eb0e8775a43c567e9920110351ec1742419bb834
5
Commits
| Author | SHA1 | Message | Date | |
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  wuwiandClaude Opus 5
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eb0e8775a4 |
The timing cues were match-only, and the walk cycles bounced
CLASSIC TENNIS, third time asked and this time actually found. Both cues open with a mode gate and I checked the wrong two features twice: drawApproachRing (the closing circles that show when to tap) and drawApexBand (the serve bar with the gold perfect window) each began `if (!G.match ...)`. So the mode whose whole pitch is "if the core tennis is good everything else is good" was the one mode with neither. They run on `G.match || G.mode === 'tennis'` now — the gore mode stays out on purpose, there is no rally there. A test reads both function bodies and fails if either is ever gated on the match alone again. (The two I kept pointing at — the landing ring and the placement ring — really are shared. They were just not the ones being asked about.) THE BOUNCING WAS IN THE ART, and measurable: the six generated families came back with the shuffle frame 30-44 px shorter than the stance it walks out of, against 9 px on the hand-made racket family. The game draws every frame at its own PNG height, so the body rose and dropped once per step. A walk cycle is one drawing with the legs moved and must be one height; _zsheet levels the stance and the stride pair now and leaves the forehand its own, exactly as the serve and the fall keep theirs. All seven families re-cut: spreads are 1-8 px. THE BENCH GETS BUTTONS. Arrow keys are not a control scheme on a phone, which is the device the walk has to be judged on — so every family and every wound stage was unreachable from the place the problem shows. Three on-screen pads: BODY, WOUND, POSE, the two-way ones split left/right. Geometry lives beside the drawing and input hit-tests the same function, the rule the rack established. THE FALL is quicker still (0.05/0.07/2.0/0.30): drop, lie there, get up. Three umpire lines pulled — ump_wound_you, ump_felled, ump_wound_opp2. Not funny enough to keep. Files deleted, call sites collapsed to the two that stay. 60 tests green. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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wuwiandClaude Opus 5
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cba2fb8a8b |
One roll, one character: the whole zombie family from a single sheet
Nine sheets meant nine chances for the character to drift, and all day it took
every one of them — a brute that was three different brutes, a corpse that came
back a living man. Asking for the WHOLE family in one image removes that by
construction: one roll, one light, one palette, 31 figures.
What was missing was the way back down. _fine.py cuts a single row; a family
sheet is nine. _zsheet.py is that step and nothing else — it reuses _fine's
keyer, block detection and column cutter, and adds the two things that have to
be GLOBAL or the family breaks:
SCALE taken once from the play row's standing frame. Per-band scaling would
make the serve strike the same height as the idle stance, and the game
sizes a sprite off its own PNG height. Measured after: serve 319,
prone fall 83 — the racket family's are 307 and 85.
PALETTE taken once from the largest figure anywhere, so a wound row cannot
quantise onto slightly different colours than the row above it.
The enclosed magenta rule is INVERTED here, deliberately. _fine.py repaints
magenta trapped inside a figure because the generator used to fill string beds
with the backdrop colour by accident. This sheet asks for exactly that and gets
it, so the bed cuts to transparency and the racket is an open hoop.
_regen.py keeps three fixes found on the way: margins as a PROPORTION (an
absolute pixel margin means nothing to a model that picks its own resolution —
it clipped 3 rolls in 4), reference sheets that fill keyed-out string beds
instead of showing the model a magenta racket, and --verify, which asks the
question no gate here ever asked: is the art already on disk what it claims to
be. It found 27 of the brute's 31 frames dead — z_brw1fall was one drawing
pasted four times, 0.011 apart where a real sequence is 0.53.
The brute is live: ZFAMS gains 'br', the KEEPER wears it. Verified in #bench,
healthy and arm-off, 54 tests green.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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wuwiandClaude Opus 5
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759488dd44 |
Recover the brute's serve and fall sheets, which I overwrote
Re-running --variant to rewrite a spec re-seeded EVERY placeholder from the
master, and placeholders are copies of the lean red-shirted man the poses came
from. That silently replaced a finished brute's bounce, toss, strike and four
fall frames with racket-zombie art. I restored z_br1..4 by hand afterwards and
did not notice the other seven were gone — so three subsequent passes were
regenerating sheets that already existed and had been good since this morning.
Recovered from
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wuwiandClaude Opus 5
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525f017636 |
Park the brute — and name what its next attempt has to change
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> |
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wuwiandClaude Opus 5
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0e92c72457 |
ONE palette gate replaces four feature-picked ones
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> |
