A charge that passes, two strides that actually stride, a door in the corner

THE LEGS. Measured as lower-third silhouette difference between the two stride
frames: the groundskeeper, whose walk has always been right, is 0.80. The seller
was 0.017 — the same legs twice, which is why he hopped along on one of them.
Both sheets regenerated with the stride as the entire subject (one foot planted
ahead, the other trailing, and they SWAP): seller 0.42, champion 0.67.

Three things the champion's re-rolls proved, all of them the same lesson —
THE REFERENCE IS WHAT IT COPIES. Anchored on his own one-legged frame it drew
that pose again. Given a working walk from another boss alongside him "for the
legs only" it blended the two and returned a slim side-on walker, then a
pot-bellied man in cream. One character in the reference, one character out —
and pick the keeper by EYE, because the metric happily crowned the side view.

THE CHARGE. It rushed, then withdrew a fraction of what it covered, so it ended
the fight parked on top of you: dodge or die every two seconds with no window to
hit it, and nothing but a hitscan laser quick enough to use the window there
was — Oliver, "they come too close, they seem unbeatable". A rush now RETREATS
to its line afterwards, and to keep it from being toothless the other way (from
the band it ran out of clock 8 m short) the rush is TIMED rather than paced: it
covers whatever ground the retreat left in bossChargeT, so every charge arrives
and every charge has the same readable run-up. Measured over 30 s: five rushes,
each one reaching you, 13% of the fight in your face instead of all of it.

And the back room moved off the whole splash onto an invisible box in the TOP-
LEFT CORNER. Five taps in the middle of the screen — which is where your thumb
goes on the way to PLAY MATCH — now do nothing.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

assets/_regen_batches.json

@@ -1089,5 +1089,31 @@
   "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."
+ },
+ "boss_berry_stride": {
+  "sprites": [
+   "z_berry1",
+   "z_berry2"
+  ],
+  "ref_only": [
+   "z_berry1"
+  ],
+  "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."
+ },
+ "boss_champ_stride": {
+  "sprites": [
+   "z_champ1",
+   "z_champ2"
+  ],
+  "ref_only": [
+   "z_champ1"
+  ],
+  "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."
  }
 }