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>
"The draw" was tennis for the field of entrants, and nothing has been drawn
since the cup rounds went deterministic — Oliver had to ask what the button
meant, which settled it. Beside it, an unqualified PLAY AGAIN was an
instruction without a subject: both buttons read as "start something" and only
someone who remembered how the evening began could tell them apart. It carries
the mode now — GORE AGAIN, CLIMB AGAIN, CLASSIC AGAIN, TRAIN AGAIN.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
A 100px label in a 120px half-button left ten pixels of air, which reads as a
squeezed chip. A tall screen has the room, so the two doors stack full width —
filled primary over ghost secondary, the same shape the modal footer and the
splash already use. A short landscape cannot stack, so there the box itself
grows to 344 and the halves come out comfortable instead.
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>
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>
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>
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: "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>
Oliver: "what is this white flashing while applause in the upper right corner of
the crowd". With the photographers switched off entirely it was still there, so
it was never them — it was mine, from this morning. The top fade is baked into
the cached stand, and drawRaisers was painting a spectator's box straight over
it with only the dim applied. Every time that spectator stood up his box lost
the fade and lit up; every time he sat down it came back. Measured on the canvas:
a 146-luminance jump, twice a second, in exactly the two places raisers sit near
the top of the picture.
Both stand treatments now come from one function each and are applied in both
places. The gradient is built in user space, so filling a raiser's sub-rect with
it picks up the right alpha for free. Probed again after the fix: zero bright
pops during applause and during the wave, against the four hot spots before.
While chasing it, two real detector faults turned up and are fixed too: a blob
may not be a pale block (a re-rolled cream shirt is "new material" by the
stand-turned-person test but nothing rises), and it may not cover something
already bright (a genuine arm drawn over a white shirt deletes a white block,
which flashes just as hard). 94 raisers survive both rules.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Oliver: "in the upper parts of the crowd there seems to be a lot more action
going on, but I can barely see it because the hud is covering it." Measured, 31
of 134 raisers were being drawn under the board or the blood panel — a quarter
of every cheer spent where nobody can see it.
The cause is structural: a raise is only detectable where there is empty stand
above somebody's head, and the sheet only offers that above the top row of each
seating block. One of those rows is at the very top of the picture, which is
where the scoreboard lives.
So both ends are fixed. The two arms-up rolls now ask for the standers to be in
the lower two thirds only, and the pass drops any raiser whose box centre falls
under the board or the blood panel. 92 of 101 raisers now sit below the board's
bottom edge, against 103 of 134 before — and because "how many join in" is a
fraction of the table, pruning the invisible ones makes every cheer denser where
it counts. Measured churn during a won game: 2-5.5% of the mid and lower stand
changing every 90 ms, against 0.1-1% under the HUD.
The re-roll also came back with 41 spectators owning both raised poses, up from
28, so more of them clap rather than just going up and down.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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>
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>
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>
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>
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>
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 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>
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>
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>
Every run starts the ambience, and the ambience was un-ducking both court beds
at once — so once you had played the gore mode, its music followed you into
classic tennis for the rest of the session. Leaving the court is one event;
arriving is not. Each bed brings itself back and nothing else.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Splatter gore no longer makes you win a game of tennis first — the mode you
pick is the mode you get, with the man you came to play already turned. The
transition itself is untouched and still reachable; it just isn't a toll booth.
The menu theme could only ever be started, never brought back, so the first
run of a session silenced it for good while the court's ambience followed you
into the menu. Starting a bed now un-ducks it too.
Three world boards instead of one: kills, opponents felled, and games taken
off the CPU, each with its own name prompt and its own row per player.
...and the gore economy stops paying a barrel for every game won past game 16,
while the shamblers, the mix and the ball machines keep escalating past the
point they all used to stop.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Six new opponent families (head coach, stringer, strawberry seller, chair
umpire, spectator, roller man) through the famroll/zsheet route, placed by
hierarchy into an 18-rung ladder; the champion steps up behind them.
THE DRAW: picking the tournament now rolls its own bracket in front of you —
only the final was ever settled — and what lands is what walks on.
Netplay, off Oliver's cellular report: the mid-flight early-decide was missing
its !G.net gate, so the striker judged its own outbound flight and the two
scoreboards drifted a point apart into a court nobody could serve on. The
host's court now rides the room, its scoreboard rides the pretoss stream, and
a called ball rolls to its own halt instead of freezing where the call caught it.
Plus the night court, and somebody in the stand is taking pictures.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Regenerated off the classic poster instead of the zombie one — sunset
oranges into violet, warm bulbs, neon rim light on the two players. Each
mode row now owns a palette: day, night green, blood red, golden hour.
SPRV 125 so cached phones refetch it.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Two live verdicts off the bench. The 1px run bob was a fixed 18 Hz wall-clock
toggle — over the calm two-frame cycle it read as independent HOPPING — so it
now shares the exact phase counter that flips the frames: one dip per step,
always in sync at any cadence. And with bob and feet locked together the
cadence itself came up for retuning: 1.7 read as a jog, doubled to 3.4 it is
a run — "that's it! way better." One knob moves both, which is what made the
doubling a one-word change.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
The live bench session's verdict, in Oliver's words: "this looks better than
anything before." Six and eight real phases at speed read as flicker on a
far-court body — the zombies never had this problem because their walks are
FOUR well-chosen frames at a calm rate, and the fix was to stop out-drawing
them. Each opponent now runs a TWO-frame true leg-swap pair — his frames 1+2
of the grid roll, hers 7+8 of the face-transplant cycle, both picked live on
the bench with SPR swaps — at TUNE.runHz2 = 1.7 (the old hardcoded 4.5 for
short cycles was most of a stride per display frame; that is the strobe).
The tuning rig ships too: TUNE.runN (frame-count override, 0 = probe),
T.SPR for live frame swaps, and the bench's living slots — the next cadence
question gets answered by watching, not rolling. Twelve run sprites become
four; the SPR list says why. SPRV 124, main.js v248.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Oliver: "add a normal player male and female to the hidden bench and let it
run there." The fam walk (up/down) now runs two slots past ZFAMS — PLAYER
MALE and PLAYER FEMALE. In a living slot the racket zombie steps outside the
frame, G.hideO lifts (splatter set it when the match turned), and the real O
runs the walk stop's own back-and-forth at the classic CPU's speed class, so
the cadence on the bench is the cadence the game plays. SK() reads the slot
for the _f suffix, so both tours review without touching the picked tour.
The HUD swaps the wound readout for the tuning one: runHz and aiSpeed, the
dials a live session turns through T.TUNE. T also gains a keyPressed alias.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
wuwi
