Sixty words on the wall became a dozen. The handoff's own summary of the rule:
Jersey 15 NAMES (screen titles, rooms, cards), Bangers CALLS exactly once per
screen (the fixture, the primary button, a modal headline), Silkscreen INFORMS
(numbers, labels, chips) — and a sentence survives only where it carries a
decision. Everything else moved into a bar, a pip or the modal that opens with
the mode.
· Jersey 15 bundled subset (9 KB) and Bungee retired after one afternoon
· SPLASH: the plaque is one row, the goal line is gone (the fixture button
below said it already), the two doors carry a number each
· PICK A GAME: rooms are one word, posters are their names, the fixture is a
hero with the only second line — the whole wall fits one screen now
· MATCH SETUP: unnumbered blocks, the meters' legend once instead of a
description per court, no summary footer
· DIFFICULTY: three pips instead of three sentences
· TRAINING: the revanche is a full-width row, rungs are numbers, the list
ends on the league that opens the rest of the ladder
· VS: three paragraphs became YOU / HOST / JOIN
· MODALS: one rule per row (the sub was the lead again in other words), the
blood pool as pips on that same line, and the walk-on's two levels in ONE
face at ONE size — a comparison drawn at two sizes is a headline with a
footnote (Oliver)
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
10 KB instead of 119 — the face carries only the characters this game sets, and
the command to redo it is in PROJECT.md. The header strip's titles take it at
23px: a strip at the top of a screen is signage, not an announcement, so it
stops leaning. Bangers keeps what it was always for — the primary button, the
ceremonies, and everything the canvas shouts. The poster wall's rooms go back
to acid beside it, with the scale carrying the hierarchy.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Bangers has no upright cut — the slant is in the glyphs, which is also why the
chevrons are Silkscreen — so a heading that wanted to shout without leaning had
to come from somewhere. Bungee is an arcade/signage face, upper case by design,
and it stays in-world where the platform's UI sans did not. Bundled beside the
other two with its OFL licence; the Dockerfile already copies assets wholesale.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Colour stops carrying the hierarchy on this screen — the acid belongs to the
screen title, so the rooms are cream and the canonical one is marked by its
poster's ribbon rather than by its heading's tint.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Three tries: Bangers, then the HUD face, then the platform's UI face, and back
to Bangers. It works now because the header lost its rule and its left band and
gained air — the size carries the hierarchy (20 against the screen title's 26)
instead of the typeface having to. The strap goes back to Silkscreen under it:
a shouted line over a system-sans line was two foreign voices in one header.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
On nearest-neighbour art the backdrop blur read as a smear rather than depth,
so the caption sits on a plain gradient rising from the bottom edge instead —
solid where the words are, gone before it reaches the art.
And the section headings stop borrowing: the game bundles two faces and both
were already spoken for on this screen (Bangers is the screen title, Silkscreen
is the posters' own captions), so a shelf label in either sounded like
something else. They take the platform's interface face now — heavy, tracked,
upper case: chrome, which is what a shelf label is.
Scoped to the section HEADER while doing it. The posters live inside .mgroup
now, so the old bare descendant selector had been restyling every caption on
the wall — invisible only because it still named Silkscreen.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The scrim used to be a hard linear-gradient riding in the button's own
background stack. It is a masked backdrop-blur now: nothing at all at its top
edge, a surface by the time it reaches the words. The art stays art where the
art is, the caption gets something to sit on, and no box edge appears anywhere.
Measured on this machine it costs 0.2ms a frame — the backdrop is static while
the menu is.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The entrance is no longer a one-off on the boot: dealStage re-arms the class at
the funnel every stage change already passes, so the title screen flies its
plaque and buttons in whenever you arrive at it. The sub-menus join in — their
header, content and footer arrive one after the other instead of the panel
dropping in as one slab — and the poster wall deals its three rooms rather than
its list, since a moving child inside a moving parent starts at twice the
offset and reads as a stutter.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The splash's elements fly in from the left on the boot, 70ms apart, on the same
easeOutBack overshoot the canvas modals have always used. It hangs off
:not(.busy), so taking the loading state off IS the trigger and it never plays
again — returning from a run should not make you wait for a flourish you have
seen. Reduced motion turns it off.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Two things the phone found. The splash's loading state was applied by main.js —
but this is a module script, so the browser paints the markup, placeholders and
all, before it runs: LEVEL 1 stood there and then snapped to the real values.
The busy class ships in index.html now and main.js only takes it off; the
keyboard hints hide with it.
And #intro is the one scroller the menus share, so a scroll earned deep in the
stats screen outlived it: going back put the splash up scrolled, with its
buttons off screen. go() resets it, at the funnel every stage change passes.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver's second pass over the new box language. The modal is narrower and the
button spans it; every row got real spacing and the footer its own margin, so
the end screens stop reading as cramped. The xp bar is taller and its ramp now
rides the FILL — spanning the gradient across the whole track meant an early
level only ever showed one flat green inch of it. An illustrated announcement
puts its two lines beside the picture, under the headline, instead of in a
boxed row below its own icon.
The poster wall's section headings leave the announcement face to the posters
(it read as a second card headline), drop the left band and the rule, and let
air do the grouping. On the splash, OTHER GAMES gets its gap to the stats row,
and the boot shows nothing but the court, the title and the loading bar — the
plaque skeleton was still a plaque telling a level-25 player he was level 1.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver: the group headings were "sehr klein". Each group is a section now with
its posters inside it — the announcement face one size under the screen title,
a rule closing the header, and an inset band down the left. The canonical room
wears the primary's colour, because it is the one that moves your career.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The tournament is the canonical path, so the game finally says so. The splash's
primary button names the next cup fixture and enters the draw; the poster wall
moved one tap down and deals three named rooms (the season, the training, out of
competition) with the cup at the top. Two profile fields remember every attempt
— rounds ever reached per league, and the body that put you out — so a lost cup
is a line on the board instead of a null event, and the training court offers
that body first, marked. The promotion names what waits in the new league.
Overlays consolidated in the same pass: three modal drawers became one box with
a masthead, hairline-separated rows and a real footer button (any tap still
dismisses), and the run-end summary wears the same box — headline, xp, mark, and
the fixture with ENTER THE DRAW beside PLAY AGAIN. The cup's own exit is a
ceremony now: OUT IN THE QUARTER-FINAL, your best standing beside it.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The lingering doubles were a real bug, not a taste problem: racketAI's
!incoming return kept the last chase's vx/vz on the body, so the speed
ghosts trailed a zombie that had already stopped. The velocity dies with
the chase now (tested). The look is halved with it: ghost alphas
0.22/0.10 -> 0.11/0.05, trailK 0.05 -> 0.035 — a hint of speed in the
corner of the eye, never a second body.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver, same day: 'die Gegner sind jetzt etwas zuu einfach.' The habit takes
four same-lane shots to learn (was three) and the wrong-foot costs about a
third less on every dial: surpRead 0.85->0.6, surpSlow 0.45->0.3, surpFlub
0.35->0.22. The whiff-window test pin rides down with it (0.25->0.15); the
slower-than-the-coach pin still holds.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Four answers to one phone report:
- THE READ: repeat a lane and the opponent anticipates it; break the habit
and it is wrong-footed for that ball — scaled by rung, so surprise is the
weapon that opens the ladder past the HEAD COACH (TUNE block THE READ).
- The opponent walk-on is a real modal now (head, punchline, tap to dismiss)
in arcade, tournament and training — readable without a clock.
- THE TRAINING COURT: third card under ZOMBIE TENNIS, pick any rung, one
game at a time, the felled body walks straight back on, nothing banks,
bleeding out is a popup instead of a death. mode_train.png rolled in the
banner style.
- MOVEMENT READS: sprinting feet kick per-court dust and fast bodies leave
a two-ghost speed streak (trailMin gates both; feel verdict pending).
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver, on the build: "all good but the lob. please remove it - this is
totally unpredictable."
Reverted in full — oppAtNet, farBody, TUNE.lobArm, TUNE.lobApex,
SHOT_DEPTH.lob, the branch in doHit and its two tests. The forward flick is
the smash it always was. Everything else from that commit stays: the pace
feedback (streak, crack, camera kick) and the death match's blood alignment.
The reason is worth more than the code, and PROJECT.md carries it as a rule:
a gesture whose MEANING depends on where the opponent is standing is
unpredictable however well the shot is tuned. It is the same objection
input.js already states about the slingshot — the direction you moved is the
thing you asked for, no invisible modes — and the written comparison let
option (c) past it on the argument that context cannot mis-fire. It can: you
do not track where the far body is standing while a ball is coming at you, so
one thumb movement produced two shots for reasons you were not watching. The
LOB word at contact explained the surprise; it did not prevent it.
If it comes back it needs a gesture of its own. The ballistics are solved and
are in the history at 4f4534e.
111 tests pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three from Oliver.
THE LOB. He picked option (c) from the written comparison — "no additional
gesture to learn" — and corrected the premise: the zombie does come to the
net (racketAI chases to the far service line, the classic CPU to z 9.5). So
the forward flick keeps its one meaning, "put it deep behind him", and the
game picks the trajectory that actually does that: a smash while he is back,
over his head once he is in. oppAtNet() is the whole switch, and it reads the
BODY, not O — in the match O is the invisible tennis body and only moves
between points, so it would have answered "on his mark" all rally.
lobArm 7.0 m is measured, not taste: a lob peaking at lobApex passes a man 7 m
from the net at almost exactly CONTACT.maxY, so the shot arms exactly as far
out as it can still clear him. The pace is derived from the height, so the same
arc comes off the baseline and off mid-court, and SHOT_DEPTH.lob is deeper than
deep — at the ordinary deep target the ball passed 2.05 m over him at the edge
of the band, which is inside his reach.
PACE, SEEN FROM THE STRIKER. "the opponent sees the ball really fast - the
player barely sees the speed increase." Measured: the ball is the same ball on
both phones, the camera is not — it compresses your own ball into the distance
and expands theirs as it arrives. Pace untouched; three channels added on the
striker's side: the ghost streak now reads pace (3-8 ghosts, was 3 at every
speed), the crack is pitched by it, and a fast ball kicks the camera. The
serve's own ladder is 49.2 plain / 50.8-52.4 hard, because serveArc's loft
margin takes 10% of the +9 back — widening that is his call, and PROJECT.md
records the knob and the risk.
THE DEATH MATCH. "each player has 8 blood points but the player explodes for
the winner already at 0:40." Two clocks: a game is four points, a life is
eight. A won game is only a game now (flash, serve, heal); the burst moved to
the death itself, on the dead message, where both phones agree. The summary
waits 1.4 s for the gore, because update() freezes the world on G.done and
would have hung a still frame of an explosion behind the trophy screen. And
bleedO tracks THEIR blood off the pos stream instead of our points-this-game,
which reset every game and ignored the heal.
4 new tests, 113 pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver, three notes; two of them are here.
"when the opponent serves the player does not stand at the baseline - but
that's how it should be." setupPoint's receiving marks sat over a metre
INSIDE the court on both sides (22.5 near, 1.2 far) — where you stand to
attack a second serve, not where you wait for a first one. They mirror the
server's depth now, in the one line every serving mode shares.
"when serving results in an out there should be a second service... the
umpire should announce 2nd service and the player must get another chance."
True in tennis mode since forever and absent everywhere else: the duel, the
match and the death match had no service rule at all, so a serve long or
into the net was judged as an ordinary ground stroke — a point, and in the
match a point costs blood. The out branch of onBounce's interlude block
routes a serve to fault() instead, so the second serve, the HUD line, the
umpire and the double fault all come for free.
Three things it dragged out with it:
- fault()'s double-fault branch called pointTo — TENNIS scoring — which in
an interlude banks a number and skips the mode that owns the court. It
goes through resolveInterlude there now. Nothing had ever reached that
line from a duel or a match, because those modes could not fault.
- startDuel never reset G.serveNum: harmless while a duel could not fault,
the next duel's death loop the moment it can.
- the match puts the body back on its receiving mark for the second serve
(placeReceiver, split out of matchReady, which resets the serve number).
"Fault. Second service." is one voiceSeq — a second voice() call would be
dropped, one man one microphone. New recording via the usual say/afconvert.
The service BOX is still not enforced in the match, deliberately: this is
strictly more forgiving than what shipped. The lob gesture is OPEN 14.
4 new tests, 110 pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver: "I start a new zombie tennis match. when playing and scoring no
fotograph flashes appear, but at a random place in the crowd some frozen
midflash circle is visible. after a few points the flashes unfreeze."
Both halves are the same cause. resetState() puts G.idleT back to 0 for every
new run, while the flash list and its "next at" live in render.js's own closure
and survive it. So the new run inherited a flashNext from the old one — no
photographs at all until the clock climbed back past it — and any flash still in
flight was left with a t0 in its own future, which makes its fade
1 - (now - t0)/life permanently greater than 1: a shutter stuck at full
brightness in the stand until something else cleared it.
tickFlashes now notices the clock moving backwards and clears and re-arms. One
guard, in the only place that owns the state, so it covers any future mode that
rewinds the clock as well. Verified on the canvas: after a rewind there is no
permanently-bright pixel in the stand, and the photographers resume within
seconds instead of staying dark.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
wuwiandClaude Fable 5