A drop shadow under the scoreboard, the game/sets panel, the BLOOD panel and
every rack tile — and the same numbers in CSS on the quit chip, because half the
overlay lifting off the backdrop while the other half sits flat on it is worse
than neither. Canvas shadow offsets are device pixels and are not scaled by the
transform, so hudShadow multiplies by RES; without that a 3px shadow is three
quarters of a logical pixel on a 4x phone.
And the top of the frame now fades out of black the way the bottom already fades
into it (TUNE.standTop) — Oliver: "the bottom of the screen falls off into a
black tone.. please make the top come out of a black tone". The stand comes up
out of the dark instead of being cut off at the top edge, which also gives the
scoreboard something to sit on.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver: "it is too dim to see anything on the centre court and the dark court."
Both were the same mistake — standBack was ADDED to a court's own dim instead of
being the default it falls back to. Centre court's crowd sheet is a night-lit
navy that is dark to begin with, and the night court dims the hard-court sheet
on top of that, so the pair of them went to mud.
standDim is now court.dim ?? TUNE.standBack, plus the rot. Centre court carries
a 0.06 of its own, the night court comes down 0.62 -> 0.5 (it no longer has the
base added to it), and clay and hard keep the 0.22 that was approved.
Centre court's sheet is also graded off a LIFTED target now — the old crowd it
matches sat at a mean luminance of 39 against clay's 96, dark enough to throw
the new roll's detail away before any dim ran. A 0.72 gamma on the target brings
the sheet to 60 and the faces come back.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver: "when clapping I barely see any movement at all now.. also all of the
art could be colored a little more dim as it is perspective wise farther in the
background and should not steal too much attention" — and then, "can't we make
an animation sprite sheet of the new crowd?", which is the answer to the first
half of the first one.
A third roll (_crowdroll.py mid) takes the arms-up frame as its reference and
asks for the same standing people with their hands brought together in front of
their faces. It drifts by 53% of its pixels and that does not matter: the same
filter keeps only what was stand and became person. 100 arm blobs in pose 1, 74
in pose 2, 134 spectators once merged, 28 of them owning BOTH poses — those 28
cycle between two raised poses, which is a clap; the rest alternate with the
seated frame, which is arms going up and down.
The point is the cycle, not the pose. A raiser is ~8x6 logical px on a phone and
one that appears and then holds for a second is not something the eye catches;
arms moving at 3.5 Hz is. Measured: 2-3% of the stand band now changes every
90 ms during a won game, against near zero before.
The sheets are one file per court now — three frames stacked, graded as a single
image so they cannot drift apart in colour — and x_crowd2/_c2/_h2 are deleted.
TUNE.standBack 0.22 dims the crowd and the boards on every court before the
night court's own dim and the splatter rot, in the one function both the cached
backdrop and the live raisers already read.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver on the first pass: "the new lighter areas read as rather sloppy artwork.
please regenerate the crowd art and make it more detailed. also the animation
also looks pretty artificial. the flashes from the fotographs are too rare and
the whole thing somehow does not translate well to the other courts. also when
the opponent makes a point there is an aww-sample (which has an applaus trail)
so the crowd should still clap but more subtle."
The paint pass is deleted — recolouring blobs of an old drawing is not drawing,
and the reason it looked necessary was a wrong conclusion: the roll scripts read
OPENROUTER_API_KEY from the repo's .env, so the art could be rolled all along.
_crowdroll.py rolls the crowd itself: individually drawn spectators with hats,
sunglasses, drinks, cameras, flags and banners, empty seats, stairways, and
three zombies sitting in the middle of it behaving like furniture. ONE roll now
serves all three courts through a per-channel histogram match onto each court's
old palette, so anything the art gains shows up on clay and at night too.
_crowdpass.py keeps only what was empty stand in the seated roll and became a
person in the clap roll — the raised arms, 1.2% of the sheet — so the clap frame
cannot drift by construction, and writes a box around each pair of arms into
src/crowd.js. render.js raises ONE SPECTATOR AT A TIME out of that table, each
on their own period: the 16-column strip swap moved a seventeenth of the crowd
as a block, which is what read as machinery. crowd.pop is now a head count, so
the same code covers a dozen people and the whole stand, and past 0.75 the wave
travels person by person.
aww() sets a small crowd.pop of its own — the sample is a groan that settles
into applause, and the stand has to match what you can hear. flashEvery 5.0 ->
1.9, because at a five-second mean over a stand this wide nobody ever saw one.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The wobble was never the animation. x_crowd2 was a RE-ROLL of x_crowd, not a
pose of it — 13-16% of its pixels differed, over faces, torsos, seat backs and
the railing — so swapping 16 columns at 4.5 Hz re-hashed a strip of crowd twice
a second. assets/_crowdpass.py rebuilds the pair: the clap frame is now the
seated frame plus 36 genuine raises, each contained in ONE of render's columns,
so any column swap is seamless by construction and an empty column is invisible
instead of being a wobble. The three courts are one composition in three
palettes, so a raise found in one court's roll is transplanted into the other
two through a colour map learnt from the aligned seated pair.
The same tool paints the crowd, because at ~8 logical px a spectator detail can
only mean chroma and silhouette: 55 shirts and 44 heads of hair in colours the
court does not own, 28 caps, 4 flags above the heads, 8 emptied seats, 8 people
permanently standing — and 3 who are already turned, grey-green, mid-row, who
are also the only three who never applaud.
Movement, one draw path and three behaviours: applause scatters per column, a
WAVE crosses the stand for a moment big enough to deserve one (crowd.pop >=
0.75), and with nobody cheering ONE column stands for a third of every
TUNE.fidgetEvery, so the stand between points is no longer a photograph.
Paparazzi now scale with the moment: cheer() records the size of it (vol was
already exactly that at every call site) and queues shutters proportional to it,
drained at a fifth of the normal gap. pop is held at the loudest while an
applause is live, so a won rally landing inside a match-point ovation cannot
demote the stand to a polite clap — that rule has a test.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver on the first shell build: *"I don't hear any of the games sounds.. daniel the umpire is
synthesized which is horrible and no music is playing on start"* — two independent causes.
- **Opaque fetch.** Capacitor serves the bundle through a custom WKURLSchemeHandler, and `fetch`
reports those responses as `status: 0, ok: false` with the whole body present and decoding
perfectly. All three loads in `audio.js` guarded with `if (!r.ok) throw`, so inside the app every
recorded sound failed at the door: the umpire fell through to the synthesized `say()`, no bed
started, no sample played. The synthesized sfx kept working, which made it read as a mixing bug
rather than a loader one. Fixed once, in the shared `bytes()` helper every audio fetch now routes
through — a status of 0 is the ABSENCE of an HTTP status, so trust it only when there is one and
a real 404 still falls back. Any future `!r.ok` on a bundle-relative fetch is this same bug.
- **The ring switch.** WKWebView's WebAudio runs in the SoloAmbient session, which the hardware
silent switch mutes outright — a silent game on a phone that lives on silent, with nothing on
screen to explain it. AppDelegate now sets AVAudioSession `.playback`, the games category.
Confirmed in the shell: the bed reaches PLAYING, the context is `running` with no gesture at all
(autoplay really is allowed in WKWebView, as LATER predicted), and `say()` never fires. On the web,
a genuinely missing file still falls back — checked both.
And the swipe flips: **right goes back**, the way iOS's own pop gesture goes (*"that's the iOS
way"*). Left now does nothing. Noted in PROJECT.md that on a platform gesture the platform's
convention beats the literal wording of the brief, and that is worth saying up front.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A Capacitor iOS project (`npm run ios`), and the first three bullets of LATER item 2 built. The web
build is untouched and stays primary: every line here degrades to a no-op in a browser.
- HAPTICS ride the sound map, as the plan said they would: six call sites, all of them places an
sfx already fires — your racket contact, the serve strike, `killZombie` (the one funnel every
weapon routes through), `explode`, `hurtPlayer`, `killPlayer`, the weapon swap. The restraint
rule lives in `haptics.js`, not at the call sites: a minimum gap per kind, so a bomb that kills
twelve bodies is felt twice and the machine gun is a metronome rather than one long rumble.
Pinned by a test. Untested on hardware — the simulator has no Taptic Engine.
- The plugin is reached through the INJECTED bridge, `Capacitor.nativePromise('Haptics', ...)`.
`Capacitor.Plugins.Haptics` reads like the zero-dependency answer and is silently empty without
@capacitor/core's registerPlugin — it would have fallen through to the web path inside the app
and looked exactly like a phone with haptics switched off. No package JS ships.
- PORTRAIT is enforced where it can be: one orientation in Info.plist, so the app never rotates.
That retires landscape as a surface rather than fixing it (OPEN 6). The web half is best-effort —
`orientation` in both manifests and one guarded `screen.orientation.lock()`.
- SWIPE LEFT GOES BACK. The gesture finds the screen's one visible chevron and clicks it, so the
shape of the wizard stays in the handlers that already own it. Not passive on purpose: a swipe
inside a poster card also fires that card's click, and preventDefault is what stops the screen
answering forward in the frame the chevron walked it back.
- The app has no server behind it, so `config.API` and one branch in `net.js` point the shell at the
live host by name. Consequence: the app always talks to PROD, never staging.
`node test.js` green (105) over four seeds; builds, launches and reaches the native plugin on the
iOS 26.5 simulator; swipe-back walks the whole wizard in the browser pane.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A tour is which body you play in, so it belongs in the look message next to the
kit, the skin and the name. Without it both phones drew the friend in whatever
tour THIS phone had picked, and a men's/women's pairing showed each player
someone their friend was not using.
`oTour()` is the one accessor — yours everywhere, theirs in netplay — and it
feeds the three things that must agree about a body: the sprite suffix, how the
art takes a colour (her whites wash, his blue dyes) and the palm the idle ball
bounces under. An older build sends no tour and falls back to ours, which is
what it did before.
The palm knobs were re-checked against the new front sheets rather than assumed
— the poses were copied, so the ball still lands under the drawn hand.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
His colour landed on the shirt while yours lands on the shorts, because he was
drawn on the roster opponent's red sheets and dyed on an arc of his own. Red is
the one hue that art cannot hang a kit on: the men's shorts are neutral grey at
saturation 0.05, so no rotation ever reached them, and the women's red top sits
at her skin's and her hair's hue — a dark pick was painting her arms and her
ponytail, live, on the shipped build.
So he gets his own sheets. `assets/_frontroll.py` is `_famroll`'s trick pointed
at the tennis poses — image 1 is the ten `o_*` frames composed from disk, image 2
is the player from behind — and two calls drew all twenty. He rides the PLAYER's
arcs and the tour's own mode now: his shorts dye, her whites wash. `TINT.oKit` is
gone. The roster CPU keeps the red art; it is not a person.
The setup screen shows that front too — picking a face off the back of a head was
only ever what the art allowed.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
'No that's way too difficult now - I am dying constantly of out. revert
it.' aimAnchor is gone — the lane is absolute again, every out invariant
back exactly as tuned. What survives is the answer to his follow-up: the
ball sometimes flew a LITTLE RIGHT out of a left flick, because a
mistimed left flick's target sits only slightly left of CENTRE — which
is right of a player standing in the left service box. The absolute
lane's blind spot, stated the other way round.
The aimed target is now clamped to the player's own x on the flicked
side, bounded at flickWidth so a body parked in the alley clamps to the
corner rather than conjuring an out. From the left box a left flick goes
at least down your own line, from centre it can no longer cross centre,
a perfect corner flick and the crosscourt sweep are untouched, and the
outward scatter tail keeps the whole tuned out-risk. Verified in his
scene: ten rushed weak left flicks land -2.0..-2.7 where the same case
used to target -0.7..-1.3 (a visibly rightward flight); the clean full
flick still lands -3.92.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Third round of the flick report, and this was the core all along: 'when
the opponent and the player are both standing in the left service box it
is virtually impossible to flick the ball into the left out. no matter
how hard/good I flick.' The lane was absolute — a full flick asked for
flickWidth off the court's CENTRE — so the gesture saturated near a
sideline: from x -2 a perfect left flick moved the ball under 2 m and
could never pass the line, and the better the timing the firmer the cap,
because scatter was the only thing that could cross it. 'Left is
impossible, right works' was never left-vs-right: it was
toward-the-near-sideline vs across-the-court.
TUNE.aimAnchor: the anchor slides from the court centre to the player's
own x as the swipe commits (ch.x * |sway| * aimAnchor), so a flat tap is
exactly what it always was and a full flick is a full sweep from where
you stand — including past the line. Out-by-aim is a choice now, per
Oliver's explicit direction; the placement ring already turns red for
it. 0 restores the absolute lane, blendable live in the panel. Player
rally lanes only; the opponent's lanes and the centre-stated pOut
invariants are untouched. Verified in his exact scene: full left flick
from the left box lands -5 (the alley), half swipe -3.07, full right
+1.93.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Second round on the service-line flick report. The crossing-fired swing
alone did not move the feel, and Oliver's sharpened observation — the
flick only lands left when the opponent already stands left — pointed at
a magnet that does not exist: measured with the body teleported at
contact, the aim never tracks it. The real mechanism: at rushed quality
the symmetric scatter (aimError x (1-q)) outweighs the quality-shrunk
aim, so a mistimed left flick landed anywhere in a ~4 m blob around
'slightly left' — usually centre — and the eye anchors that on the
opponent. Its position was a proxy for preparation time all along.
TUNE.aimTrust: an outward scatter roll is untouched — the committed
swipe's chance of sailing keeps its exact tuned shape, flickReach stays
the only out dial — but an inward roll keeps only 0.3 of itself. Bad
timing costs width, never direction. Player lane shots only; the
opponent's symmetric scatter is its width mechanic. Verified at
worst-case q~0.08: 14/14 rushed left flicks landed left, 9/9 right
flicks right, where before it was a coin toss. The suite pins the
direction guarantee and the aimTrust/aimError/flickReach relationship.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver's service-line report: flicking the incoming ball LEFT was near
impossible mid-court at the service line while RIGHT worked, easing toward
the baseline. The lane math was symmetric to the centimetre — the defect
was latency. The swing waited for the RELEASE, so the whole gesture ran as
dead time on top of the windup: ~120 ms of lateness drops contact quality
1.0 -> 0.08, where flickReach halves the width and aimError drowns the
rest. A left swipe is a right thumb's slowest direction, the service line
leaves ~700-870 ms of budget (measured), and any swipe over FLICK_MS was
silently dead. Left + service line was the slowest gesture meeting the
shortest budget.
Now, in rally modes: crossing flickMin fires the swing (once per gesture,
rally phase only) and the vector stays LIVE — trySwing reads G.swipe at
contact, with the released flickAim carrying the aim only when the ball
arrives after the finger lifts. The FLICK_MS deadline goes with it where
the crossing can fire; it survives where it cannot (gore free-aim, the
serve strike). Serve gesture, duel, gore and keys untouched.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The header block in tools/scenes.json is now the whole schema — every key with
its range and default, what each of the EIGHT weapons does (fire, laser and gun
were missing from both the docs and the validator), the five beats, the crowd
roster diversity walks in order, the bosses by chapter, and the traps worth
knowing: a serve tin is spent in about four seconds of autopilot fire, a burst
tin owns its own window, a horde locks the rack, a boss cannot start inside a
match, and `movement` fights the match's own auto-run legs.
Two scenes added from the campaign's own wish list: `epidemic` (the fire ball
lighting a whole wave off the body it hit) and `champion` (chapter ten, the
night court). Both verified on film.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
tools/scenes.json says WHAT to shoot; tools/clips.js only knows how. Every
knob Oliver asked for is a key: seconds, setting (gore/zombie), beat, court,
boss, weapons, movement, density, diversity, gore, games, screen — documented
in the file's own "_" block, validated in capture.py so a typo names itself
instead of coming back as fifteen seconds of empty court. Nine scenes ship in
the default list, across all four courts.
The frame is a PHONE now (393x852 -> 1080x2340), not 9:16: the portrait branch
derives its logical height from the canvas box, so a 9:16 take was never the
framing a player sees. The player has legs — held arrow keys through the real
axisX, so horde and flamer are no longer a statue with a flamethrower. The
crowd tops itself up where the game's own spawner puts it, diversity walks the
roster, and `gore` paints in the run's history a fifteen-second clip has no
time to earn. The pilot is picked by what the court is doing rather than by
config: tennis mode taps to swing, splatter draws the slingshot.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`python3 tools/capture.py` fills promo/clips/ with 1080x1920 h264/aac takes of
the moments the campaign plan (item 4) already named — transition, horde,
flamer, mopboy, death on the gore side, boss and match on the zombie-tennis
side. capture.py serves the repo with tools/clips.js injected, opens a
throwaway-profile Chrome and converts each POSTed webm with ffmpeg; clips.js
stages every scene through the real doors on window.T and drives it with the
reachability soak's own mediocre autopilot. Nothing is faked for the camera.
The game gains four names on window.T (start, intoSplatter, startHorde,
sendBoy) and nothing else: the frame is pinned by the canvas box rather than
the window, RES 4 comes from lowPower 0 plus device-scale-factor 3, and the
audio is tapped by making BaseAudioContext's `destination` a gain node — so
audio.js needs no master bus for a tool that ships to nobody. tools/ and
promo/clips/ are ignored by git and docker alike.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Hidden behind TUNE.aimCloud rather than deleted: the reading it gives — how
much width the swipe is buying, before the ball leaves — is the only teacher
the gesture has, and the panel can flip it back live for the next look at it.
And "a little harder to hit the out" is a number: flickReach 0.62 -> 0.52,
which halves the worst-case rate from about 15% to about 7%, with the test
tightened so it cannot drift back. The shape is untouched — a perfect flick
still never sails, a badly timed full swipe still can — but a mistimed one now
lands nearer the middle than the line, which is the only half of that trade a
player who cannot see his own timing can do anything about.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The live flick readout was a ring on a ray from the player's feet — a HUD
element laid across the court, and read as one: "pretty bare bones... the line
must go away, it is distracting". It is a soft cloud on the ground now, in the
register the dust and the blood already use: it sits where the ball is being
asked to land, grows with the length of the swipe, and warms from pale lime
through gold to red as that ask approaches the width no timing can keep in. The
threshold stopped being a flip, so too hard is something you watch coming.
Three things it took to make it read, kept in the comments so the next pass
does not re-learn them: it is sized in METRES off the projection, or it is an
eight-pixel smudge at the far corner where it actually lives; it is a stain and
not an additive glow, which turned the red end yellow over green grass; and the
ramp starts pale rather than green, because green on green showed nothing at
all across the whole safe half of the range.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
On touch, a drag in zombie tennis and classic still walked the player — and
that was not a harmless second option. A manual axis suppresses the assist, so
holding a drag traded a full-speed run to the intercept point for a 0.35x
shuffle aimed wherever the thumb went instead of where the ball will be.
Walking was strictly worse than standing still, which is most of "i tend to not
be able to reach the balls".
touchAxis is no longer written under rallyFeel. The drag keeps its one rally
meaning — released quickly it is the aimed swing — keys stay a deliberate
desktop override, and gore keeps its drag-walk, where the assist recovers depth
only and holding your own lane is the entire point.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The rally flick was read as three lanes: sideways past 0.38 of its own length
took the whole corner, a hair under it took dead centre, and nothing lived in
between — "sometimes applied very strong, sometimes it barely does anything",
with no way to tell which one you had asked for. swayOf reads the swipe's LENGTH
as a continuous strength, exactly as the serve already did, and doHit spends
that instead of the lane vote. Keys keep the full lane; the opponent's aim has
no length and is untouched.
That is also what hands the OUT back: going out was never a choice, because
every aimed shot took the full width and then the scatter on top. Below about
0.7 of a full swipe — the line minus aimError, over the width timing can earn —
the worst mistiming in the game cannot sail it now, and above it the old risk
curve is exactly as tested.
And the aim is drawn while the thumb is still moving: the placement ring is a
receipt that arrives with the ball already gone, so the same ring is shown live
with a ray from the player's feet, cream while the ask is safe and hot once the
sway crosses that derived threshold. The receipt goes red when the shot really
is out, so the two rings together are the lesson.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
HANDOFF-MATCH.md was always temporary — written when a session ran out of
context mid-slice, and carrying its own instruction to fold into PROJECT.md and
be deleted once the slice was done. The slice is done, so it is.
What crossed over is the contract, not the diary: what the mode is, the
blood-only scoring and the misreading that forced the blood readout, the four
ladder dials, the card of ten, the wound dials, the fall's frame contract, the
flick arithmetic and its lesson, the umpire and the boy, the opponent's serve
games, classic as its own mode, the record shape, the traps, and the do-nots
(now including the scratched body-shot thrower). The reasoning behind the
numbers already lived in the drill/match session logs and was not copied twice.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The flick lesson rode the incoming ball, over the player's shoulder — the one
moment he has no attention to spare for reading anything. It moves into the
room this game already keeps for teaching gestures: the serve stance, standing
still, mimed on the apron by the very demo the slingshot lesson plays. Same
clock, same hand, same words slot — one teacher, three lessons, and nothing new
drawn over a live rally.
The words carry both halves now, SWIPE AS YOU HIT TO AIM: WHEN alone teaches
nothing, and WHAT FOR alone gets tried at the wrong moment and read as a
gesture that does not work.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The gate said `G.mode === 'tennis' || G.match`, and mode 'tennis' is two
different things: classic, and the single prologue game a gore run plays before
the court turns. Placement is not the skill that prologue is asking for.
rallyFeel() already draws exactly the line wanted — classic and zombie tennis,
the two modes that ARE rallies — so the hint rides that instead of a mode
string. Verified both ways on a phone-sized preview: the lesson beside the
player in zombie tennis, and gone under gore-opener conditions with everything
else identical.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Score-is-the-body was a picture: the opponent lost an arm and swung exactly as
far, lost its head and missed exactly as often. Two dials now read the same
racketStage the SKINS are picked with, so what you watch it lose is what it
loses — deliberately small (6% reach, 17.5% whiff per stage), texture under the
ladder rather than a second difficulty curve, with a test on that ceiling. An
unhurt body still returns exactly 1 and 1, and the whole thing is gated on
G.match: the gore duel's racket zombie is untouched.
And the placement flick, the mode's one act of skill, was taught nowhere on
touch — the placement ring is a receipt, not a lesson, and you only get one if
you already knew to swipe. The ghost hand teaches it now, in the same register
as PULL DOWN and TAP AS IT ARRIVES, riding the failure it answers: a run of
returns that left with no aim on them. The tap lesson still wins when both
qualify — placement is the wrong thing to teach someone who cannot reach the
ball.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
index.html conflicted only on the cache-buster: staging was at 276 and the
branch at 275, so the merge takes 277 — a merge that reuses either number
leaves phones on the old build.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The slid-serve test asked for 6 of 10 sliced serves returned. Measured over 200
trials a seed across eight seeds, the receiver's real rate is 0.85..0.92 — so
the assertion was sound and the SAMPLE was too small: at p ~= 0.88, 10 trials
land at or below 5 with probability ~0.004, one seed in 230, and SEED=80 was it.
n is now 40 at the same 60% bar, which puts the threshold five standard
deviations below the true rate while still failing instantly if the receiver
regresses toward the 0-in-24 the test was born from. It is free: a returned
serve breaks the frame loop early, and the suite still runs in ~0.11 s.
Green on seeds 1..400.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
His family sheet was rolled against a description that disagreed with every picture
of him — "stained work overalls and a shapeless hat" against a green club blazer and
braces — so the 31 frames averaged the two and came out a third character. The card
portrait and the boss on court have been different men ever since.
He now anchors on his own throw frame redrawn at the grain the other bosses ship at
(density 0.34 against the legacy 0.21, tracked as _ref_gk_hi so the roll stays
reproducible), and the description names what the art actually shows. The hopper
basket is called out as gone: a prop at head height is the one thing a 31-figure
sheet cannot hold.
Rolled through _famroll, cut with _zsheet. Density 0.26 -> 0.36 across the family.
First roll came back with a lilac panel over the top rows and was thrown away — the
cutter keys the corner, so that panel would have shipped as opaque background.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Six head icons recut by hand; the new cuts are square, and a 1:1 portrait beside a
long punchline pushed the head against the left edge while the line itself ran off
both. The sub lines now wrap to the same room the title already shrank to fit, and
the plate grows with them — one line each still lands on 30/44, so every card that
fit is pixel-identical.
THE BULK is THE BRUTE: the gore mode's stats screen has called that body THE BRUTE
since it dragged a pole, and one character may not carry two names.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The drill spawner measured its best-of-9 lane spacing only against bodies still
in the back half (drillNearZ 9 m). On a court where lanes are HELD for life and
speed is stamped at spawn, a body 12 m down still owns its lane — handing it to
a faster arrival books an overtake for ten seconds later, mid-court, as two
sprites walking through each other. That is what the seed-sensitive test failure
(SEED=1234) was reporting: the assertion was right, the stream was not.
Spacing now measures against every live drill body; drillNearZ is deleted (no
other reader). Still best-of-9, no retry loop, so the stream cannot stall.
60 seeds x 150 s of drill: before, 7 seeds overlapped with narrowest clearance
0.00 m; after, zero overlap frames, narrowest 0.46 m (the test asks > 0.3).
Suite green on 20260811/1234/777/99/424242/8 and on 299 of seeds 1..300; the
straggler (SEED=80, the slid-serve return rate) is unrelated and logged as open.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The trick: hard serve, slight slide, and the first ten opponents died where
they stood. Measured headless — that serve was returned 0 times out of 24 at
EVERY rung. Three things were wrong and all three were the same thing: he
waited on the tennis mark 1.3 m off the centre line (covering the T, conceding
the whole corner), he took no first step, and he chased the ball's LIVE
position, which during a serve is still up by the server's baseline.
Now: he waits on the bisector of the serves he has to cover, takes a
returner's first step (serve-scoped — the rally is untouched), and runs at the
bounce instead of at the ball. The slid serve comes back from rung one; a
flush serve into the very corner of the box still aces the bottom of the
ladder, which is the reward placement is supposed to earn.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Six sessions of asking an image model for a row of running figures, and it
never once drew a gait: three phases repeated with the same leg leading,
"ropeskipping, not running". A frame-by-frame LEFT/RIGHT skeleton spec, a
closing checklist, a loop clause, six figures instead of eight — all lost.
One 5-second image-to-video clip has no such problem, because it moves a
body instead of drawing poses. ~$0.42 a character through the key already in
.env, pose pinned at BOTH ends (pinned only at the front, she rotated into
profile halfway), stride period MEASURED off the frames rather than sampled
by eye — hers repeats in 6 clip frames, his in 23 — and the phases cut and
palette-snapped through _stride.cut. assets/_vidroll.py films and cuts it;
her first frame came from one still roll that took his approved pose as a
picture instead of a paragraph.
Wired: runN probes the sheet through SK() so the women's tour counts HER
frames, the player is no longer clamped to a two-frame pair, runHz 2.4 ->
1.9 ("this looks like roadrunner"), and the bench grew two PLAYER stops —
a cycle only ever seen mid-rally is a cycle nobody has watched.
Also in: the difficulty retune (medium is a real step above the shipped CPU
and is where `smart` first appears; hard stepped back off superhuman; easy
closed its gap) with MEDIUM's dial-for-dial pin to TUNE removed from the
test, and Oliver's own transparency fixes on the male frames.
SPRV 138 — the frames were right on disk and wrong on screen for an hour
because assets are cached for a year unless the ?v= moves. main.js v269.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A URL only opens the installed app on Android; on an iPhone it opened a second
copy of the game in Safari, with its own storage and none of the name picked in
the app. So the share sheet now sends "JOIN ME IN SPLATTER TENNIS — THE CODE IS
ABCD" and nothing else, and the button says SEND THE CODE.
The #net-ABCD door stays — it is exactly what a deep link will carry the day
this is a real app with universal links. Nothing sends it in the meantime.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
An Android phone opens the link in the installed app (the manifest's scope
covers the site, so its WebAPK claims these URLs). An iOS home-screen app can
claim nothing, so the link always opens in Safari — which keeps its own storage
and knows nothing about the name picked inside the app. Four letters in the same
message is the whole fix: a friend who has it installed types them instead.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Multiplayer setup moves out of a canvas modal and a prompt() dialog into one
menu screen: your name, the two ways to host, and the friend's code. The socket
opens from the menu and the game stays parked behind the overlay until the room
fills — netHooks.paired takes the court one line before netStart writes to it —
so the room code can carry a real SHARE button and a wrong code is a typo you
fix rather than a CONNECTION LOST card over a match that never began.
The name is the world board's name (stats.saveName), crosses on the existing
look message, and the scoreboard finally names the person instead of CPU.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver, on the picker: the gender tiles "themselves have the player but front
facing and that does not react to the kit and skin — so that's double somehow
and wastes space", the screen "is pretty crowded now", and the women's wash was
"a little too subtle on the white — could be more".
THE TILES ARE GONE. They were a second drawing of the same man, facing the wrong
way and deaf to every colour on the screen, and they cost the height that pushed
the court list under the fold. Who-you-are is two words now, and the live player
— which does react — stands beside every control that changes him, so a tap and
its result are a thumb apart. Four stacked sections became one block; all four
courts and SERVE UP fit a phone without scrolling.
THE WASH goes 0.30/0.93 -> 0.55/0.86: dyed from across the court, folds intact.
Past about 0.70 it stops reading as tennis whites at all.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three things off the back of the picker.
THE LIVE PLAYER on the setup screen is the real sprite through the real tint, not
a mock-up of the pick — so the menu cannot promise a colour the court will not
keep. It redraws on every tap of a tour, a kit or a skin.
THE WOMEN'S TOUR IS NO LONGER SAT OUT. Her set is drawn head to toe in whites, so
there was no hue to rotate — the answer is not a dye but a WASH: the pick laid
over her whites at a low saturation with the lightness kept, which is how you dye
a white kit in life and gives rose, powder blue, mint, lilac. Her hair and skin
fall out of it on lightness alone, which is exactly what a dye could not manage.
THE FRIEND ACROSS THE NET now wears what they picked on their own phone. Their
look crosses on pairing, and since the opponent art is red rather than blue the
kit rides its own hue arc — safe there for the one reason it would not be on the
player's own sheets: the opponent sprites carry no drawn blood. An older build
simply never sends it and the opponent draws as before; the match still plays.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver's hunch was right: the tap unlocks audio and starts a 768 KB fetch, but
the source starts seconds later inside a promise with no gesture near it. iOS
suspends an idle context in that gap, and a source started into a suspended
context is silent for good — nothing on the splash ever asks for audio again.
Resume once more when the buffer lands, which the first tap has already
authorised, and again when the app comes back to the foreground.
Intermittent because it only bites when the decode outlasts the browser's
patience: a phone, a cold cache, a slow radio.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Testers asked for some control over how their player looks. From behind — the
only way you ever see him — there are two things worth controlling, and neither
needs a single new asset: the kit and the skin are one hue-bucket pixel pass over
the sheets already loaded, cached per frame and built on first draw.
The buckets are measured, not guessed, and three neighbours had to be fenced off
one at a time: the shirt's warm HIGHLIGHTS (which spattered the man with mud on
every dark pick), the drawn BLOOD on the death frames (which turned the pool
brown — the worst bug this file could ship), and the women's HAIR, which is the
same hue as his shorts and cannot be told apart from it by any rule. Her set is
played in whites and has no kit to dye, so it is flagged out and the row says so
rather than silently doing nothing.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
wuwiandClaude Opus 5