From 70642a0a3d30d2f54876f2a1d202764b2361e293 Mon Sep 17 00:00:00 2001 From: Oliver Rieger Date: Mon, 10 Aug 2026 21:51:44 +0200 Subject: [PATCH] Her serve is his serve: the women's pull and smash redrawn off the men's poses Co-Authored-By: Claude Fable 5 --- assets/_regen_batches.json | 127 +++++++++++++++++++------------------ assets/p_pull_f.png | Bin 15447 -> 14368 bytes assets/p_smash_f.png | Bin 14417 -> 13836 bytes assets/p_toss_f.png | Bin 14578 -> 14075 bytes index.html | 2 +- render.js | 2 +- 6 files changed, 67 insertions(+), 64 deletions(-) diff --git a/assets/_regen_batches.json b/assets/_regen_batches.json index dee1528..c0276da 100644 --- a/assets/_regen_batches.json +++ b/assets/_regen_batches.json @@ -65,7 +65,7 @@ "z_dw", "z_dwb" ], - "subject": "Two frames of the same badly wounded zombie stadium steward in a torn high-visibility ORANGE vest — one arm mangled, a deep bloody gash across the chest, head lolling — walking, two stages of one stride, drawn as coarse low-resolution pixel art.", + "subject": "Two frames of the same badly wounded zombie stadium steward in a torn high-visibility ORANGE vest \u2014 one arm mangled, a deep bloody gash across the chest, head lolling \u2014 walking, two stages of one stride, drawn as coarse low-resolution pixel art.", "anchor": 0, "state": true }, @@ -76,7 +76,7 @@ "z_c3", "z_c4" ], - "subject": "Four frames of the same zombie tennis player facing the viewer — yellow hair, red headband, red shirt, grey shorts, a wooden racket hanging from one hand — a four-frame shuffle towards the camera, drawn as coarse low-resolution pixel art.", + "subject": "Four frames of the same zombie tennis player facing the viewer \u2014 yellow hair, red headband, red shirt, grey shorts, a wooden racket hanging from one hand \u2014 a four-frame shuffle towards the camera, drawn as coarse low-resolution pixel art.", "anchor": 0 }, "cpu_wounds": { @@ -109,7 +109,7 @@ ], "ref": "p_idle1", "anchor": 0, - "subject": "Five frames of the same tennis player in a white shirt and blue shorts, drawn as coarse low-resolution pixel art. Every figure is seen strictly FROM BEHIND — the back of his head and the back of his shirt face the viewer, no face, no eyes, no nose, he is running or standing AWAY from the camera. First a standing frame for scale, then a four-frame run cycle, running away from the camera with no racket.", + "subject": "Five frames of the same tennis player in a white shirt and blue shorts, drawn as coarse low-resolution pixel art. Every figure is seen strictly FROM BEHIND \u2014 the back of his head and the back of his shirt face the viewer, no face, no eyes, no nose, he is running or standing AWAY from the camera. First a standing frame for scale, then a four-frame run cycle, running away from the camera with no racket.", "check": "same" }, "player_death": { @@ -155,7 +155,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is ONE tennis opponent in a RED polo shirt, dark grey shorts and a RED HEADBAND, seen from the front, gripping a tennis racket in his right hand. Draw FOUR frames of that same man RUNNING towards the camera. THE FOUR FRAMES MUST BE FOUR DIFFERENT BODY POSITIONS — no two frames alike, do not repeat a pose: (1) his RIGHT knee lifted high in front of him, left leg stretched out straight behind, left arm forward; (2) his right foot planted flat on the ground under him taking his weight, left knee just beginning to swing forward, both arms low; (3) his LEFT knee lifted high in front of him, right leg stretched out straight behind, right arm forward; (4) his left foot planted flat on the ground under him taking his weight, right knee just beginning to swing forward, both arms low. Every figure is the SAME man as the reference and the SAME size: red polo shirt, dark grey shorts, RED HEADBAND, blond hair, seen from the FRONT. Same face, same colours, same proportions, standing the same height. IN EVERY ONE OF THE FOUR FRAMES he is HOLDING THE TENNIS RACKET in his right hand — the full racket, with its oval head, its strings, its throat and its grip all drawn, exactly like the reference's racket, carried close in front of his chest. NO FRAME MAY HAVE AN EMPTY RIGHT HAND and no frame may show a racket with the head missing. The whole figure and the whole racket sit fully inside the canvas with clear space around them. The canvas must contain EXACTLY FOUR figures and no others. Do NOT redraw the standing reference pose as an extra figure.", + "subject": "The reference is ONE tennis opponent in a RED polo shirt, dark grey shorts and a RED HEADBAND, seen from the front, gripping a tennis racket in his right hand. Draw FOUR frames of that same man RUNNING towards the camera. THE FOUR FRAMES MUST BE FOUR DIFFERENT BODY POSITIONS \u2014 no two frames alike, do not repeat a pose: (1) his RIGHT knee lifted high in front of him, left leg stretched out straight behind, left arm forward; (2) his right foot planted flat on the ground under him taking his weight, left knee just beginning to swing forward, both arms low; (3) his LEFT knee lifted high in front of him, right leg stretched out straight behind, right arm forward; (4) his left foot planted flat on the ground under him taking his weight, right knee just beginning to swing forward, both arms low. Every figure is the SAME man as the reference and the SAME size: red polo shirt, dark grey shorts, RED HEADBAND, blond hair, seen from the FRONT. Same face, same colours, same proportions, standing the same height. IN EVERY ONE OF THE FOUR FRAMES he is HOLDING THE TENNIS RACKET in his right hand \u2014 the full racket, with its oval head, its strings, its throat and its grip all drawn, exactly like the reference's racket, carried close in front of his chest. NO FRAME MAY HAVE AN EMPTY RIGHT HAND and no frame may show a racket with the head missing. The whole figure and the whole racket sit fully inside the canvas with clear space around them. The canvas must contain EXACTLY FOUR figures and no others. Do NOT redraw the standing reference pose as an extra figure.", "palette_ref": "o_idle1" }, "ump_boy": { @@ -224,7 +224,7 @@ "z_sdown" ], "anchor": 0, - "subject": "One frame of a zombie spectator in a grey-brown coat who has just had his wooden folding chair knocked DOWN out of his hands — the chair is falling beside him and he is staggering with his arms up — drawn as coarse low-resolution pixel art." + "subject": "One frame of a zombie spectator in a grey-brown coat who has just had his wooden folding chair knocked DOWN out of his hands \u2014 the chair is falling beside him and he is staggering with his arms up \u2014 drawn as coarse low-resolution pixel art." }, "boy_run_2": { "sprites": [ @@ -260,7 +260,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is one zombie drawn FACING THE VIEWER. Draw FOUR frames of a DIFFERENT zombie in that same front-facing style, same size: a lean SPRINTING zombie in a torn grey-green tracksuit, charging straight down the court AT THE VIEWER. In every frame his chest and face point at you and he is coming towards you, foreshortened — one knee driven up high towards the camera, the other leg trailing far behind, arms pumping across his chest, body leaning into the run. The four frames are four stages of that charge: left knee up, mid-air stretch, right knee up, mid-air stretch the other way. He must NEVER be running sideways across the frame. Torn tracksuit, exposed ribs, green skin, sunken eyes and teeth. Output exactly four figures in one row." + "subject": "The reference is one zombie drawn FACING THE VIEWER. Draw FOUR frames of a DIFFERENT zombie in that same front-facing style, same size: a lean SPRINTING zombie in a torn grey-green tracksuit, charging straight down the court AT THE VIEWER. In every frame his chest and face point at you and he is coming towards you, foreshortened \u2014 one knee driven up high towards the camera, the other leg trailing far behind, arms pumping across his chest, body leaning into the run. The four frames are four stages of that charge: left knee up, mid-air stretch, right knee up, mid-air stretch the other way. He must NEVER be running sideways across the frame. Torn tracksuit, exposed ribs, green skin, sunken eyes and teeth. Output exactly four figures in one row." }, "brute_all_wounds": { "sprites": [ @@ -270,7 +270,7 @@ "z_gw2b" ], "anchor": 0, - "subject": "Four frames of the same enormous fat zombie brute, drawn as coarse low-resolution pixel art. The FIRST TWO are the same damage stage — his LEFT arm torn off at the shoulder leaving a ragged bloody stump, the right arm dragging a rusty pole — shown as two stages of one stride. The LAST TWO are the next damage stage, BOTH arms gone at the shoulders, again two stages of one stride. Within each pair the injuries must be IDENTICAL and on the same side of the body: only the legs change.", + "subject": "Four frames of the same enormous fat zombie brute, drawn as coarse low-resolution pixel art. The FIRST TWO are the same damage stage \u2014 his LEFT arm torn off at the shoulder leaving a ragged bloody stump, the right arm dragging a rusty pole \u2014 shown as two stages of one stride. The LAST TWO are the next damage stage, BOTH arms gone at the shoulders, again two stages of one stride. Within each pair the injuries must be IDENTICAL and on the same side of the body: only the legs change.", "check": "same", "state": true }, @@ -282,7 +282,7 @@ "z_gw4b" ], "anchor": 0, - "subject": "Four frames of the same enormous fat zombie brute, drawn as coarse low-resolution pixel art. The FIRST TWO are the same damage stage — chest and belly torn wide open with the ribs showing — as two stages of one stride. The LAST TWO are the final stage, HEADLESS with the ribs out, still standing, again two stages of one stride. Within each pair the injuries must be IDENTICAL and in the same place: only the legs change.", + "subject": "Four frames of the same enormous fat zombie brute, drawn as coarse low-resolution pixel art. The FIRST TWO are the same damage stage \u2014 chest and belly torn wide open with the ribs showing \u2014 as two stages of one stride. The LAST TWO are the final stage, HEADLESS with the ribs out, still standing, again two stages of one stride. Within each pair the injuries must be IDENTICAL and in the same place: only the legs change.", "check": "same" }, "player_swing": { @@ -293,7 +293,7 @@ "ref": "p_idle1", "anchor": 0, "check": "same", - "subject": "Three frames of the same tennis player in a white shirt, blue shorts and a white headband, seen from BEHIND, drawn as coarse low-resolution pixel art. First a plain standing frame for scale, then two frames of a forehand swing — racket drawn back across the body, then followed through. In both he faces AWAY from the camera, up the court — the back of his head towards you, no face." + "subject": "Three frames of the same tennis player in a white shirt, blue shorts and a white headband, seen from BEHIND, drawn as coarse low-resolution pixel art. First a plain standing frame for scale, then two frames of a forehand swing \u2014 racket drawn back across the body, then followed through. In both he faces AWAY from the camera, up the court \u2014 the back of his head towards you, no face." }, "brute_w1": { "sprites": [ @@ -306,7 +306,7 @@ "anchor": 0, "check": "loose", "scale": 1.5, - "subject": "The reference is one enormous fat zombie brute whose arm on the RIGHT-HAND SIDE OF THE IMAGE is torn off at the shoulder, leaving a ragged bloody stump, while the arm on the LEFT-HAND SIDE of the image is whole and drags a rusty pole. Draw TWO frames of that exact body as two stages of one stride. In BOTH frames the bloody stump must stay on the RIGHT-HAND SIDE OF THE IMAGE and the pole-dragging arm on the LEFT — do not mirror the body. Only the legs and the lean change: first left leg forward, then legs swapped with the weight sunk lower. Output exactly two figures in one row." + "subject": "The reference is one enormous fat zombie brute whose arm on the RIGHT-HAND SIDE OF THE IMAGE is torn off at the shoulder, leaving a ragged bloody stump, while the arm on the LEFT-HAND SIDE of the image is whole and drags a rusty pole. Draw TWO frames of that exact body as two stages of one stride. In BOTH frames the bloody stump must stay on the RIGHT-HAND SIDE OF THE IMAGE and the pole-dragging arm on the LEFT \u2014 do not mirror the body. Only the legs and the lean change: first left leg forward, then legs swapped with the weight sunk lower. Output exactly two figures in one row." }, "brute_w2": { "sprites": [ @@ -318,7 +318,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is one enormous fat zombie brute with BOTH arms torn off at the shoulders, two ragged bloody stumps. Draw TWO frames of that EXACT same body — same injury, on the SAME side, same clothes, same size, same facing — as two stages of one stride: the first with his left leg forward and right leg back, the second with the legs swapped and his weight sunk lower. The injury must be pixel-identical in both frames; ONLY the legs and the lean change. Output exactly two figures in one row." + "subject": "The reference is one enormous fat zombie brute with BOTH arms torn off at the shoulders, two ragged bloody stumps. Draw TWO frames of that EXACT same body \u2014 same injury, on the SAME side, same clothes, same size, same facing \u2014 as two stages of one stride: the first with his left leg forward and right leg back, the second with the legs swapped and his weight sunk lower. The injury must be pixel-identical in both frames; ONLY the legs and the lean change. Output exactly two figures in one row." }, "brute_w3": { "sprites": [ @@ -330,7 +330,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is one enormous fat zombie brute with his chest and belly torn wide open with the ribs showing through. Draw TWO frames of that EXACT same body — same injury, on the SAME side, same clothes, same size, same facing — as two stages of one stride: the first with his left leg forward and right leg back, the second with the legs swapped and his weight sunk lower. The injury must be pixel-identical in both frames; ONLY the legs and the lean change. Output exactly two figures in one row." + "subject": "The reference is one enormous fat zombie brute with his chest and belly torn wide open with the ribs showing through. Draw TWO frames of that EXACT same body \u2014 same injury, on the SAME side, same clothes, same size, same facing \u2014 as two stages of one stride: the first with his left leg forward and right leg back, the second with the legs swapped and his weight sunk lower. The injury must be pixel-identical in both frames; ONLY the legs and the lean change. Output exactly two figures in one row." }, "brute_w4": { "sprites": [ @@ -342,7 +342,7 @@ ], "anchor": 0, "check": "loose", - "subject": "Draw TWO frames of an enormous fat zombie brute that has NO HEAD AT ALL — the neck ends in a ragged red stump at shoulder height, there is no skull, no face, no jaw, nothing above the shoulders — and whose chest is torn open with the ribs showing. Same body, same clothes and same size as the reference, as two stages of one stride: first left leg forward, then legs swapped with the weight lower. The missing head and the chest wound must be identical in both frames; only the legs change. Output exactly two figures in one row." + "subject": "Draw TWO frames of an enormous fat zombie brute that has NO HEAD AT ALL \u2014 the neck ends in a ragged red stump at shoulder height, there is no skull, no face, no jaw, nothing above the shoulders \u2014 and whose chest is torn open with the ribs showing. Same body, same clothes and same size as the reference, as two stages of one stride: first left leg forward, then legs swapped with the weight lower. The missing head and the chest wound must be identical in both frames; only the legs change. Output exactly two figures in one row." }, "brute_stages": { "sprites": [ @@ -357,7 +357,7 @@ "anchor": 0, "check": "loose", "scale": 1.5, - "subject": "The reference is an enormous fat zombie brute — huge belly, stained shirt, brown trousers, dragging a rusty pole. Draw FOUR frames of that SAME body at that SAME size and bulk, standing, as four stages of damage: (1) the arm on the right-hand side of the image torn off at the shoulder leaving a ragged bloody stump, the other arm still dragging the pole; (2) BOTH arms torn off at the shoulders, two bloody stumps, no pole; (3) both arms gone and the chest and belly torn wide open with ribs showing through; (4) all of that AND no head at all — the neck ends in a ragged red stump at shoulder height, no skull, no face. He must stay the same enormous size and shape in all four — do not slim him down as the damage grows. Output exactly four figures in one row, evenly spaced." + "subject": "The reference is an enormous fat zombie brute \u2014 huge belly, stained shirt, brown trousers, dragging a rusty pole. Draw FOUR frames of that SAME body at that SAME size and bulk, standing, as four stages of damage: (1) the arm on the right-hand side of the image torn off at the shoulder leaving a ragged bloody stump, the other arm still dragging the pole; (2) BOTH arms torn off at the shoulders, two bloody stumps, no pole; (3) both arms gone and the chest and belly torn wide open with ribs showing through; (4) all of that AND no head at all \u2014 the neck ends in a ragged red stump at shoulder height, no skull, no face. He must stay the same enormous size and shape in all four \u2014 do not slim him down as the damage grows. Output exactly four figures in one row, evenly spaced." }, "brute_s12": { "sprites": [ @@ -370,7 +370,7 @@ "anchor": 0, "check": "loose", "scale": 1.4, - "subject": "The reference is an enormous fat zombie brute — huge belly, stained shirt, brown trousers. Draw TWO frames of that SAME body at that SAME enormous size and bulk, standing, as two stages of damage: (1) the arm on the right-hand side of the image torn off at the shoulder leaving a ragged bloody stump, the other arm still dragging a rusty pole; (2) BOTH arms torn off at the shoulders, two bloody stumps, no pole. Do not slim him down. Output exactly two figures in one row, far apart." + "subject": "The reference is an enormous fat zombie brute \u2014 huge belly, stained shirt, brown trousers. Draw TWO frames of that SAME body at that SAME enormous size and bulk, standing, as two stages of damage: (1) the arm on the right-hand side of the image torn off at the shoulder leaving a ragged bloody stump, the other arm still dragging a rusty pole; (2) BOTH arms torn off at the shoulders, two bloody stumps, no pole. Do not slim him down. Output exactly two figures in one row, far apart." }, "brute_s34": { "sprites": [ @@ -383,7 +383,7 @@ "anchor": 0, "check": "loose", "scale": 1.4, - "subject": "The reference is an enormous fat zombie brute — huge belly, stained shirt, brown trousers. Draw TWO frames of that SAME body at that SAME enormous size and bulk, standing, as two stages of damage: (1) both arms gone and the chest and belly torn wide open with the ribs showing through; (2) all of that AND no head at all — the neck ends in a ragged red stump at shoulder height, no skull, no face, nothing above the shoulders. Do not slim him down. Output exactly two figures in one row, far apart." + "subject": "The reference is an enormous fat zombie brute \u2014 huge belly, stained shirt, brown trousers. Draw TWO frames of that SAME body at that SAME enormous size and bulk, standing, as two stages of damage: (1) both arms gone and the chest and belly torn wide open with the ribs showing through; (2) all of that AND no head at all \u2014 the neck ends in a ragged red stump at shoulder height, no skull, no face, nothing above the shoulders. Do not slim him down. Output exactly two figures in one row, far apart." }, "player_stance_r": { "sprites": [ @@ -397,7 +397,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is ONE tennis player in a white shirt, blue shorts and a white headband, seen from behind, serving with the racket high in his right hand. Draw FOUR frames of that same man. Every figure is seen strictly FROM BEHIND — the back of his head and the back of his shirt towards you, NO face, NO eyes, NO nose, NO mouth. Every figure is drawn from exactly the same viewpoint: same camera height, same distance, straight on, standing on the same level ground line, with no perspective distortion, no foreshortening, no worm's-eye or bird's-eye angle and no three-quarter turn. Same size, same body, same style, same BRIGHT WHITE shirt and BRIGHT BLUE shorts as the reference — do not wash the colours out. He is RIGHT-HANDED and the racket NEVER changes hands: in every single frame the racket is in his RIGHT hand, which — because he is drawn from behind — is on the RIGHT-HAND SIDE OF THE IMAGE, exactly as in the reference. His empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame — the game draws the ball. Frame 1: he STANDS upright and relaxed at the baseline, arms down, the racket hanging at his right side. Frame 2: he leans forward a little and his empty LEFT hand reaches down and out to the LEFT-HAND SIDE OF THE IMAGE, palm down, as if patting a ball on the ground beside his left foot; the racket stays in his right hand at his right side. Frame 3 IS THE SAME DRAWING AS FRAME 2 — identical stance, identical legs, identical head, identical racket, identical everything — and the ONLY difference is that his left elbow is bent a little more so that left hand has risen about one hand's width higher, as if the ball had bounced back up into it. Frame 4: the ball toss — he leans back and throws that same empty LEFT arm up high above him on the LEFT-HAND SIDE OF THE IMAGE, having just released the ball, while the racket stays in his right hand down at his right side. Output exactly four figures in one row, evenly spaced and far apart." + "subject": "The reference is ONE tennis player in a white shirt, blue shorts and a white headband, seen from behind, serving with the racket high in his right hand. Draw FOUR frames of that same man. Every figure is seen strictly FROM BEHIND \u2014 the back of his head and the back of his shirt towards you, NO face, NO eyes, NO nose, NO mouth. Every figure is drawn from exactly the same viewpoint: same camera height, same distance, straight on, standing on the same level ground line, with no perspective distortion, no foreshortening, no worm's-eye or bird's-eye angle and no three-quarter turn. Same size, same body, same style, same BRIGHT WHITE shirt and BRIGHT BLUE shorts as the reference \u2014 do not wash the colours out. He is RIGHT-HANDED and the racket NEVER changes hands: in every single frame the racket is in his RIGHT hand, which \u2014 because he is drawn from behind \u2014 is on the RIGHT-HAND SIDE OF THE IMAGE, exactly as in the reference. His empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame \u2014 the game draws the ball. Frame 1: he STANDS upright and relaxed at the baseline, arms down, the racket hanging at his right side. Frame 2: he leans forward a little and his empty LEFT hand reaches down and out to the LEFT-HAND SIDE OF THE IMAGE, palm down, as if patting a ball on the ground beside his left foot; the racket stays in his right hand at his right side. Frame 3 IS THE SAME DRAWING AS FRAME 2 \u2014 identical stance, identical legs, identical head, identical racket, identical everything \u2014 and the ONLY difference is that his left elbow is bent a little more so that left hand has risen about one hand's width higher, as if the ball had bounced back up into it. Frame 4: the ball toss \u2014 he leans back and throws that same empty LEFT arm up high above him on the LEFT-HAND SIDE OF THE IMAGE, having just released the ball, while the racket stays in his right hand down at his right side. Output exactly four figures in one row, evenly spaced and far apart." }, "opponent_swing": { "sprites": [ @@ -407,7 +407,7 @@ "ref": "o_idle1", "anchor": 0, "check": "loose", - "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art, side by side. FRAME 1: a plain standing frame for scale, exactly like the reference. FRAME 2 — THE BACKSWING: he has turned his shoulders and taken the racket BACK BEHIND HIS RIGHT HIP, low and well behind his body, arm coiled, racket head pointing backwards away from the net, weight on his back foot. He has NOT hit the ball yet. FRAME 3 — THE FOLLOW-THROUGH: the swing is FINISHED. His arm has swept all the way ACROSS HIS CHEST to the OTHER SIDE of his body and the racket head is now UP AND OVER HIS LEFT SHOULDER, near his left ear, his chest turned to face the net, weight on his front foot. FRAMES 2 AND 3 MUST LOOK COMPLETELY DIFFERENT FROM EACH OTHER — in frame 2 the racket is BEHIND him on his RIGHT, in frame 3 it is HIGH on his LEFT. This contrast is the whole point of the pair. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, DARK CHARCOAL GREY shorts, RED cloth headband, blond hair, white shoes, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, never white or cream. In both swing frames he stays UPRIGHT at his full standing height — head at the same level as the standing frame, back straight, knees only slightly bent, never crouching or lunging low. The whole racket is drawn and fully inside the canvas. His shoes are WHITE with RED socks and his shirt is a BRIGHT PURE RED, exactly like the reference — not brick, not brown, not orange.", + "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art, side by side. FRAME 1: a plain standing frame for scale, exactly like the reference. FRAME 2 \u2014 THE BACKSWING: he has turned his shoulders and taken the racket BACK BEHIND HIS RIGHT HIP, low and well behind his body, arm coiled, racket head pointing backwards away from the net, weight on his back foot. He has NOT hit the ball yet. FRAME 3 \u2014 THE FOLLOW-THROUGH: the swing is FINISHED. His arm has swept all the way ACROSS HIS CHEST to the OTHER SIDE of his body and the racket head is now UP AND OVER HIS LEFT SHOULDER, near his left ear, his chest turned to face the net, weight on his front foot. FRAMES 2 AND 3 MUST LOOK COMPLETELY DIFFERENT FROM EACH OTHER \u2014 in frame 2 the racket is BEHIND him on his RIGHT, in frame 3 it is HIGH on his LEFT. This contrast is the whole point of the pair. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, DARK CHARCOAL GREY shorts, RED cloth headband, blond hair, white shoes, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, never white or cream. In both swing frames he stays UPRIGHT at his full standing height \u2014 head at the same level as the standing frame, back straight, knees only slightly bent, never crouching or lunging low. The whole racket is drawn and fully inside the canvas. His shoes are WHITE with RED socks and his shirt is a BRIGHT PURE RED, exactly like the reference \u2014 not brick, not brown, not orange.", "palette_ref": "o_idle1" }, "opponent_idle": { @@ -420,7 +420,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is ONE tennis opponent standing and waiting, gripping a tennis racket in his right hand. Draw TWO frames of that same man waiting to receive, standing at the SAME FULL HEIGHT as the reference: the two frames are one relaxed weight shift, first with his weight on his left foot, then on his right, racket held ready in front of him in both. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED headband, blond hair, seen from the FRONT across the net. Same face, same colours, same proportions. CRITICAL: the ENTIRE racket — head, strings, throat and grip — is fully inside the canvas in both frames, with clear empty space between the racket and every edge. Nothing is cut off at an edge. He stands upright and does not crouch. His headband is RED, the same red as his shirt — it is NEVER white, cream or grey." + "subject": "The reference is ONE tennis opponent standing and waiting, gripping a tennis racket in his right hand. Draw TWO frames of that same man waiting to receive, standing at the SAME FULL HEIGHT as the reference: the two frames are one relaxed weight shift, first with his weight on his left foot, then on his right, racket held ready in front of him in both. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED headband, blond hair, seen from the FRONT across the net. Same face, same colours, same proportions. CRITICAL: the ENTIRE racket \u2014 head, strings, throat and grip \u2014 is fully inside the canvas in both frames, with clear empty space between the racket and every edge. Nothing is cut off at an edge. He stands upright and does not crouch. His headband is RED, the same red as his shirt \u2014 it is NEVER white, cream or grey." }, "opponent_toss": { "sprites": [ @@ -430,7 +430,7 @@ "ref": "o_idle1", "anchor": 0, "check": "loose", - "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art. FIRST a plain standing frame for scale, exactly like the reference. THEN the ball TOSS — standing tall, his free hand stretched straight up above his head having just released the ball, racket back and low. THEN the SMASH — at full stretch, the racket swung up overhead to hit. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED cloth headband, blond hair, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, the same red as his shirt — never white, cream or grey. In the toss and smash frames his FEET STAY ON THE GROUND LINE and his body stays the same size as the standing frame; only his arms reach above his head. The whole racket is drawn and fully inside the canvas. His shorts are DARK CHARCOAL GREY, almost black — the same dark grey as the reference figure standing beside them, definitely NOT pale grey, light grey or blue. His shoes are white. Match the reference palette exactly in every frame.", + "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art. FIRST a plain standing frame for scale, exactly like the reference. THEN the ball TOSS \u2014 standing tall, his free hand stretched straight up above his head having just released the ball, racket back and low. THEN the SMASH \u2014 at full stretch, the racket swung up overhead to hit. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED cloth headband, blond hair, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, the same red as his shirt \u2014 never white, cream or grey. In the toss and smash frames his FEET STAY ON THE GROUND LINE and his body stays the same size as the standing frame; only his arms reach above his head. The whole racket is drawn and fully inside the canvas. His shorts are DARK CHARCOAL GREY, almost black \u2014 the same dark grey as the reference figure standing beside them, definitely NOT pale grey, light grey or blue. His shoes are white. Match the reference palette exactly in every frame.", "palette_ref": "o_idle1" }, "opponent_bounce": { @@ -441,7 +441,7 @@ "ref": "o_idle1", "anchor": 0, "check": "loose", - "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art. FIRST a plain standing frame for scale, exactly like the reference. THEN TWO frames of him standing at the baseline BOUNCING A BALL on the ground before serving, with NO ball drawn. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED cloth headband, blond hair, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, the same red as his shirt — never white, cream or grey. In both bouncing frames his racket is held out to the side in his RIGHT hand — which is on the LEFT-HAND SIDE OF THE IMAGE — and his other arm is stretched DOWN AND OUT to the RIGHT-HAND SIDE OF THE IMAGE, well clear of his body, with the palm open and facing the ground as if patting a ball. CRITICAL: the two bouncing frames are otherwise the IDENTICAL drawing — same stance, same legs, same head, same racket, same size — and the ONLY difference between them is the height of that patting hand: in the first it is low, near knee height; in the second it is higher, near his waist. Draw NO ball in any frame.", + "subject": "Three frames of the same tennis opponent, drawn as coarse low-resolution pixel art. FIRST a plain standing frame for scale, exactly like the reference. THEN TWO frames of him standing at the baseline BOUNCING A BALL on the ground before serving, with NO ball drawn. Every figure is the SAME man as the reference and the SAME size: RED polo shirt, dark grey shorts, RED cloth headband, blond hair, seen from the FRONT. Same face, same colours, same proportions. His headband is RED, the same red as his shirt \u2014 never white, cream or grey. In both bouncing frames his racket is held out to the side in his RIGHT hand \u2014 which is on the LEFT-HAND SIDE OF THE IMAGE \u2014 and his other arm is stretched DOWN AND OUT to the RIGHT-HAND SIDE OF THE IMAGE, well clear of his body, with the palm open and facing the ground as if patting a ball. CRITICAL: the two bouncing frames are otherwise the IDENTICAL drawing \u2014 same stance, same legs, same head, same racket, same size \u2014 and the ONLY difference between them is the height of that patting hand: in the first it is low, near knee height; in the second it is higher, near his waist. Draw NO ball in any frame.", "palette_ref": "o_idle1" }, "ballboy_walk": { @@ -497,7 +497,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is one big walking zombie seen from the SIDE and facing LEFT. Draw FOUR frames of a walk cycle, seen from the SIDE and facing LEFT, of a dead SECURITY STEWARD working the tournament gate: a big heavy-set man with a shaven head and a thick neck, wearing an open BLACK bomber jacket over a bright YELLOW high-visibility vest with SECURITY in black block letters, a white shirt collar showing at the throat, a red accreditation lanyard, grey-green cargo trousers with deep pockets and visible seams, a chunky leather belt with a silver buckle, tan boots, tattoos down one bare forearm, and a coiled clear earpiece wire running up to one ear. Green-grey dead skin, jaw hanging, teeth bared. He is broad and slab-shouldered — noticeably heavier than the reference, but still a normal human silhouette — and he walks with his arms held out from his body, shoving forward. Draw him at the same overall height as the reference. The four frames are the four stages of ONE shambling stride: front leg reaching forward with the GAP BETWEEN THE FEET WIDE; then the feet together and passing; then the other leg reaching forward with the gap wide the other way; then the feet together again. The gap between his feet must visibly open and close, and the arms swing opposite the legs. Output exactly four figures in one row, evenly spaced.", + "subject": "The reference is one big walking zombie seen from the SIDE and facing LEFT. Draw FOUR frames of a walk cycle, seen from the SIDE and facing LEFT, of a dead SECURITY STEWARD working the tournament gate: a big heavy-set man with a shaven head and a thick neck, wearing an open BLACK bomber jacket over a bright YELLOW high-visibility vest with SECURITY in black block letters, a white shirt collar showing at the throat, a red accreditation lanyard, grey-green cargo trousers with deep pockets and visible seams, a chunky leather belt with a silver buckle, tan boots, tattoos down one bare forearm, and a coiled clear earpiece wire running up to one ear. Green-grey dead skin, jaw hanging, teeth bared. He is broad and slab-shouldered \u2014 noticeably heavier than the reference, but still a normal human silhouette \u2014 and he walks with his arms held out from his body, shoving forward. Draw him at the same overall height as the reference. The four frames are the four stages of ONE shambling stride: front leg reaching forward with the GAP BETWEEN THE FEET WIDE; then the feet together and passing; then the other leg reaching forward with the gap wide the other way; then the feet together again. The gap between his feet must visibly open and close, and the arms swing opposite the legs. Output exactly four figures in one row, evenly spaced.", "state": true }, "bouncer_w1": { @@ -536,7 +536,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is the dead SECURITY steward in his black bomber jacket over a bright yellow hi-vis vest, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same size and bulk and the same clothes, still walking, now WOUNDED: both arms are gone at the shoulders AND he has no head at all — the neck ends in a ragged red stump at shoulder height, no skull, no face — the earpiece wire dangling loose into the wound. Do not slim him down. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", + "subject": "The reference is the dead SECURITY steward in his black bomber jacket over a bright yellow hi-vis vest, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same size and bulk and the same clothes, still walking, now WOUNDED: both arms are gone at the shoulders AND he has no head at all \u2014 the neck ends in a ragged red stump at shoulder height, no skull, no face \u2014 the earpiece wire dangling loose into the wound. Do not slim him down. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", "state": true }, "roller_walk": { @@ -551,7 +551,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is one enormous walking zombie brute seen from the SIDE and facing LEFT. Draw FOUR frames of a heavy walk cycle, seen from the SIDE and facing LEFT, of a dead GROUNDSMAN hauling a heavy court roller: a colossal man in filthy green overalls with the sleeves cut off, a leather tool belt, mud-caked rubber boots, leaning hard into a two-handed steel T-handle. The roller itself is a squat heavy cylinder on a short frame close behind his heels — it must stay small and entirely INSIDE his own frame, never reaching toward the next figure. Green-grey dead skin, one eye gone, teeth bared with effort. He is even bigger and heavier than the reference, hunched forward under the load. The four frames are the four stages of ONE shambling stride: front leg reaching forward with the GAP BETWEEN THE FEET WIDE; then the feet together and passing; then the other leg reaching forward with the gap wide the other way; then the feet together again. The gap between his feet must visibly open and close, and the arms swing opposite the legs. Output exactly four figures in one row, evenly spaced.", + "subject": "The reference is one enormous walking zombie brute seen from the SIDE and facing LEFT. Draw FOUR frames of a heavy walk cycle, seen from the SIDE and facing LEFT, of a dead GROUNDSMAN hauling a heavy court roller: a colossal man in filthy green overalls with the sleeves cut off, a leather tool belt, mud-caked rubber boots, leaning hard into a two-handed steel T-handle. The roller itself is a squat heavy cylinder on a short frame close behind his heels \u2014 it must stay small and entirely INSIDE his own frame, never reaching toward the next figure. Green-grey dead skin, one eye gone, teeth bared with effort. He is even bigger and heavier than the reference, hunched forward under the load. The four frames are the four stages of ONE shambling stride: front leg reaching forward with the GAP BETWEEN THE FEET WIDE; then the feet together and passing; then the other leg reaching forward with the gap wide the other way; then the feet together again. The gap between his feet must visibly open and close, and the arms swing opposite the legs. Output exactly four figures in one row, evenly spaced.", "state": true }, "roller_w1": { @@ -564,7 +564,7 @@ ], "anchor": 0, "check": "any", - "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: the arm on the right-hand side of the image is COMPLETELY GONE — severed at the shoulder joint, no upper arm, no forearm, no hand, nothing below it but a ragged red stump of bone and muscle at the shoulder — while his other arm still grips the roller handle. He must stay exactly as enormous — do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", + "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: the arm on the right-hand side of the image is COMPLETELY GONE \u2014 severed at the shoulder joint, no upper arm, no forearm, no hand, nothing below it but a ragged red stump of bone and muscle at the shoulder \u2014 while his other arm still grips the roller handle. He must stay exactly as enormous \u2014 do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", "state": true }, "roller_w2": { @@ -577,7 +577,7 @@ ], "anchor": 0, "check": "any", - "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: BOTH arms are torn off at the shoulders leaving two bloody stumps and the roller is gone entirely. He must stay exactly as enormous — do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", + "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: BOTH arms are torn off at the shoulders leaving two bloody stumps and the roller is gone entirely. He must stay exactly as enormous \u2014 do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", "state": true }, "roller_w3": { @@ -590,7 +590,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: both arms are gone AND his chest and belly are torn wide open with the ribs showing through, the overalls hanging in bloody strips. He must stay exactly as enormous — do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", + "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: both arms are gone AND his chest and belly are torn wide open with the ribs showing through, the overalls hanging in bloody strips. He must stay exactly as enormous \u2014 do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", "state": true }, "roller_w4": { @@ -603,7 +603,7 @@ ], "anchor": 0, "check": "same", - "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: both arms are gone, the chest is torn open with ribs showing, AND he has no head at all — the neck ends in a ragged red stump at shoulder height. He must stay exactly as enormous — do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", + "subject": "The reference is the dead groundsman in filthy green overalls, seen from the SIDE and facing LEFT. Draw TWO frames of that SAME man, the same colossal size and bulk and the same overalls, still walking, now WOUNDED: both arms are gone, the chest is torn open with ribs showing, AND he has no head at all \u2014 the neck ends in a ragged red stump at shoulder height. He must stay exactly as enormous \u2014 do not slim him down as the damage grows. The two frames are the two halves of ONE stride: in the first the front foot is far forward and the GAP BETWEEN THE FEET IS WIDE, in the second the feet are together and passing. Output exactly two figures in one row.", "state": true }, "boss_coach_walk": { @@ -617,7 +617,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE HEAD COACH — a towering dead tennis coach facing the viewer, in a zipped navy and white tracksuit with a national-team crest on the chest and white piping down the sleeves, a steel whistle on a cord round his neck, wraparound sunglasses pushed up on his forehead, and a wire ball-hopper basket full of tennis balls gripped in one huge fist. Green-grey dead skin, hollow cheeks, teeth bared in a shout. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE HEAD COACH \u2014 a towering dead tennis coach facing the viewer, in a zipped navy and white tracksuit with a national-team crest on the chest and white piping down the sleeves, a steel whistle on a cord round his neck, wraparound sunglasses pushed up on his forehead, and a wire ball-hopper basket full of tennis balls gripped in one huge fist. Green-grey dead skin, hollow cheeks, teeth bared in a shout. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_coach_wounds": { "sprites": [ @@ -630,7 +630,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference is THE HEAD COACH — a towering dead tennis coach facing the viewer, in a zipped navy and white tracksuit with a national-team crest on the chest and white piping down the sleeves, a steel whistle on a cord round his neck, wraparound sunglasses pushed up on his forehead, and a wire ball-hopper basket full of tennis balls gripped in one huge fist. Green-grey dead skin, hollow cheeks, teeth bared in a shout, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row.", + "subject": "The reference is THE HEAD COACH \u2014 a towering dead tennis coach facing the viewer, in a zipped navy and white tracksuit with a national-team crest on the chest and white piping down the sleeves, a steel whistle on a cord round his neck, wraparound sunglasses pushed up on his forehead, and a wire ball-hopper basket full of tennis balls gripped in one huge fist. Green-grey dead skin, hollow cheeks, teeth bared in a shout, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row.", "state": true }, "boss_coach_throw": { @@ -648,7 +648,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", "state": true }, "boss_physio_walk": { @@ -662,7 +662,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE PHYSIO — a towering dead sports physiotherapist facing the viewer, in a white medical polo with a red cross on the breast and blood to the elbows, torn blue latex gloves, a bandolier of rolled strapping tape across the chest, a folding massage table strapped flat to his back, an ice pack gripped in one huge fist. Green-grey dead skin, wire-framed glasses cracked across one lens, jaw slack. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE PHYSIO \u2014 a towering dead sports physiotherapist facing the viewer, in a white medical polo with a red cross on the breast and blood to the elbows, torn blue latex gloves, a bandolier of rolled strapping tape across the chest, a folding massage table strapped flat to his back, an ice pack gripped in one huge fist. Green-grey dead skin, wire-framed glasses cracked across one lens, jaw slack. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_physio_wounds": { "sprites": [ @@ -675,7 +675,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference is THE PHYSIO — a towering dead sports physiotherapist facing the viewer, in a white medical polo with a red cross on the breast and blood to the elbows, torn blue latex gloves, a bandolier of rolled strapping tape across the chest, a folding massage table strapped flat to his back, an ice pack gripped in one huge fist. Green-grey dead skin, wire-framed glasses cracked across one lens, jaw slack, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row.", + "subject": "The reference is THE PHYSIO \u2014 a towering dead sports physiotherapist facing the viewer, in a white medical polo with a red cross on the breast and blood to the elbows, torn blue latex gloves, a bandolier of rolled strapping tape across the chest, a folding massage table strapped flat to his back, an ice pack gripped in one huge fist. Green-grey dead skin, wire-framed glasses cracked across one lens, jaw slack, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row.", "state": true }, "boss_physio_throw": { @@ -693,7 +693,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", "state": true }, "boss_mascot_walk": { @@ -707,7 +707,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE SPONSOR MASCOT — a towering dead tournament mascot facing the viewer, wearing a giant fuzzy tennis-ball costume: an enormous yellow-green foam sphere for a head and body with the white curved seam painted across it, stubby green sleeves and leggings, oversized cartoon shoes, white gloves. Through a dark mesh mouth-hole in the ball a rotting green face is just visible. He grips a tennis ball in one glove. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE SPONSOR MASCOT \u2014 a towering dead tournament mascot facing the viewer, wearing a giant fuzzy tennis-ball costume: an enormous yellow-green foam sphere for a head and body with the white curved seam painted across it, stubby green sleeves and leggings, oversized cartoon shoes, white gloves. Through a dark mesh mouth-hole in the ball a rotting green face is just visible. He grips a tennis ball in one glove. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_mascot_wounds": { "sprites": [ @@ -720,7 +720,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference is THE SPONSOR MASCOT — a towering dead tournament mascot facing the viewer, wearing a giant fuzzy tennis-ball costume: an enormous yellow-green foam sphere for a head and body with the white curved seam painted across it, stubby green sleeves and leggings, oversized cartoon shoes, white gloves. Through a dark mesh mouth-hole in the ball a rotting green face is just visible. He grips a tennis ball in one glove, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row.", + "subject": "The reference is THE SPONSOR MASCOT \u2014 a towering dead tournament mascot facing the viewer, wearing a giant fuzzy tennis-ball costume: an enormous yellow-green foam sphere for a head and body with the white curved seam painted across it, stubby green sleeves and leggings, oversized cartoon shoes, white gloves. Through a dark mesh mouth-hole in the ball a rotting green face is just visible. He grips a tennis ball in one glove, facing the viewer. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row.", "state": true }, "boss_mascot_throw": { @@ -738,7 +738,7 @@ ], "anchor": 0, "check": "loose", - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row.", "state": true }, "barrel": { @@ -753,7 +753,7 @@ "check": "any", "newart": true, "h": 150, - "subject": "The reference is a piece of tennis-court equipment drawn as pixel art, seen from the side. Draw TWO frames of a DIFFERENT object in that same style: a squat STEEL DRUM lying on its side like a barrel about to be rolled, banded with two raised hoops, its curved end-cap facing the viewer. The drum is DARK GUNMETAL GREY steel, heavily dented and streaked with rust, with bold YELLOW AND BLACK hazard chevrons stencilled around the middle band and a thin band of glowing PALE CYAN-WHITE light leaking from the seams between the staves. IMPORTANT: no part of the drum may be pink, magenta, purple or violet — use only grey steel, rust brown, yellow, black and pale cyan-white. It is a wide low object, clearly wider than it is tall, and it sits ON THE GROUND. The two frames are the same drum rotated part of a turn, so the hoops, chevrons and dents sit at visibly DIFFERENT angles — frame two is rolled about a third of a turn from frame one. Output exactly two objects in one row, evenly spaced." + "subject": "The reference is a piece of tennis-court equipment drawn as pixel art, seen from the side. Draw TWO frames of a DIFFERENT object in that same style: a squat STEEL DRUM lying on its side like a barrel about to be rolled, banded with two raised hoops, its curved end-cap facing the viewer. The drum is DARK GUNMETAL GREY steel, heavily dented and streaked with rust, with bold YELLOW AND BLACK hazard chevrons stencilled around the middle band and a thin band of glowing PALE CYAN-WHITE light leaking from the seams between the staves. IMPORTANT: no part of the drum may be pink, magenta, purple or violet \u2014 use only grey steel, rust brown, yellow, black and pale cyan-white. It is a wide low object, clearly wider than it is tall, and it sits ON THE GROUND. The two frames are the same drum rotated part of a turn, so the hoops, chevrons and dents sit at visibly DIFFERENT angles \u2014 frame two is rolled about a third of a turn from frame one. Output exactly two objects in one row, evenly spaced." }, "player_f_stance": { "sprites": [ @@ -768,7 +768,7 @@ "newart": true, "check": "same", "anchor": 0, - "subject": "Four frames of a female tennis player in a bright white short-sleeved shirt and a WHITE PLEATED TENNIS SKIRT (a short flared skirt, clearly NOT shorts), white socks and white tennis shoes, her hair tied back in a PONYTAIL. She is the same height and the same drawing style as the reference and stands on the same ground line, but she is a woman, not the man in the reference. Every figure is seen strictly FROM BEHIND — the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth. Every figure is drawn from exactly the same viewpoint: same camera height, same distance, straight on, no foreshortening, no worm's-eye or bird's-eye angle, no three-quarter turn. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, which — because she is drawn from behind — is on the RIGHT-HAND SIDE OF THE IMAGE. Her empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame — the game draws the ball. Frame 1: she stands upright and relaxed at the baseline, weight on her left foot, racket hanging at her right side. Frame 2: the same stance with her weight shifted onto her right foot — identical otherwise. Frame 3: she leans forward slightly and her empty LEFT hand reaches DOWN and out to the LEFT, palm low near her knee, as if she had just patted a ball to the ground. Frame 4: the same stance with that same LEFT hand raised, palm out at about waist height, as if the ball had bounced back up to it. Frames 3 and 4 must be the SAME drawing with only the left hand's height changed — identical legs, identical body, identical racket." + "subject": "Four frames of a female tennis player in a bright white short-sleeved shirt and a WHITE PLEATED TENNIS SKIRT (a short flared skirt, clearly NOT shorts), white socks and white tennis shoes, her hair tied back in a PONYTAIL. She is the same height and the same drawing style as the reference and stands on the same ground line, but she is a woman, not the man in the reference. Every figure is seen strictly FROM BEHIND \u2014 the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth. Every figure is drawn from exactly the same viewpoint: same camera height, same distance, straight on, no foreshortening, no worm's-eye or bird's-eye angle, no three-quarter turn. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, which \u2014 because she is drawn from behind \u2014 is on the RIGHT-HAND SIDE OF THE IMAGE. Her empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame \u2014 the game draws the ball. Frame 1: she stands upright and relaxed at the baseline, weight on her left foot, racket hanging at her right side. Frame 2: the same stance with her weight shifted onto her right foot \u2014 identical otherwise. Frame 3: she leans forward slightly and her empty LEFT hand reaches DOWN and out to the LEFT, palm low near her knee, as if she had just patted a ball to the ground. Frame 4: the same stance with that same LEFT hand raised, palm out at about waist height, as if the ball had bounced back up to it. Frames 3 and 4 must be the SAME drawing with only the left hand's height changed \u2014 identical legs, identical body, identical racket." }, "opp_f_stance": { "sprites": [ @@ -807,7 +807,7 @@ "newart": true, "check": "same", "anchor": 0, - "subject": "Five frames of the same FEMALE ZOMBIE TENNIS PLAYER facing the viewer — she is the turned opponent: grey-green dead skin, sunken eyes, a red headband, a RED shirt torn and bloodstained, a DARK PLEATED TENNIS SKIRT, her hair still in a matted PONYTAIL, a wooden racket hanging from one hand. She is the same height and drawing style as the reference but she is a woman, not the man in the reference. First a plain STANDING frame for scale, then a four-frame shuffle straight TOWARDS the camera, arms hanging, the stride alternating." + "subject": "Five frames of the same FEMALE ZOMBIE TENNIS PLAYER facing the viewer \u2014 she is the turned opponent: grey-green dead skin, sunken eyes, a red headband, a RED shirt torn and bloodstained, a DARK PLEATED TENNIS SKIRT, her hair still in a matted PONYTAIL, a wooden racket hanging from one hand. She is the same height and drawing style as the reference but she is a woman, not the man in the reference. First a plain STANDING frame for scale, then a four-frame shuffle straight TOWARDS the camera, arms hanging, the stride alternating." }, "cpu_f_wounds": { "sprites": [ @@ -824,7 +824,7 @@ "newart": true, "check": "same", "anchor": 0, - "subject": "Four frames of the FEMALE ZOMBIE TENNIS PLAYER shown in the FIRST reference image — same woman, same red torn shirt, same dark pleated tennis skirt, same grey-green skin, facing the viewer. The second and third reference images show the two DAMAGE STAGES to copy onto her. Frame 1: her racket arm has been torn off at the shoulder, the stump gushing, still walking, left leg forward. Frame 2: HEADLESS — her head and ponytail are gone entirely and the neck is a ragged stump, so this figure is A CLEAR HEAD SHORTER THAN THE OTHERS, still walking, left leg forward. Frame 3: identical to frame 1 but with the RIGHT leg forward instead. Frame 4: identical to frame 2 but with the RIGHT leg forward instead. Frames 1 and 3 must be the same drawing with only the legs swapped, and so must frames 2 and 4." + "subject": "Four frames of the FEMALE ZOMBIE TENNIS PLAYER shown in the FIRST reference image \u2014 same woman, same red torn shirt, same dark pleated tennis skirt, same grey-green skin, facing the viewer. The second and third reference images show the two DAMAGE STAGES to copy onto her. Frame 1: her racket arm has been torn off at the shoulder, the stump gushing, still walking, left leg forward. Frame 2: HEADLESS \u2014 her head and ponytail are gone entirely and the neck is a ragged stump, so this figure is A CLEAR HEAD SHORTER THAN THE OTHERS, still walking, left leg forward. Frame 3: identical to frame 1 but with the RIGHT leg forward instead. Frame 4: identical to frame 2 but with the RIGHT leg forward instead. Frames 1 and 3 must be the same drawing with only the legs swapped, and so must frames 2 and 4." }, "player_f_serve": { "sprites": [ @@ -833,12 +833,15 @@ "p_pull_f" ], "ref_only": [ - "p_idle1_f" + "p_idle1_f", + "p_toss", + "p_smash", + "p_pull" ], "pose": true, "check": "same", "anchor": 0, - "subject": "Three frames of the woman in the reference — same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt. She is seen strictly FROM BEHIND — the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth — from exactly the reference's viewpoint: same camera height, same distance, straight on, no foreshortening and no three-quarter turn. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, which — because she is drawn from behind — is on the RIGHT-HAND SIDE OF THE IMAGE. Her empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame — the game draws the ball. Frame 1: the serve toss — her empty LEFT arm thrown straight UP above her head, fingers open, the racket in her right hand still held low. Frame 2: the smash — at full stretch, up on her toes, the racket in her right hand swung high overhead and slightly forward. Frame 3: the wind-up — coiled, knees bent, the racket in her right hand DROPPED DOWN AND BACK BEHIND her with its head pointing at the ground." + "subject": "Three frames of the woman shown in the FIRST reference figure \u2014 same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt, same height and drawing style. The SECOND, THIRD and FOURTH reference figures show a MALE player performing the three serve poses: copy each of those POSES EXACTLY \u2014 the same body position, the same lean, the same knee bend, the same racket arm angle, the same degree of coil or stretch \u2014 but performed BY HER, with her ponytail, her white shirt and her white pleated skirt, never his shorts and never his body. She is seen strictly FROM BEHIND \u2014 the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, on the RIGHT-HAND SIDE OF THE IMAGE, exactly as in the male reference poses. Draw NO ball anywhere in any frame \u2014 the game draws the ball. Frame 1: the pose of the SECOND reference figure \u2014 the serve toss, her empty LEFT arm thrown straight UP above her head, fingers open, the racket in her right hand still held low behind her. Frame 2: the pose of the THIRD reference figure \u2014 the smash, at FULL STRETCH, up on her toes, body fully extended and clearly TALLER than in any other frame, the racket swung high overhead mid-strike. Frame 3: the pose of the FOURTH reference figure \u2014 the wind-up, deeply COILED, knees bent, back arched, the racket in her right hand DROPPED DOWN AND BACK BEHIND her with its head pointing at the ground, exactly like the male wind-up and NOT a ready crouch." }, "player_f_run": { "sprites": [ @@ -853,7 +856,7 @@ "pose": true, "check": "same", "anchor": 0, - "subject": "Four frames of the woman in the reference — same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt. She is seen strictly FROM BEHIND, RUNNING DIRECTLY AWAY FROM THE CAMERA up the court, so you see her back and the soles of her shoes lifting behind her — NEVER in profile, NEVER from the side, NO face. She leans forward, arms swinging, ponytail lifting, and carries NO racket. The four frames are ONE FULL STRIDE and each must be a clearly DIFFERENT leg position: Frame 1 — her LEFT leg is kicked up and bent behind her with the sole of her LEFT shoe turned towards the camera, while her RIGHT leg is straight and planted on the ground. Frame 2 — both legs are together underneath her, passing each other, neither lifted, both shoes near the ground. Frame 3 — the MIRROR of frame 1: her RIGHT leg is kicked up and bent behind her with the sole of her RIGHT shoe turned towards the camera, while her LEFT leg is straight and planted. Frame 4 — both legs together passing again, the opposite arm forward from frame 2. Frames 1 and 3 must lift OPPOSITE legs and must not be the same drawing; frames 2 and 4 must swing opposite arms. All four figures are exactly the same height." + "subject": "Four frames of the woman in the reference \u2014 same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt. She is seen strictly FROM BEHIND, RUNNING DIRECTLY AWAY FROM THE CAMERA up the court, so you see her back and the soles of her shoes lifting behind her \u2014 NEVER in profile, NEVER from the side, NO face. She leans forward, arms swinging, ponytail lifting, and carries NO racket. The four frames are ONE FULL STRIDE and each must be a clearly DIFFERENT leg position: Frame 1 \u2014 her LEFT leg is kicked up and bent behind her with the sole of her LEFT shoe turned towards the camera, while her RIGHT leg is straight and planted on the ground. Frame 2 \u2014 both legs are together underneath her, passing each other, neither lifted, both shoes near the ground. Frame 3 \u2014 the MIRROR of frame 1: her RIGHT leg is kicked up and bent behind her with the sole of her RIGHT shoe turned towards the camera, while her LEFT leg is straight and planted. Frame 4 \u2014 both legs together passing again, the opposite arm forward from frame 2. Frames 1 and 3 must lift OPPOSITE legs and must not be the same drawing; frames 2 and 4 must swing opposite arms. All four figures are exactly the same height." }, "player_f_swing": { "sprites": [ @@ -866,7 +869,7 @@ "pose": true, "check": "same", "anchor": 0, - "subject": "Two frames of the woman in the reference — same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt, same FULL-COLOUR drawing style. She is seen strictly FROM BEHIND — the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth — from exactly the reference's viewpoint: same camera height, same distance, straight on, no foreshortening and no three-quarter turn. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, which — because she is drawn from behind — is on the RIGHT-HAND SIDE OF THE IMAGE. Her empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame — the game draws the ball. Frame 1: a forehand wound up — the racket drawn back low across her body to her right, shoulders turned. Frame 2: the same forehand followed through — the racket swung up and across to her left, hips turned through. In both she still faces AWAY from the camera, up the court." + "subject": "Two frames of the woman in the reference \u2014 same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt, same FULL-COLOUR drawing style. She is seen strictly FROM BEHIND \u2014 the back of her head, her ponytail and the back of her shirt face the viewer, NO face, NO eyes, NO nose, NO mouth \u2014 from exactly the reference's viewpoint: same camera height, same distance, straight on, no foreshortening and no three-quarter turn. She is RIGHT-HANDED and the racket NEVER changes hands: in every frame the racket is in her RIGHT hand, which \u2014 because she is drawn from behind \u2014 is on the RIGHT-HAND SIDE OF THE IMAGE. Her empty left arm is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball anywhere in any frame \u2014 the game draws the ball. Frame 1: a forehand wound up \u2014 the racket drawn back low across her body to her right, shoulders turned. Frame 2: the same forehand followed through \u2014 the racket swung up and across to her left, hips turned through. In both she still faces AWAY from the camera, up the court." }, "player_f_fall": { "sprites": [ @@ -880,7 +883,7 @@ "pose": true, "check": "same", "anchor": 0, - "subject": "Three frames of the woman in the reference — same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt — falling over, each one clearly and measurably shorter than the one before it: arched over backwards with both arms flung up, still at full standing height; dropped onto her knees, about four fifths of that height; pitched forward onto one hand, about half of it." + "subject": "Three frames of the woman in the reference \u2014 same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt \u2014 falling over, each one clearly and measurably shorter than the one before it: arched over backwards with both arms flung up, still at full standing height; dropped onto her knees, about four fifths of that height; pitched forward onto one hand, about half of it." }, "opp_f_play": { "sprites": [ @@ -895,7 +898,7 @@ "pose": true, "check": "same", "anchor": 0, - "subject": "Four frames of the woman in the reference — same hair, same ponytail, same RED shirt, same dark pleated tennis skirt — seen from the FRONT across the net, from exactly the reference's viewpoint. Draw NO ball. Frame 1: the serve toss, her free arm thrown straight up above her head. Frame 2: the smash at full stretch, up on her toes, racket high overhead. Frame 3: a forehand wound up, racket drawn back across her body. Frame 4: the same forehand followed through, racket swung up and across." + "subject": "Four frames of the woman in the reference \u2014 same hair, same ponytail, same RED shirt, same dark pleated tennis skirt \u2014 seen from the FRONT across the net, from exactly the reference's viewpoint. Draw NO ball. Frame 1: the serve toss, her free arm thrown straight up above her head. Frame 2: the smash at full stretch, up on her toes, racket high overhead. Frame 3: a forehand wound up, racket drawn back across her body. Frame 4: the same forehand followed through, racket swung up and across." }, "player_f_bounce": { "sprites": [ @@ -908,7 +911,7 @@ "pose": true, "check": "same", "anchor": 0, - "subject": "Two frames of the woman in the reference — same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt. She is seen strictly FROM BEHIND, the back of her head and her ponytail towards the viewer, NO face, from exactly the reference's viewpoint. The racket stays in her RIGHT hand (the RIGHT-HAND SIDE OF THE IMAGE) in both frames; her empty LEFT hand is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball. She is patting a ball against the ground before serving, so her empty LEFT hand stays LOW in BOTH frames — it NEVER rises above her waist and NEVER comes near her shoulder or her head. Frame 1: she leans forward slightly and her LEFT arm reaches DOWN and out to the left, the palm turned down at about KNEE height. Frame 2: the SAME stance with that same LEFT hand lifted only a little, the palm still turned down, now at about HIP height. Frames 1 and 2 must be the same drawing with ONLY the left hand's height changed — identical legs, identical body, identical racket, identical height." + "subject": "Two frames of the woman in the reference \u2014 same DARK ALMOST-BLACK ponytail, same white shirt, same white pleated tennis skirt. She is seen strictly FROM BEHIND, the back of her head and her ponytail towards the viewer, NO face, from exactly the reference's viewpoint. The racket stays in her RIGHT hand (the RIGHT-HAND SIDE OF THE IMAGE) in both frames; her empty LEFT hand is on the LEFT-HAND SIDE OF THE IMAGE. Draw NO ball. She is patting a ball against the ground before serving, so her empty LEFT hand stays LOW in BOTH frames \u2014 it NEVER rises above her waist and NEVER comes near her shoulder or her head. Frame 1: she leans forward slightly and her LEFT arm reaches DOWN and out to the left, the palm turned down at about KNEE height. Frame 2: the SAME stance with that same LEFT hand lifted only a little, the palm still turned down, now at about HIP height. Frames 1 and 2 must be the same drawing with ONLY the left hand's height changed \u2014 identical legs, identical body, identical racket, identical height." }, "boss_string_walk": { "sprites": [ @@ -921,7 +924,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE STRINGER — a towering dead racket stringer facing the viewer, in a scuffed leather work apron over a sweat-stained club polo with the sleeves rolled up, both forearms wound with loops of pale gut string, a bandolier of string spools across his chest, long-nosed pliers and an awl hanging from his belt, and three bare racket frames strapped across his back. Green-grey dead skin, a length of string bitten between his teeth, sunken eyes. He grips a tennis ball in one huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE STRINGER \u2014 a towering dead racket stringer facing the viewer, in a scuffed leather work apron over a sweat-stained club polo with the sleeves rolled up, both forearms wound with loops of pale gut string, a bandolier of string spools across his chest, long-nosed pliers and an awl hanging from his belt, and three bare racket frames strapped across his back. Green-grey dead skin, a length of string bitten between his teeth, sunken eyes. He grips a tennis ball in one huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_string_wounds": { "sprites": [ @@ -935,7 +938,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference is THE STRINGER — a towering dead racket stringer facing the viewer, in a scuffed leather work apron over a sweat-stained club polo with the sleeves rolled up, both forearms wound with loops of pale gut string, a bandolier of string spools across his chest, long-nosed pliers and an awl hanging from his belt, and three bare racket frames strapped across his back. Green-grey dead skin, a length of string bitten between his teeth, sunken eyes. He grips a tennis ball in one huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row." + "subject": "The reference is THE STRINGER \u2014 a towering dead racket stringer facing the viewer, in a scuffed leather work apron over a sweat-stained club polo with the sleeves rolled up, both forearms wound with loops of pale gut string, a bandolier of string spools across his chest, long-nosed pliers and an awl hanging from his belt, and three bare racket frames strapped across his back. Green-grey dead skin, a length of string bitten between his teeth, sunken eyes. He grips a tennis ball in one huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row." }, "boss_string_throw": { "sprites": [ @@ -953,7 +956,7 @@ "anchor": 0, "check": "any", "state": true, - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." }, "boss_dir_walk": { "sprites": [ @@ -966,7 +969,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE TOURNAMENT DIRECTOR — a towering dead official facing the viewer, in a double-breasted navy blazer with a gold club crest on the breast pocket, a striped club tie, cream trousers, and an accreditation lanyard round his neck. A black two-way radio is raised in one hand and a clipboard of order-of-play sheets is clamped under that arm. Green-grey dead skin, half-moon spectacles, jaw hanging open mid-announcement. He grips a tennis ball in his other huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE TOURNAMENT DIRECTOR \u2014 a towering dead official facing the viewer, in a double-breasted navy blazer with a gold club crest on the breast pocket, a striped club tie, cream trousers, and an accreditation lanyard round his neck. A black two-way radio is raised in one hand and a clipboard of order-of-play sheets is clamped under that arm. Green-grey dead skin, half-moon spectacles, jaw hanging open mid-announcement. He grips a tennis ball in his other huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_dir_wounds": { "sprites": [ @@ -980,7 +983,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference is THE TOURNAMENT DIRECTOR — a towering dead official facing the viewer, in a double-breasted navy blazer with a gold club crest on the breast pocket, a striped club tie, cream trousers, and an accreditation lanyard round his neck. A black two-way radio is raised in one hand and a clipboard of order-of-play sheets is clamped under that arm. Green-grey dead skin, half-moon spectacles, jaw hanging open mid-announcement. He grips a tennis ball in his other huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row." + "subject": "The reference is THE TOURNAMENT DIRECTOR \u2014 a towering dead official facing the viewer, in a double-breasted navy blazer with a gold club crest on the breast pocket, a striped club tie, cream trousers, and an accreditation lanyard round his neck. A black two-way radio is raised in one hand and a clipboard of order-of-play sheets is clamped under that arm. Green-grey dead skin, half-moon spectacles, jaw hanging open mid-announcement. He grips a tennis ball in his other huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row." }, "boss_dir_throw": { "sprites": [ @@ -998,7 +1001,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." }, "boss_berry_walk": { "sprites": [ @@ -1011,7 +1014,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE STRAWBERRY SELLER — a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, cream down his chin, hollow eyes. He grips a tennis ball in one huge fist. Use only deep blood red, white, cream and brown — absolutely no pink, no magenta, no violet and no purple anywhere in the drawing. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE STRAWBERRY SELLER \u2014 a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, cream down his chin, hollow eyes. He grips a tennis ball in one huge fist. Use only deep blood red, white, cream and brown \u2014 absolutely no pink, no magenta, no violet and no purple anywhere in the drawing. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_berry_wounds": { "sprites": [ @@ -1025,7 +1028,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference is THE STRAWBERRY SELLER — a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, cream down his chin, hollow eyes. He grips a tennis ball in one huge fist. Use only deep blood red, white, cream and brown — absolutely no pink, no magenta, no violet and no purple anywhere in the drawing. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row." + "subject": "The reference is THE STRAWBERRY SELLER \u2014 a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, cream down his chin, hollow eyes. He grips a tennis ball in one huge fist. Use only deep blood red, white, cream and brown \u2014 absolutely no pink, no magenta, no violet and no purple anywhere in the drawing. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row." }, "boss_berry_throw": { "sprites": [ @@ -1043,7 +1046,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." }, "boss_champ_walk": { "sprites": [ @@ -1056,7 +1059,7 @@ "anchor": 0, "check": "same", "newart": true, - "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE CHAMPION — the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape wound round his head like a crown, an old sweatband on each wrist. A huge silver trophy is gripped in one fist and held slightly out from his body. Green-grey dead skin drawn tight over a heavy champion's jaw, sunken eyes, teeth bared. He grips a tennis ball in his other huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." + "subject": "The reference is a huge chapter-boss zombie drawn FACING THE VIEWER. Draw TWO frames of a DIFFERENT boss in that same front-facing style and at that same enormous size: THE CHAMPION \u2014 the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape wound round his head like a crown, an old sweatband on each wrist. A huge silver trophy is gripped in one fist and held slightly out from his body. Green-grey dead skin drawn tight over a heavy champion's jaw, sunken eyes, teeth bared. He grips a tennis ball in his other huge fist. In both frames his chest and face point straight at the viewer. The two frames are two stages of one heavy stride straight toward the viewer, one knee lifted in each. Output exactly two figures in one row." }, "boss_champ_wounds": { "sprites": [ @@ -1070,7 +1073,7 @@ "anchor": 0, "check": "loose", "state": true, - "subject": "The reference is THE CHAMPION — the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape wound round his head like a crown, an old sweatband on each wrist. A huge silver trophy is gripped in one fist and held slightly out from his body. Green-grey dead skin drawn tight over a heavy champion's jaw, sunken eyes, teeth bared. He grips a tennis ball in his other huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump — the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips — one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height — one arm is still whole and still holding what it held. He must stay the same enormous size in all three — do not slim him down as the damage grows. Output exactly three figures in one row." + "subject": "The reference is THE CHAMPION \u2014 the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape wound round his head like a crown, an old sweatband on each wrist. A huge silver trophy is gripped in one fist and held slightly out from his body. Green-grey dead skin drawn tight over a heavy champion's jaw, sunken eyes, teeth bared. He grips a tennis ball in his other huge fist. Draw THREE frames of that SAME boss, the same enormous size and the same costume, standing and facing the viewer, as three worsening stages of damage: (1) the arm on the left-hand side of the image is torn off at the shoulder leaving a ragged bloody stump \u2014 the OTHER arm is untouched and still holding what it held; (2) his chest and belly are torn wide open with the ribs showing through and the clothing hanging in bloody strips \u2014 one arm is still whole and still holding what it held; (3) his chest is torn open with ribs showing AND he has no head at all, the neck ending in a ragged red stump at shoulder height \u2014 one arm is still whole and still holding what it held. He must stay the same enormous size in all three \u2014 do not slim him down as the damage grows. Output exactly three figures in one row." }, "boss_champ_throw": { "sprites": [ @@ -1088,7 +1091,7 @@ "anchor": 0, "check": "any", "state": true, - "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds — but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." + "subject": "The reference shows the SAME boss in four states: undamaged, then three worsening stages of damage. Draw all FOUR of those exact states again, in the same order, same size, same costume, same wounds \u2014 but each one caught MID-THROW: the whole body wound up and twisted, the surviving arm drawn back high over the shoulder about to hurl a tennis ball straight at the viewer, weight on the back foot. The wounds must stay clearly visible in every frame. Output exactly four figures in one row." }, "boss_berry_stride": { "sprites": [ @@ -1101,7 +1104,7 @@ "anchor": 0, "check": "any", "state": true, - "subject": "The reference is THE STRAWBERRY SELLER — a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, hollow eyes. He grips a tennis ball in one huge fist. No pink, no magenta, no violet, no purple. Draw TWO frames of that SAME boss walking straight toward the viewer. THE LEGS ARE THE ENTIRE POINT OF THIS SHEET AND THE TWO FRAMES MUST BE OPPOSITE HALVES OF ONE STRIDE. FRAME ONE: his LEFT leg is striding forward with the foot flat on the ground well ahead of him and his RIGHT leg is trailing far behind, that back heel lifted off the ground — the feet are wide apart with clear empty space between the two shoes. FRAME TWO: exactly the other way round — his RIGHT leg strides forward with the foot flat on the ground well ahead of him and the LEFT leg trails far behind with the heel lifted, again with the feet wide apart. In frame two the arms swing the opposite way to frame one as well. Do NOT draw the same leg forward in both frames and do NOT draw him standing on one leg with a knee raised — these are two moments of a heavy walk, so in each frame one foot is planted ahead and the other is behind. Same size, same costume, same face, chest and face squarely toward the viewer in both. Output exactly two figures in one row." + "subject": "The reference is THE STRAWBERRY SELLER \u2014 a towering dead tournament vendor facing the viewer, in a white apron soaked through with deep red and a folded paper cap, a wooden vendor's tray slung from a neck strap across his belly loaded with punnets of DEEP RED strawberries and white jugs of cream, sleeves shoved up over blood-smeared forearms, a serving ladle hanging from his belt. Green-grey dead skin, hollow eyes. He grips a tennis ball in one huge fist. No pink, no magenta, no violet, no purple. Draw TWO frames of that SAME boss walking straight toward the viewer. THE LEGS ARE THE ENTIRE POINT OF THIS SHEET AND THE TWO FRAMES MUST BE OPPOSITE HALVES OF ONE STRIDE. FRAME ONE: his LEFT leg is striding forward with the foot flat on the ground well ahead of him and his RIGHT leg is trailing far behind, that back heel lifted off the ground \u2014 the feet are wide apart with clear empty space between the two shoes. FRAME TWO: exactly the other way round \u2014 his RIGHT leg strides forward with the foot flat on the ground well ahead of him and the LEFT leg trails far behind with the heel lifted, again with the feet wide apart. In frame two the arms swing the opposite way to frame one as well. Do NOT draw the same leg forward in both frames and do NOT draw him standing on one leg with a knee raised \u2014 these are two moments of a heavy walk, so in each frame one foot is planted ahead and the other is behind. Same size, same costume, same face, chest and face squarely toward the viewer in both. Output exactly two figures in one row." }, "boss_champ_stride": { "sprites": [ @@ -1114,6 +1117,6 @@ "anchor": 0, "check": "any", "state": true, - "subject": "The FIRST figure in the reference is THE CHAMPION — the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape round his head, a sweatband on each wrist, a huge silver trophy gripped in one fist and a tennis ball in the other. Green-grey dead skin, heavy jaw, sunken eyes. The SECOND and THIRD figures are a DIFFERENT boss and they are in the reference for ONE reason: their LEGS. Draw TWO frames of THE CHAMPION — the first figure's face, body, kit, trophy and ball, nobody else's — walking straight toward the viewer, and copy the LEG AND FOOT POSITIONS of the second and third figures exactly: in each frame one leg strides far forward with the foot flat on the ground and the other trails far behind with the heel lifted, the two shoes WIDE APART with a big empty gap between them, and the forward leg swaps from one frame to the other. Do not put both feet together and do not stand him on one leg. Do not give him the second figure's clothes, tools or face. BOTH FRAMES MUST FACE THE VIEWER HEAD ON: his chest, both shoulders and his whole face square to the camera, both arms visible on either side of his body. Never a side view, never a three-quarter view, never walking across the picture. He is an ENORMOUS heavy-set figure — do not slim him down. Output exactly two figures in one row." + "subject": "The FIRST figure in the reference is THE CHAMPION \u2014 the towering dead fourteen-time champion facing the viewer, in a torn all-white tennis kit gone grey and yellow with age, gold trim at the collar, a laurel of white strapping tape round his head, a sweatband on each wrist, a huge silver trophy gripped in one fist and a tennis ball in the other. Green-grey dead skin, heavy jaw, sunken eyes. The SECOND and THIRD figures are a DIFFERENT boss and they are in the reference for ONE reason: their LEGS. Draw TWO frames of THE CHAMPION \u2014 the first figure's face, body, kit, trophy and ball, nobody else's \u2014 walking straight toward the viewer, and copy the LEG AND FOOT POSITIONS of the second and third figures exactly: in each frame one leg strides far forward with the foot flat on the ground and the other trails far behind with the heel lifted, the two shoes WIDE APART with a big empty gap between them, and the forward leg swaps from one frame to the other. Do not put both feet together and do not stand him on one leg. Do not give him the second figure's clothes, tools or face. BOTH FRAMES MUST FACE THE VIEWER HEAD ON: his chest, both shoulders and his whole face square to the camera, both arms visible on either side of his body. Never a side view, never a three-quarter view, never walking across the picture. He is an ENORMOUS heavy-set figure \u2014 do not slim him down. Output exactly two figures in one row." } } \ No newline at end of file diff --git a/assets/p_pull_f.png b/assets/p_pull_f.png index e4103633d0f21c5fec1180ad21933fd903bd2e7a..bb9d02e3b191c6ff4a066779931a500186c8b9c9 100644 GIT binary patch literal 14368 zcmV+*IN!&KP)( zD|F*nvxUpEejq3)C@3gsXlQ6?XlNK17#J8B7-(o{XecNsC@3f>rn|mf=g3MrJ)Q2( z!cGv#gK>VPgJw zqH_x?La98qYdilrXBdjkGwbWt+M&9->+1>*A~$ zg5vlOC1z#8nK#;%$+uS&5`yk2P)LI^vOLvU)rTOXu4^fSKqAZdK9=VZU>?q`Xj!=} z?V992pr~PimZA-{P2(97)-v?^L0%MA6uB%4<7?{L+O7-A8srjDq}*ZG>C7@4uF9&u zy`pkUY_nRLVNKys;{Wk1YMVOz>~cO4^`S8Z5>j4BhUG#{=Ukejtm~2g**BNL2HS0x zmYmE^RqN+XxZp#umb$8?M3lw%_}X1!FSqCq=dm7C$UTPY#kI({x2VB}F-sF$uS&T( zzV2ES7J`Ifu(B*=IZ_N!VX!PczvpjPn1A2Dp6X0jBHvz7%d(IqBm)-V0mZV+tnb85+W$ApoBKg*eDwA~F;`VHiGIA2v#O!Xrvph?r zEO%{#mzIXX@;tX9&-Hwi48B`8EEKjyGC)n zm6V2NAv73A9>Ul>V8~sHK%L};rSU7Yk~wJs3fi6_g7292mNwXXLT2}y90 zCSP)9eQQMx)BjABaFWzzQP`3I!{!#mAMa01&&4gqs>DUx`V-GBx5QrGMyXg_Rup7i zpY8&`wW2I2si|sf8?Q>_S^E6^!i%W_5fa^a@o|?5-90?N)Z4wvj@#qOC`Y+h>){6p 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EXPORTED because the // menu screens hang tags on the same files, and two copies of this number is one copy too // many: the one that does not get bumped is the one that serves a cached 404. -export const SPRV = 89; +export const SPRV = 90; // The boot bar in main.js watches this. Nothing here CHANGES when things load — every sprite was // already requested at import — it just makes the wait visible and holds the menu back until the // last sheet has landed. See the onerror note below for the other half of "sometimes missing".