Enshrouded is a beautiful combination of Minecraft, Skyrim and resource gathering that makes it at least three games in one. My daughter told me I would love it and I ignored her for too long. I've tackled Elden Ring, but much prefer the often gentler combat of Enshrouded. It sometimes makes me feel like an elite fighter, then other times kicks my arse in precisely the right measures. Its real joy is the flexibility to spend your time doing whatever tickles your fancy. I'll spend a few hours growing crops to make a cake or smelting metals for better armour, then knock off a few quests to unlock new materials and weapons.

Art, as a universal language, can be interpreted in diverse ways, with artworks embodying profound meanings and nuances. The advent of Large Language Models (LLMs) and the availability of Multimodal Large Language Models (MLLMs) raise the question of how these transformative models can be used to assess and interpret the artistic elements of artworks. While research has been conducted in this domain, to the best of our knowledge, a deep and detailed understanding of the technical and expressive features of artworks using LLMs has not been explored. In this study, we investigate the automation of a formal art analysis framework to analyze a high-throughput number of artworks rapidly and examine how their patterns evolve over time. We explore how LLMs can decode artistic expressions, visual elements, composition, and techniques, revealing emerging patterns that develop across periods. Finally, we discuss the strengths and limitations of LLMs in this context, emphasizing their ability to process vast quantities of art-related data and generate insightful interpretations. Due to the exhaustive and granular nature of the results, we have developed interactive data visualizations, available online https://cognartive.github.io/, to enhance understanding and accessibility.

Imagine a human artist looking at the generated photo of a diffusion model, and hoping to create a painting out of it. There could be some feature of the object in the photo that the artist wants to emphasize, some color to disperse, some silhouette to twist, or some part of the scene to be materialized. These intentions can be viewed as the modification of the cross attention from the text prompt onto UNet, during the desoising diffusion. This work presents AttnMod, to modify attention for creating new unpromptable art styles out of existing diffusion models. The style-creating behavior is studied across different setups.

The Legend of Zelda: Echoes of Wisdom feels like a kindred spirit to the 2019 remake of Link's Awakening, both in challenge and in vibes. It's a far cry from the incredibly intricate and complex worlds in Tears of the Kingdom, and while I only played for about 90 minutes (spread over two different parts of the game),I came away from the demo charmed by the gorgeous, tilt-shift art style. Not to mention being quite pleased to finally be playing as Zelda for the first time in the series that bears her damn name. And while plenty of adults will surely enjoy The Legend of Zelda: Echoes of Wisdom, it also feels tailor-made as an entry point for younger players. We already knew about the art style and playing as Zelda -- what was most important about this preview was that I got a chance to see just how Zelda's "echoes" worked in the game itself.

If you had a PC in the 2010s, you probably owned a copy of Purble Place. The gaudy kids' game came with every copy of Windows Vista and 7. It was a simple, three-title package: Purble Pairs was a basic tile memory game; Purble Shop had the player design a mystery character using logic and deduction; and the last game of Comfy Cakes had kids playing line cook for the Purble Chef while juggling orders on a conveyor belt. And for many online teens, the legacy of these games easily equals that of Minesweeper and Solitaire, the more venerable pack-in games of PCs past. Yet nobody knows who made it.

The massive digitization of artworks during the last decades created the need for categorization, analysis, and management of huge amounts of data related to abstract concepts, highlighting a challenging problem in the field of computer science. The rapid progress of artificial intelligence and neural networks has provided tools and technologies that seem worthy of the challenge. Recognition of various art features in artworks has gained attention in the deep learning society. In this paper, we are concerned with the problem of art style recognition using deep networks. We compare the performance of 8 different deep architectures (VGG16, VGG19, ResNet50, ResNet152, Inception-V3, DenseNet121, DenseNet201 and Inception-ResNet-V2), on two different art datasets, including 3 architectures that have never been used on this task before, leading to state-of-the-art performance. We study the effect of data preprocessing prior to applying a deep learning model. We introduce a stacking ensemble method combining the results of first-stage classifiers through a meta-classifier, with the innovation of a versatile approach based on multiple models that extract and recognize different characteristics of the input, creating a more consistent model compared to existing works and achieving state-of-the-art accuracy on the largest art dataset available (WikiArt - 68,55%). We also discuss the impact of the data and art styles themselves on the performance of our models forming a manifold perspective on the problem.

The advent of generative AI images has completely disrupted the art world. Distinguishing AI generated images from human art is a challenging problem whose impact is growing over time. A failure to address this problem allows bad actors to defraud individuals paying a premium for human art and companies whose stated policies forbid AI imagery. It is also critical for content owners to establish copyright, and for model trainers interested in curating training data in order to avoid potential model collapse. There are several different approaches to distinguishing human art from AI images, including classifiers trained by supervised learning, research tools targeting diffusion models, and identification by professional artists using their knowledge of artistic techniques. In this paper, we seek to understand how well these approaches can perform against today's modern generative models in both benign and adversarial settings. We curate real human art across 7 styles, generate matching images from 5 generative models, and apply 8 detectors (5 automated detectors and 3 different human groups including 180 crowdworkers, 4000+ professional artists, and 13 expert artists experienced at detecting AI). Both Hive and expert artists do very well, but make mistakes in different ways (Hive is weaker against adversarial perturbations while Expert artists produce higher false positives). We believe these weaknesses will remain as models continue to evolve, and use our data to demonstrate why a combined team of human and automated detectors provides the best combination of accuracy and robustness.

We propose two procedures to create painting styles using models trained only on natural images, providing objective proof that the model is not plagiarizing human art styles. In the first procedure we use the inductive bias from the artistic medium to achieve creative expression. Abstraction is achieved by using a reconstruction loss. The second procedure uses an additional natural image as inspiration to create a new style. These two procedures make it possible to invent new painting styles with no artistic training data. We believe that our approach can help pave the way for the ethical employment of generative AI in art, without infringing upon the originality of human creators.

We investigate the challenges of style transfer in multi-modal visual narratives. Among static visual narratives such as comics and manga, there are distinct visual styles in terms of presentation. They include style features across multiple dimensions, such as panel layout, size, shape, and color. They include both visual and text media elements. The layout of both text and media elements is also significant in terms of narrative communication. The sequential transitions between panels are where readers make inferences about the narrative world. These feature differences provide an interesting challenge for style transfer in which there are distinctions between the processing of features for each modality. We introduce the notion of comprehension-preserving style transfer (CPST) in such multi-modal domains. CPST requires not only traditional metrics of style transfer but also metrics of narrative comprehension. To spur further research in this area, we present an annotated dataset of comics and manga and an initial set of algorithms that utilize separate style transfer modules for the visual, textual, and layout parameters. To test whether the style transfer preserves narrative semantics, we evaluate this algorithm through visual story cloze tests inspired by work in computational cognition of narrative systems. Understanding the connection between style and narrative semantics provides insight for applications ranging from informational brochure designs to data storytelling.

When people ask what my favourite video game of all time is and I tell them, they inevitably wrinkle their nose and say: "What, the one with all the sailing?" To many, that's all The Legend of Zelda: The Wind Waker is: a 20-year-old GameCube release in which toon Link endlessly sails the vast sea on his trusty talking boat. In 2013, when the game was re-released on Wii U a decade after its debut, Nintendo took the criticisms on board (the talking boat) and added a "swift sail", allowing players to bypass hours of sluggish seafaring. The seafaring was the point. It has now been two decades since the original Wind Waker was released in Europe in May 2003 and it's time that landlubber critics accepted they were wrong.