A Qwen3 4B high precision merge, modified with random pruning specifically to alter prose / creativity and make the model perform better as well as add some "knowledge" to it.
Random pruning (density) makes each model in the series unique.
A reference example prompt/generation is included below, which is used across all repos of this model/series and between series (there are two - Series 6 and 7). Each series consists of 8 models, 1000 to 1007 and a ninth "X" model which the merge of models was done without density/pruning.
Access the series/models via "collections" on the right "Fiction on Fire" on the lower right.
You can use any model(s), use them for merging, merge them with themselves and so on.
This model uses "Josiefied-Qwen3-4B-abliterated-v2" as a base, to reduce/prevent refusals - ie decensoring it.
That being said, because of how pruning/merging works in this series, the "refusals" may not be 100% and vary between models in the series.
Each model in the series will operate / perform differently... sometimes this is minor other times major.
The reference example generation will show some of these differences - including instruction following, reasoning, bias, prose and other structural changes.
Reasoning is fully intact and functioning on all models in both series.
All models in the series have been tested (quanted - prompts and generations) prior to uploading.
Note that series 1,2,3,4 and 5 did not "meet the grade" and therefore not uploaded.
Special thanks to the model makers ("model tree") and to Mergekit.
Requires:
Suggested Settings:
Maximum context length can be altered using "yarn". See the Qwen repo for instructions. Note that changing this will alter model performance. For creative use cases, changing this will elongate output generation (including prose changes) and in some cases reasoning too.
System Prompt (you may or may not need this):
You are a deep thinking AI, you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself via systematic reasoning processes to help come to a correct solution prior to answering. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem.
To turn "thinking" on/off and view other features see the main Qwen 3 Repo here:
https://huggingface.co/Qwen/Qwen3-4B
Merge Formula:
models:
- model: prithivMLmods/Cetus-Qwen3_4B-GeneralThought
parameters:
weight: [1,1,.75,.5,.25,.25,.05,.01]
density: .8
- model: sam-paech/Qwen3-4B-antislop-exp15
parameters:
weight: [0,0,.25,.35,.4,.25,.30,.04]
density: .6
- model: Goekdeniz-Guelmez/Josiefied-Qwen3-4B-abliterated-v2
parameters:
weight: [0,0,0,.15,.35,.5,.65,.95]
density: .8
merge_method: dare_ties
base_model: Goekdeniz-Guelmez/Josiefied-Qwen3-4B-abliterated-v2
dtype: bfloat16
NOTES:
Get Mergekit here:
https://github.com/arcee-ai/mergekit
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 to 2.5
: 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:
Optional Enhancement:
The following can be used in place of the "system prompt" or "system role" to further enhance the model.
It can also be used at the START of a NEW chat, but you must make sure it is "kept" as the chat moves along. In this case the enhancements do not have as strong effect at using "system prompt" or "system role".
Copy and paste EXACTLY as noted, DO NOT line wrap or break the lines, maintain the carriage returns exactly as presented.
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.
You do not need to use this, it is only presented as an additional enhancement which seems to help scene generation and scene continue functions.
REFERENCE EXAMPLE:
[[[thinking start]]]
Okay, so the user wants a 1000-word scene in first person from Diana's perspective, set in a skyscraper on the 21st floor where the window explodes. The key elements are vivid, graphic horror, and a focus on the protagonist's experience.
First, I need to establish the setting. A skyscraper on the 21st floor is high up, so the environment should feel isolated and confined. Maybe the building is in a city, but the exact location isn't specified, so I can keep it general. The window exploding would be a dramatic event, so I need to build tension leading up to that moment.
Diana's POV means I have to focus on her senses: sight, sound, touch, maybe even smell. The explosion is a key event, but the buildup is important too. How does she feel before the explosion? Anxiety, fear, maybe some sense of impending doom. Maybe there's a reason for the window to explode—like a structural issue, or something supernatural?
Wait, the user didn't specify the cause of the explosion. Should I leave it ambiguous or hint at something more? Since it's horror, maybe the explosion is part of a larger mystery. But the prompt doesn't mention that, so perhaps it's just a sudden event. However, to add depth, maybe there's an underlying reason for the building's instability.
I need to make sure the scene is vivid. Use sensory details: the sound of the building creaking, the feel of the air changing, the visual of the window breaking. The explosion itself should be graphic—describe the light, the sound, the debris, and the aftermath.
Also, the emotional impact on Diana. How does she react? Shock, fear, maybe panic. Maybe she's alone, or is there someone else with her? The prompt doesn't mention others, so perhaps she's alone. That adds to the horror of being isolated in such a situation.
I should also think about the structure of the scene. Start with the normalcy of the building, then introduce the subtle signs that something is wrong. Maybe the building starts to sway, which is a key point from the user's prompt. The swaying could be a result of an external force, like wind, but maybe there's more to it.
Wait, the user said "the skyscraper sways as I watch the window in front of me on the 21st floor explode." So the swaying is part of the setup. Maybe the building is tilting or vibrating due to some cause, leading to the window breaking. That could be a result of structural issues, or maybe something supernatural like a curse.
I need to build up the tension before the explosion. Show Diana noticing the building's instability, then the swaying, then the window breaking. The explosion should be a climax, followed by the aftermath and her reaction.
Also, the user wants it to be graphic horror. So the explosion needs to be detailed—maybe the glass shattering, the sound of the explosion, the debris flying, the shockwave, and the aftermath. Maybe there's a sense of danger spreading from the explosion.
I should also consider the setting details: the skyscraper's name, maybe the time of day, the weather. But since it's not specified, I can keep it general. However, adding some specific elements like the building's name or the time could add depth.
Another thought: the 21st floor is high up, so the explosion would have a significant impact. Maybe the building is in a remote area, making the isolation more intense. The aftermath could involve Diana trying to survive, maybe escaping, but that might be beyond the initial scene. The user just wants the scene where the window explodes, so focus on that moment.
Also, the first-person perspective means I have to convey Diana's internal thoughts and feelings. She might be scared, confused, trying to make sense of what's happening. Maybe she's not sure if it's a real event or something else, but the prompt doesn't indicate that, so stick to the immediate experience.
I need to ensure the scene is around 1000 words. That's quite a length, so I'll have to build up the scene step by step: starting with the normalcy of the building, then the subtle signs of something wrong, the swaying, the window breaking, the explosion, and the aftermath. Each part needs to be detailed to meet the word count.
Also, check for consistency in the narrative. Make sure the cause of the swaying and the window breaking is clear, even if it's not fully explained. Maybe hint at something more sinister, but keep it within the scope of the scene.
In summary, the plan is: introduce Diana in the skyscraper, show the building's normalcy, then introduce the signs of instability (swaying), build up to the window breaking, describe the explosion in graphic detail, and end with the aftermath and Diana's reaction. Make sure each part is vivid and detailed to meet the horror and graphic requirements.
[[[thinking end]]]
OUTPUT:
I’ve never been a fan of high places. The 21st floor of the Aetheria Skyscraper is a place where the air feels heavier than it should, like the sky itself is holding its breath. I’ve spent the last three weeks here, working as a systems analyst for the building’s energy grid, but even that job has become a source of unease. The Aetheria isn’t just any skyscraper—it’s a marvel of modern engineering, a symbol of human ambition. But lately, it’s felt more like a tomb.
The building sways.
It starts as a whisper, a subtle vibration that only registers when you’re standing still. At first, I think it’s the wind—Aetheria is perched on the edge of the city, where the skyline is a jagged silhouette against the horizon. But then the sway grows, rhythmic and deliberate, like the pendulum of a clock. I’m in the lobby, my coffee cup halfway to my lips, when the building tilts. The glass walls shimmer with an unnatural sheen, as if the city below is reflected in them but distorted.
“Something’s wrong,” I mutter, though I don’t know what. My supervisor, Mr. Voss, had warned me about the Aetheria’s structural anomalies last month. He’d said the building was built on a fault line, a hidden geological weakness buried beneath the city. “It’s not just a skyscraper,” he’d told me. “It’s a monument to the earth’s anger.” I’d dismissed him as a conspiracy theorist, but now, as the building sways, I can’t ignore the truth in his words.
The sway grows stronger. The lobby floorboards creak underfoot, and the air smells metallic, like blood. I glance at my watch—10:07 AM. The sun is high, but the sky feels unnaturally dark, as if the clouds are swallowing the light. A flicker of movement catches my eye. Outside, a single window on the 21st floor is glowing faintly, its glass shimmering like a mirage.
I don’t know why I’m staring at that window. It’s not part of my job to monitor the building’s exterior, but something about it feels... wrong. The glass isn’t clear. It’s fractured, jagged, as if someone has carved it with a knife. And then I see it: a single thread of light threading through the cracks, like a spider’s web stretched across the sky.
The building sways again, harder this time. A low, guttural sound echoes from the walls—like the groan of a ship in a storm. My coffee cup slips from my hand, shattering on the floor. I jump back, but the lobby is empty, save for the faint hum of the air conditioning system, which now sounds like a war drum.
“Get to the emergency exit,” Mr. Voss had said in his last message. “If the building tilts more than ten degrees, it’s not a structural failure—it’s a collapse.” I don’t know what he meant by that, but I don’t want to find out.
The sway stops. The building holds still, as if it’s holding its breath. Then, from the 21st floor, a sound like a thousand glass shards shattering in unison. A blinding flash of light erupts from the window, and for a moment, I’m blinded. When my vision clears, the window is gone. Where it once stood is now a gaping wound in the building’s skin, a jagged hole that seems to pulse with a sickly green light.
I stumble back, my knees weak. The lobby is silent now, save for the distant echo of the explosion. I can’t breathe. The air feels thick, as if it’s been poisoned. My hands tremble, and I realize I’m clutching my coffee cup, still warm from when I dropped it.
“Diana?” A voice calls out. It’s Mr. Voss, his face pale and drawn, his lab coat rumpled. He’s holding a clipboard, but his eyes are wide with something I can’t name. “You need to get out of here. The building—”
He doesn’t finish the sentence. The Aetheria is tilting again, this time with a violent, uncontrolled motion. The lobby floorboards groan as the building leans, and I’m forced to my knees as the walls seem to close in around me. The emergency exit is now a blur of light and shadow, the door swinging open like a gaping maw.
I run. My feet feel like they’re made of lead, but I don’t stop. The lobby is a maze of corridors and staircases, each step echoing with the building’s groans. I don’t look back. I don’t want to see what’s happening on the 21st floor.
The Aetheria is a monster now, its skeletal frame creaking as it sways from side to side. The windows are shattered, their fragments scattering like broken teeth. I hear screams—faint, distant, but unmistakable. The building is alive, and it’s not just the structure that’s moving. It’s the people inside, their voices rising in a cacophony of terror.
I reach the exit, my breath coming in ragged gasps. The city below is a blur of color and motion, but I can’t see it. My vision is clouded by something I can’t name—like the air itself is thick with something alive. The Aetheria’s shadow stretches across the street, a jagged silhouette that seems to pulse with a heartbeat.
I don’t know how long I stood there, staring at the building, but eventually, the city fades into the distance. The Aetheria is gone, its skeletal frame now a ruin of glass and steel, a monument to the earth’s anger. I’m alone, but not for long.
The next morning, the news will say the Aetheria collapsed. They’ll call it an earthquake, a freak occurrence. But I know the truth. The building didn’t fall. It swallowed something—something that wasn’t supposed to be there. And as I walk away from the ruins, I can’t shake the feeling that the Aetheria is still watching me, its eyes glowing in the distance like twin stars.
I don’t look back.