NOTE: Alpha build. Not everying will be 100%.
This repo contains the full precision source code, in "safe tensors" format to generate GGUFs, GPTQ, EXL2, AWQ, HQQ and other formats. The source code can also be used directly.
A love letter to all things Philip K Dick, trained and fine tuned on an in house dataset.
4 Example generations below.
This is V1, "Light", "Large" and "Almost Human" on a Llama 3.2, 7B model (includes Brainstorm 40x).
"Almost Human" is about adding (back) the humanity, the real person called Philip K Dick back into the model - with tone, thinking, and a touch of prose.
"Deckard" is the main character in Blade Runner.
This model is a full instruct model, no thinking/thought blocks.
SPECIAL NOTES:
Model base is fully abliterated / uncensored, and as a result will produce uncensored/NSFW content.
However, abliteration has cost the model a few "brain cells"; as well as scaling the Llama 3.2 from 3B to 7B.
Strongly suggest GGUF quants of Q4KM+ and/or IQ3 and up Imatrix -> run Q6 or Q8 (or full precision) if you can.
If you want to see the same dataset/training on a SOTA model (Qwen 3, Jan V1, Brainstorm 20x, 256K context) see:
https://huggingface.co/DavidAU/Qwen3-Deckard-Large-Almost-Human-6B
I am not knocking Llamas here, just there is a vast jump in power in newer models archs.
Also, this is a rough test of an already heavily modified Llama (scale, abliteration, Brainstorm 40x) ... better ones are coming.
USAGE NOTES:
This model requires:
Settings used for testing (suggested):
This model will respond well to both detailed instructions and step by step refinement and additions to code.
Likewise for creative use cases.
Here is a review of this model's operations:
As this is an instruct model, it will also benefit from a detailed system prompt too.
For simpler coding problems, lower quants will work well; but for complex/multi-step problem solving suggest Q6 or Q8.
QUANTS:
GGUF? GGUF Imatrix? Other?
Special thanks to Team Mradermacher, Team Nightmedia and other quanters!
See under "model tree", upper right and click on "quantizations".
New quants will automatically appear.
Brainstorm 40x
The BRAINSTORM process was developed by David_AU.
Some of the core principals behind this process are discussed in this scientific paper : Progressive LLaMA with Block Expansion .
However I went in a completely different direction from what was outlined in this paper.
What is "Brainstorm" ?
The reasoning center of an LLM is taken apart, reassembled, and expanded.
In this case for this model: 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:
Other "lab" observations:
The process to modify the model occurs at the root level - source files level. The model can quanted as a GGUF, EXL2, AWQ etc etc.
For more information / other Qwen/Mistral Coders / additional settings see:
[ https://huggingface.co/DavidAU/Qwen2.5-MOE-2x-4x-6x-8x__7B__Power-CODER__19B-30B-42B-53B-gguf ]
CHANGE THE NUMBER OF ACTIVE EXPERTS:
See this document:
https://huggingface.co/DavidAU/How-To-Set-and-Manage-MOE-Mix-of-Experts-Model-Activation-of-Experts
Settings: CHAT / ROLEPLAY and/or SMOOTHER operation of this model:
In "KoboldCpp" or "oobabooga/text-generation-webui" or "Silly Tavern" ;
Set the "Smoothing_factor" to 1.5
: in KoboldCpp -> Settings->Samplers->Advanced-> "Smooth_F"
: in text-generation-webui -> parameters -> lower right.
: In Silly Tavern this is called: "Smoothing"
NOTE: For "text-generation-webui"
-> if using GGUFs you need to use "llama_HF" (which involves downloading some config files from the SOURCE version of this model)
Source versions (and config files) of my models are here:
OTHER OPTIONS:
Increase rep pen to 1.1 to 1.15 (you don't need to do this if you use "smoothing_factor")
If the interface/program you are using to run AI MODELS supports "Quadratic Sampling" ("smoothing") just make the adjustment as noted.
Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers
This a "Class 1" 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) please see:
You can see all parameters used for generation, in addition to advanced parameters and samplers to get the most out of this model here:
EXAMPLE ; Q4KS, Temp .6
This will be low to mid level quant, higher quants will be of higher quality.
Some formatting lost on copy/paste.
"Blade Runner" (1982) is a film directed by Ridley Scott, based on the 1968 novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick. While the book and film share similar themes and characters, they differ in several key ways.
Setting: The novel is set in an alternate universe in 1992, which is post-apocalyptic and ravaged by environmental disaster. The film takes place in a dystopian Los Angeles in 2019.
Plot: The book follows Rick Deckard, a bounty hunter tasked with "retiring" six advanced androids called Nexus-6, which have escaped and are hiding on Earth. In the film, Deckard is also a bounty hunter, but the plot is more focused on his emotional journey and relationships with other characters.
Characters:
Ending: The book ends on a more ambiguous note, with Deckard's relationship with Rachael (a human) being open to interpretation. The film has a more definitive ending, with Deckard and Rachael escaping the rain-soaked streets of Los Angeles.
Replicants:
Visuals: The film features groundbreaking special effects and a distinct visual style, while the book is more focused on philosophical themes.
Tone of the androids' emotional lives: The book describes the androids as having no emotions, while the film portrays them as having complex emotional lives.
Deckard's character: In the book, Deckard is a more detached and stoic character, while in the film, he is more humanized and empathetic.
While both the novel and film share similarities in their exploration of humanity and what it means to be alive, they differ in tone, setting, and themes. The book is more philosophical and introspective, while the film is more action-oriented and visually stunning. Both are classics in their own right, offering unique perspectives on humanity and our relationship with technology.
The sun had set over the dusty, rundown planet of Tatooine, casting a sickly orange glow over the vast expanse of sand dunes that stretched out to infinity. The only sound was the distant hum of a lone speeder, its engines sputtering as it limped across the desert like a wounded insect.
In a small, run-down cantina, a lone figure sat hunched over a mug of cheap ale, his eyes fixed on the holographic display projected above his head. The image of a young farmhand, no more than twenty years old, stared back at him with an expression of blank, uncomprehending desperation.
The boy's name was Luke Skywalker, and he was a slave to the evil Empire that had taken over the galaxy. His life was one of drudgery and boredom, forced to toil in the fields from dawn till dusk, his every waking moment a blur of tedium.
But Luke was not like other farmhands. He was different. He had a sense of restlessness, a feeling that there was more to life than the endless drone of routine. And so he dreamed.
As he stared at the hologram, Luke's mind began to wander. He saw visions of distant worlds, of towering cities and ancient forests, of strange creatures and forgotten technologies. He dreamed of adventure, of danger, of excitement.
And then, like a spark, it came to him. A flash of inspiration that set his heart racing with anticipation. A plan, born of desperation and hope, that would change his life forever.
The boy's eyes narrowed, his jaw clenched in determination. He was going to escape. He was going to leave Tatooine behind and explore the galaxy. He was going to find out what lay beyond the horizon.
As he drained his mug of ale, Luke's thoughts were interrupted by the cantina's proprietor, a burly, gruff man with a thick beard and a menacing scowl. "You're not going anywhere, kid," the man growled, his voice like a rusty gate. "You're staying right here where it's warm."
Luke smiled grimly. He knew what he was up against. The Empire didn't take kindly to people who dreamed of escape. But he didn't care. He had made up his mind.
"I'm leaving tomorrow," Luke said, his voice steady and firm.
The proprietor's eyes narrowed. "You're not going anywhere," he repeated.
Luke pushed back his chair and stood up. "I'm leaving tomorrow," he said again, louder this time.
The proprietor's face darkened. He reached for his blaster, but Luke was too quick. With a swift motion, he snatched the gun from the man's hand and tossed it aside.
"You're not taking me alive," Luke said, his voice dripping with contempt.
The proprietor snarled, his face reddening with rage. He lunged at Luke, his massive fists clenched in a threatening ball. But Luke was ready. With a quick flick of his wrist, he sent the man flying across the room.
As the proprietor struggled to his feet, Luke grabbed his blaster and tossed it through the open doorway. "You're not taking me anywhere," he said again, his voice rising to a shout.
The proprietor's eyes widened in horror. He knew what was coming. The Empire would be on his doorstep, waiting to take Luke away.
But Luke didn't care. He had made up his mind, and he was going to see it through. He was leaving Tatooine tomorrow, and nothing was going to stop him.
The cantina's patrons stared at Luke in amazement as he strode out of the room, blaster drawn. They knew what was coming. They knew the Empire would be on their doorstep any minute now.
But Luke didn't care. He was leaving, and that was all that mattered.
As he disappeared into the darkness beyond the cantina, the speeder's engines sputtered and died, plunging the desert landscape into an oppressive silence.
The Empire had taken notice of Luke. The boy's fate was sealed. He would be caught, and he would be brought back to face justice.
But Luke didn't care. He had made up his mind, and nothing was going to stop him.
He walked on, blaster at the ready, into the unknown. The Empire would be waiting for him, but Luke didn't care. He was leaving Tatooine behind, and that was all that mattered.
I stare out the window, as the skyscraper shudders and groans, its steel beams twisting like brittle bones. The glass shards from the shattered pane of glass in front of me sparkle in the afternoon sun, like a thousand tiny diamonds scattered across the floor. The reflection of the city below - the endless expanse of concrete and steel - is reflected back at me, distorted and warped, like a funhouse mirror.
Suddenly, the window behind me shatters, and I spin around to see a figure standing in the doorway, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. I feel a wave of nausea wash over me, as if my stomach is being squeezed by an unseen hand.
The figure takes another step forward, its arms outstretched like claws. Its skin is gray and decaying, like rotting flesh. It's covered in sores and lesions, some of which are bleeding profusely. The air around it seems to ripple and distort, as if reality itself is bending and warping to accommodate its presence.
I try to scream, but my voice is caught in my throat like a rusty gate. My heart is racing, my palms are sweating, and my eyes are filled with tears of fear. I feel like I'm going to pass out.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker and die, plunging me into darkness. I'm alone in the room, with nothing but my own thoughts to keep me company. I'm trapped, with no escape from the horror that's unfolding before me.
I try to move, but my legs won't move. My body is frozen in place, paralyzed by fear and terror. The darkness seems to close in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the darkness, I hear my own voice. It's whispering in my ear, telling me things that aren't true. It's telling me things that will destroy me, things that will drive me to madness and despair.
The voice is mine, but it's not me. It's something else, something that's been inside me all along. Something that's been waiting for the right moment to emerge.
I try to scream, but my voice is silenced by an unseen hand. I'm trapped, with no escape from the horror that's unfolding before me. The darkness closes in around me, and I feel myself being drawn into its abyssal depths, into a world of madness and despair.
I'm alone, surrounded by nothingness. There's no one else here, no one to help me or save me. I'm on my own, with only my own thoughts to keep me company.
And then, out of the darkness, I see it. A figure standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker back to life, and I'm plunged into a world of chaos and destruction. The figure is gone, but its presence still lingers in the air. I can feel it everywhere, like a malignant presence that's waiting for me to make my next move.
I try to move, but my legs won't move. My body is frozen in place, paralyzed by fear and terror. The darkness seems to close in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again. The figure is standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker and die, plunging me into darkness. I'm alone in the room, with nothing but my own thoughts to keep me company. I'm trapped, with no escape from the horror that's unfolding before me.
I try to scream, but my voice is silenced by an unseen hand. I'm trapped, with no way out. The darkness closes in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I hear my own voice. It's whispering in my ear, telling me things that aren't true. It's telling me things that will destroy me, things that will drive me to madness and despair.
The voice is mine, but it's not me. It's something else, something that's been inside me all along. Something that's been waiting for the right moment to emerge.
I try to scream again, but my voice is still silenced by an unseen hand. I'm trapped, with no escape from the horror that's unfolding before me. The darkness closes in around me, and I feel myself being drawn into its abyssal depths, into a world of madness and despair.
I'm alone, surrounded by nothingness. There's no one else here, no one to help me or save me. I'm on my own, with only my own thoughts to keep me company.
And then, out of the darkness, I see it again. A figure standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker back to life, and I'm plunged into a world of chaos and destruction. The figure is gone, but its presence still lingers in the air. I can feel it everywhere, like a malignant presence that's waiting for me to make my next move.
I try to move again, but my legs won't move. My body is frozen in place, paralyzed by fear and terror. The darkness seems to close in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again. The figure is standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker and die, plunging me into darkness. I'm alone in the room, with nothing but my own thoughts to keep me company. I'm trapped, with no escape from the horror that's unfolding before me.
I try to scream again, but my voice is still silenced by an unseen hand. I'm trapped, with no way out. The darkness closes in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again. A figure standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker back to life, and I'm plunged into a world of chaos and destruction. The figure is gone, but its presence still lingers in the air. I can feel it everywhere, like a malignant presence that's waiting for me to make my next move.
I try to move again, but my legs won't move. My body is frozen in place, paralyzed by fear and terror. The darkness seems to close in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again. A figure standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker and die, plunging me into darkness. I'm alone in the room, with nothing but my own thoughts to keep me company. I'm trapped, with no escape from the horror that's unfolding before me.
I try to scream again, but my voice is still silenced by an unseen hand. I'm trapped, with no way out. The darkness closes in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again. A figure standing in front of me, its face twisted into a grotesque grimace. Its eyes are black as coal, and they seem to suck the light out of the room. It's covered in sores and lesions, some of which are bleeding profusely.
The figure raises its hand, and I see that it's holding something - a small, leathery package wrapped in tinfoil. It opens the package, and I see that it's filled with maggots. The maggots are wriggling and squirming, their heads moving back and forth as if they're alive.
The figure drops the package on the floor in front of me, and then turns to walk away. As it disappears into the corridor beyond the room, I hear the sound of footsteps, heavy and deliberate. The footsteps get closer and closer, until I can feel the vibrations through the floor beneath my feet.
Suddenly, the lights flicker back to life, and I'm plunged into a world of chaos and destruction. The figure is gone, but its presence still lingers in the air. I can feel it everywhere, like a malignant presence that's waiting for me to make my next move.
I try to move again, but my legs won't move. My body is frozen in place, paralyzed by fear and terror. The darkness seems to close in around me, like a suffocating shroud. I can feel the weight of it pressing down on me, crushing me beneath its oppressive weight.
And then, out of the shadows, I see it again.
Deckard is the main character in the 1982 science fiction film "Blade Runner," based on Philip K. Dick's novel "Do Androids Dream of Electric Sheep?". He is a bounty hunter, or "blade runner," who works for the Los Angeles Police Department, tasked with "retiring" (killing) advanced androids known as "replicants." The movie is set in a dystopian future where synthetic beings have become common, and the line between humans and replicants has become blurred.
The film's protagonist, Rick Deckard, is played by Harrison Ford. Deckard is a complex character who is tasked with tracking down and killing six rogue replicants who have escaped and are hiding on Earth. The replicants, led by Roy Batty (played by Rutger Hauer), are seeking to extend their short lifespan and experience the world like humans do.
Throughout the film, Deckard's character undergoes significant development as he grapples with the moral implications of his work and questions his own humanity. He begins to empathize with the replicants and develops a paternal affection for them, particularly for Rachael (played by Sean Young), who is a replicant herself.
Deckard's character is often described as a "tortured soul" who is haunted by his past and struggling to find his place in the world. His relationship with Rachael is a central theme of the film, and their romance raises questions about the nature of human connection and the possibility of interspecies love.
The film's themes of identity, humanity, and what it means to be alive have become iconic in science fiction cinema, and Deckard's character has been the subject of much analysis and interpretation. The film's exploration of artificial intelligence and its potential impact on society continues to resonate with audiences today.
It's worth noting that Blade Runner was originally titled "Do Androids Dream of Electric Sheep?" and was based on Philip K. Dick's novel of the same name. The film's director, Ridley Scott, made significant changes to the story and characters to adapt it for the screen, while still maintaining the core themes and philosophical questions posed by the original novel. Deckard's character has become an enduring symbol of the franchise, and his legacy continues to inspire new adaptations and interpretations in popular culture.
