The agreed single pass did not land: br_w1 installed, br_serve and br_fall were
refused by the palette gate at 12 to 22 away from z_br1, and everything drawn
from them was correctly skipped rather than built on sand.
'br' comes out of ZFAMS. The art stays on disk and the nine batches stay in the
JSON, so re-registering it later is one line — this is parked, not deleted, and
nothing in the game referenced it (no opponent row names it).
THE FINDING WORTH KEEPING, written at the top of _master.py: the brute's PLAY
sheet is a good brute; its serve and fall sheets are each a slightly DIFFERENT
brute. All three restyle from the master independently, so each invents the
character afresh from the words, and "pale grey-green work shirt" lands
somewhere new every time. The gate is not being fussy — it is measuring three
different zombies.
The fix is to hand the later sheets BOTH references: the master frame for the
POSE and the variant's own first sheet for the CHARACTER, instead of the words
for the character. Which is the lesson the wound stages already taught — a
reference beats a description — applied one level up. Until that lands, a
variant is reliable for its play sheet and a gamble for the other two.
The racket zombie is untouched and complete: 33 frames, every gate green, and
it is the opponent the match actually plays.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver, on the brute's fall frames: "now the fall zombie has a different skin
tone.. man this is all so tiresome." Both halves were right. The skin IS twenty
points lighter across that sheet, and the tiresome part is mine: I had been
adding one hand-picked gate per drift I discovered — redness, then hue, then
`changed`, then no-grids — which is a loop with no end, because naming features
is not the same as comparing pictures.
`kit` names four: shirt redness, shorts brightness, shorts hue, near-white
fraction. Every character breaks a different one. The brute's shirt has no red
in it at all, so its reference redness was 0 and blood scored 70-100 against a
tolerance meant for a garment. A body face down shows a fraction of the shirt it
shows standing, so two of the four move with POSE. And nothing in that list ever
measured SKIN, which is exactly how a brute's flesh drifted across a whole sheet
with six gates green.
The palette gate asks the only question that generalises: are the big colour
areas of this frame the same colours as the anchor's? Top SIX by area — the
garments and the skin. Proportions ignored, so a pose change is invisible; blood
is never in the top six, so a fresh wound cannot look like drift.
CALIBRATED BEFORE IT WAS WIRED IN, which is the discipline I skipped all day.
Frames known to be right score 0.0-8.5; the drifts we could actually see score
12.0-15.9. The threshold is 10, in the gap. Three formulations were measured and
the two that overlapped were thrown away.
And every sheet of a variant is now anchored to that variant's FIRST sheet, not
to the stage above it. Chaining let a legal hop compound into a drift nobody
authorised — the shorts walking -9 to -19 down the wound ladder was that, and so
was this.
Its first verdict on the existing brute: br_play is the character, and every
other sheet sits 15 to 48 away from it. It would have caught all of this on the
first roll.
Also in: the GRID guard from the same session — the valley-cut rescue would slice
a 2x2 sheet into four frames of a torso above someone else's boots, turning a
loud failure into a silent one. Asked per cut PIECE, because a body is vertically
continuous and a piece with a gap in it caught two of them.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
wuwiandClaude Opus 5
