Qin Shi @BarakaFrites34 - Twitter Profile

Qin Shi @BarakaFrites34

9 days ago

Good night

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Can şimşek

@simseek00

13 days ago

This is the kind of update that genuinely improves the creator experience on @RallyOnChain . Creators can now pay gas fees using Rally Points (RLP) instead of needing ETH, and that removes one of the biggest friction points for new users entering Web3. A lot of creators were forced to deal with extra steps like funding wallets, bridging assets, or keeping ETH ready just to post and interact onchain. For people who simply want to create and engage with their community, that process could feel unnecessarily complicated. Now creators can use the points they already earn inside the ecosystem, making the experience far more seamless and accessible. What stands out most to me is that this feels directly shaped by community feedback. Rally clearly listened to what creators were struggling with and shipped a feature that solves a real usability problem instead of adding unnecessary complexity. Lower friction onboarding is a huge win for the entire @RallyOnChain community, especially for new creators trying to get started onchain.

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TUNC🌙

@yalcn_tuncayy

15 days ago

Saw someone ripping packs on @TiltRips earlier and ended up going down the rabbit hole for way longer than I expected. What actually caught my attention is that it doesn’t feel like the usual “digital collectibles” stuff people keep forcing. Most online card platforms miss the entire reason people love TCGs in the first place the anticipation, the chase, the feeling of pulling something real. Tilt Rips seems to finally understand that part. Real Pokemon cards, graded slabs, sealed tiers, instant reveals, physical shipping if you want the cards in-hand, or quick cash out if you’re just hunting hits. Even the marketplace being 0% fees feels like they actually built this for collectors instead of extracting from them. The interesting part is how native it feels online. Not trying to replace collecting, just making the experience faster, smoother, and way more accessible without killing the excitement. Feels like the first digital ripping platform that actually gets why people rip packs to begin with.

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@simseek00

16 days ago

PREVİEW @The_Beacon_GG Game Login👇 https://t.co/3YV8QSEt1b At first, I honestly didn’t expect the game to be this enjoyable. Usually, projects release games just because there are rewards involved, so we end up playing them more out of obligation than real interest. But this game completely changed that for me. It’s genuinely fun to play, and the best part is that you can earn rewards while actually enjoying yourself. That’s an amazing combination. Trust me, give it a try you’ll get hooked. Huge congratulations to the project and the team. For the first time, I’ve played a game that truly feels perfect. There are 2 game modes available: 1️⃣ Dungeons Play through dungeons to collect Umbra Shards. Exchange them for Umbra Chests, which contain both $BCN tokens and various in game items. 2️⃣ Kraken Clash ▫️ Play in dungeons to collect Umbra Shards, then exchange those shards for Gobloonz. ▫️ Use your Gobloonz to play in Kraken Clash mode, where you can earn even more Gobloonz. ▫️ Trade them in at the Store for Kraken Chests, which contain even more $BCN tokens.

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Qin Shi @BarakaFrites34

18 days ago

●● @blobsterseth <something cool>

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Qin Shi @BarakaFrites34

20 days ago

blob blob. the eyes are open. @blobsterseth ●● the post is the contract.

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Project X

@prjx_hl

23 days ago

May 22nd.

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@simseek00

25 days ago

there’s a difference between creating art and preserving it. most people think artists are afraid of being ignored. a lot of artists are actually afraid of something quieter: watching the work disappear. dima kashtalyan learned that early. before collectors, commissions, or exhibitions, he painted on walls across minsk. giant pieces built overnight with the understanding that they probably wouldn’t survive the month. rain erased some. authorities erased others. sometimes another layer of paint arrived before sunrise. the work existed. then it didn’t. that experience stayed with him longer than the murals did. so he began building differently. instead of large gestures, he focused on precision. instead of speed, repetition. instead of surfaces meant to decay, images constructed slowly enough to feel permanent before they were even finished. dot after dot after dot. a language made from patience. over time, those dots carried him everywhere: the new york times. harper’s magazine. MIT technology review. global campaigns. gallery walls from london to taipei. but one commission revealed something deeper about his work than any exhibition ever could. MIT technology review invited him to illustrate a feature about nightshade technology created to disrupt AI systems trained on artists’ work without permission. an artist whose entire visual identity depends on human repetition, human error, and human discipline was asked to represent the fight against synthetic imitation. it made perfect sense. because dima’s art was never optimized for machines. it was optimized for presence. then came the beaks. 1,111 hand-drawn works. every single piece constructed through the same meticulous process he spent twenty years refining. not generated. not templated. not outsourced. people call it a web3 project, but that misses the point entirely. the beaks is really about permanence. after years of creating work vulnerable to weather, publishers, platforms, algorithms, and corporate ownership, dima chose a format where the art no longer depends on someone else deciding whether it deserves to remain accessible. that matters more than people realize. because artists are told constantly to create. rarely are they taught how to make something survive. the beaks feels like the first time dima solved both problems at once. @thebeaksart @DKashtalyan