Alias Archive

Abstract

vibe construct is a set of 3D shorts. The subjects include a dougong bracket set, a mechanical keyboard, a camera, an engine, a mechanical watch, a grand piano, a music box and a puzzle cube, plus processing machines such as an extruder, an injection moulding machine, an internal mixer and a blow moulding machine. Every episode has the same structure: an opening fact, an exploded view and the title, parts landing on strong beats chapter by chapter, one or two X-ray explanations, a climax in which the object runs, and an end card. Each frame is determined by time alone and drawn by a hand-written WebGL2 SDF renderer, with no external libraries or images; each film has its own look and its own score. The figures in the films are cited from public sources, not measured. This post lists every film and records what viewing feedback changed: a plastic-toy look, light pollution, a subject melting into its background, a running section that only passed, products that flashed by, a miscounted radiator and a flat ending. The coin standing on the valve cover in #04 is a visual suggestion with no source behind it. The renderer, scores and checking tools were written by Claude Code; I chose the subjects, watched the cuts and made the calls.

Abstract

A follow-up to the earlier production log: choose a test by its distance from genre conventions, separate global style from section cues and exclusions, and record actual settings. The local keyscan and keytrack tools illustrate what key-template correlation and sliding-window scale fit can establish, and why a modulation instruction is not evidence of a completed modulation.

Abstract

Ember Is Life is a prototype that remains disabled by default in Watchman. Health combines a level-based baseline with loaded embers, while reserves in the wallet fund upgrades, purchases, and recovery. Pickups and execution rewards restore health first, with overflow entering the wallet; an interruptible held action channels reserves into health. Bonfires guarantee only baseline recovery, while condensation trades loss and time for ingots that survive death. This record separates implemented behavior from older design notes and balance hypotheses, and distinguishes regression results with the feature off from evidence that the enabled prototype is enjoyable.

Abstract

The seven deadly sins become eight by bringing back vainglory from a fourth-century list of evil thoughts; paired with their contrary virtues they make exactly sixteen cells, one for each MBTI type, and the sin side and the virtue side of a card are opposite types. The main film is a 90-second, 16:9 beat-synced montage in which neon tarot cards slam in on the drum hits and flip over. Each of the sixteen vertical shorts tells one historical fact about its sin or virtue, returns to a scene in which that type is called out, and at 48 seconds turns to the other side of the card. Every type has a 16-axis radar chart whose values are estimated from the correlations between MBTI letters and the Big Five; it is an illustration, not a measurement. The facts were checked in two rounds, and the sources are listed at the end. Pictures, characters and music are all generated in code.

Abstract

A production record for Eight Sins × Sixteen Types. A single tarot-card test came first and fixed the neon line-art look; the characters are assembled from parameterised parts, so the sixteen types are sixteen sets of parameters, not sixteen hand drawings. The picture and the score of the main film were made separately from the same bar-by-bar timing sheet, and when joined they were less than a frame apart. The record covers the changes made after viewing: an unreadable radar chart, a line that sounded like blind stubbornness, the word 'antidote', which read like matchmaking, a dropout before every hit and silences that cut off abruptly, and eight shorts in which only the sin had a leading role. It also lists the errors corrected in two rounds of fact-checking and the reusable rules drawn up at the end. The animation, scores and checking tools were written by Claude Code.

Abstract

A review of August migration designs and handoff notes: separate the character from the content window, retain server ownership of memory and speech, and assign events, recovery, unread state, and audio to explicit consumers. The later Unity plan supersedes the initial desktop plan. Recorded faults, design constraints, and partial deliveries are distinguished from a complete migration acceptance.

Abstract

A first-person record of a digital-companion system: why it began, where it met hard limits, how the direction changed, and when it became independent. Six linked technical records cover lip-sync tests, content isolation, host architecture, memory, a controlled selfie system, and later desktop migration. The original account retains its contemporary viewpoint, with subsequent work added separately.