The serve and the fall now exist at every wound stage, so a one-armed opponent
still serves and a headless one still goes down, instead of reverting to a
whole body to do it. 33 frames, no gaps.
THE BALL IS OUT OF THE SERVE SPRITES. Oliver: it was painted into three frames
and the game draws the ball itself, so every one of them would have ridden
along at the wrong place, the wrong time and in the wrong number. Hands open
and empty now, poses unchanged as if a ball were there.
THE FOURTH GATE, and the one nothing else could see: "copy this exactly, change
ONE thing" loses when the change is a REMOVAL. Taking a head off worked every
time — it is dramatic. Taking an ARM off mostly did not: five of seven wound
frames came back as the reference faithfully redrawn, 0.02-0.05 of their own
silhouette different, and the ladder quietly HEALED the body the score had just
maimed. Frame count, background, clipping, detail, kit and stride all pass that
sheet. A batch now declares how far it must move from the sheet it was drawn
from — a copy scores 0.02-0.05, a real amputation 0.12-0.38, a decapitation
0.27-0.75 — and the whole set now measures 0.18-0.65.
AND THE BACKGROUND RULE MOVED TO THE FRONT OF EVERY PROMPT. Six rejections in
eleven rolls were "background is not magenta", and the generator was not
glitching: it was painting the zombies ON A TENNIS COURT. The chained restyle
subjects are long, and the magenta instruction sat behind three hundred words
of "keep everything exactly as the reference", where it stopped being honoured.
Same sentence, said before anything can bury it.
One design consequence kept rather than papered over: the missing arm IS the
tossing arm, so a wounded opponent tosses off the racket face the way one-armed
players actually do. The wound changes how he plays, which is what slice 3 has
been asking for.
Known and NOT fixed: the shorts hue drifts from -9 to -19 down the ladder. Each
stage is measured against the one before it, so a legal 4-point hop three times
over is a 14-point total nobody authorised. The fix is to anchor every stage to
the healthy frame with a total budget instead of a per-hop one.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
THE MISSING ART, generated by the whole-sheet restyle method: bouncing the ball
at the baseline, the toss with the ball leaving the fingertips, the strike at
full stretch — and the fall, which slice 4 has been waiting for: buckling, down
on the knees, flat on the court face down, then dragging itself back up. One
zombie is now complete as a tennis player rather than as a body that shuffles.
(Healthy only so far; the wound variants are the next sheet.)
THE SPRITE BENCH, in the back room. No ball, no scoring, no AI — one opponent
on an empty court, walking, at the size and speed it is actually played at,
because that is the only place a walk cycle can be judged. A sheet that looks
fine at 224 px on a contact sheet is a different animal at 30 px crossing a
lawn, and every sprite argument this project has had was really about that gap.
It steps through every state including the ones the game cannot reach yet, so
the serve and the fall could be looked at the day they were drawn instead of
the day they get wired up. It prints the FILENAME it is drawing and the hp the
wound stage was read from — the two numbers that separate "the art is wrong"
from "the wiring picked the wrong art" — and it says HEALTHY ONLY where a wound
variant does not exist rather than implying one does. The stride steps off
ground covered, like the real thing: a bench animating on a clock would flatter
exactly the sprites that foot-slide in play.
It owns the court like every other mode and every start* refuses while it runs.
FOUND BY IT, ten seconds in: `start()` applies the mode the setup screen picked,
so a remembered ZOMBIE TENNIS was taking the court before the back room could —
every back-room entry (weapons, bosses, drill, match, bench) had been silently
refusing since the mode select landed this morning. The back room passes null.
And a third calibration lesson: POSE MOVES A GLOBAL COLOUR STATISTIC. A body
face down shows a fraction of the shirt it shows standing, so `redness` fell 14
points across the fall sheet without a colour changing. The measure that
survives a pose change is the shorts HUE — mid-tone neutrals, present in every
frame in the same proportion — which is why it is the one that caught the drift
Oliver actually saw.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
wuwiandClaude Opus 5
