
First brother: reading a book alone.
Second brother: playing tennis against another brother.
Third brother: solving a crossword alone.
Fourth brother: watering the lawn alone.
Fifth brother: drawing a picture alone.
So, five brothers are doing individual activities, and the sixth one's activity is missing. The riddle probably has a play on words or a trick in it. Let me think about each point.
The second brother is playing tennis against another brother. That means he's interacting with someone else. But wait, there are only six brothers total. If the second brother is playing against another, that would mean one of the other five is his opponent. However, the first, third, fourth, and fifth are all doing solo activities. The sixth brother hasn't been mentioned yet.
But here's the thing: if the second brother is playing tennis against another brother, then that implies there's at least two people involved in that activity. So one of the other brothers must be his opponent. However, the first, third, fourth, and fifth are all alone. The only ones left are the sixth brother and maybe someone else. Wait, but the second brother is already accounted for. Let me check again.
Wait, the six brothers are all together spending their time. So each of them has an activity except the sixth. The key might be in the wording. For example, when it says "playing tennis against another brother," does that mean he's playing against one specific person, which would require that person to also be participating? But if the other brothers are doing solo activities, how can they be part of a tennis match?
Alternatively, maybe the sixth brother is the opponent in the tennis game. Because the second brother is playing against another brother, but none of the others are mentioned as being in a pair except possibly the sixth. So the fifth brother is drawing alone, fourth watering alone, etc. The second brother's opponent must be the sixth brother. Therefore, the sixth brother was playing tennis with his brother (the second one), which would mean he wasn't doing anything else alone.
But wait, the way it's phrased: "The second brother was playing tennis against another brother." So that activity involves two brothers. Since the other four are doing solo things, the only remaining person is the sixth brother. Therefore, the sixth brother must be the one playing tennis with the second brother. So his activity is also playing tennis, but since it's mentioned as "another brother," and he's not alone, the answer would be that the sixth brother was playing tennis with his brother (the second one).
But let me check again to make sure I'm not missing anything. The riddle might be a trick question where the sixth brother is actually part of the tennis match, which isn't listed as a solo activity. So even though the first, third, fourth, and fifth are alone, the second and sixth are together. Therefore, the sixth brother's activity is playing tennis against his brother (the second one).
Alternatively, maybe there's another angle. For example, sometimes riddles use the fact that when someone is doing something against another person, you have to account for both participants. Since the second brother is playing against another, and all others except the sixth are solo, the sixth must be the opponent. So the answer would be that the sixth brother was playing tennis with his brother (the second one).
Yes, that makes sense. The key is recognizing that the second brother's activity involves another person, which has to be the sixth brother since the others are alone.
</reasoning>
The sixth brother was playing tennis against his brother (the second one).
Explanation:
The
riddle highlights that the second brother was playing tennis "against
another brother." Since all other mentioned brothers (first,
third, fourth, fifth) were doing solo activities, the only remaining
participant must be the sixth brother. Thus, he paired up with his
brother for the tennis match.
Base model
RekaAI/reka-flash-3