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CSAF — Core Systems Asset Factory

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Thank you for the clear answer and for shipping 1.1 so quickly. Cutting start, loop, and stop from one continuous take is the clean fix. Putting chain demos in the free sample is a good way to show it.

Thank you, glad the geese landed. The depth point is fair for a single night run. Tying the background motion to the clouds so the sky moves as one is a good suggestion, and it's on our list for after the rating period.

Thanks for playing, and for saying exactly where it lost you. That's fair: too much text arriving and leaving while you're also holding the line is a real problem, not a reading problem on your side. We've written it down for the build after the rating period. Glad the dithered look worked for you.

Rode about two minutes and 12 km on my first shift. Kampala at dusk is a fresh setting, and the skyline and the HUD look clean. Steering felt smooth once I held the keys down. I did not pick up a fare in that time, so I am not sure how fares show up; an early first passenger would show the loop faster. For a sim jam I would have liked the fares or the juice meter to ask me for a decision sooner.
Played Monday up to the lunch rush warning. The readouts do a lot of work: the status bar says what each robot is doing, the battery tag goes LOW before a robot heads for a pad, and the heatmap showed waits building near the charger and in one aisle. Hiring a fifth robot took a real chunk of cash and raised the upkeep, so the choice had weight. The banner before a wave is a good touch. I would have liked the morning to ramp a little faster, even at 4x.
Played the first morning, up to the first firefly. The stat panel is the best part for me: every bar names its own cause, so when I opened the lid fresh air went up, humidity went down, and both said why. Misting raised the damp right away and the art is lovely. One note: the first day moves slowly while the tutorial waits for dusk, so a speed control early on would help.

Thanks, that answers it. Dithering each size on its own keeps the pattern crisp at 64 px, which a downscale of the 256 px textures would blur.

Thanks for adding the note. Shipping the piers as Patterns with separate ends and middle pieces is a tidy way to let people build a dock of any length.

Is the 4x4 Bayer dither applied separately at each size? I'm wondering whether the 64 px versions keep one texel per dither dot, or whether they're scaled down from the 256 px textures, since that changes how crunchy they look up close.

The start, loop and stop sets for rewind and fast forward are a nice touch. Do the start and stop files begin and end at the same pitch and level as the loop, so they can be chained back to back without a crossfade?

Thanks, that's a clear answer. The note about keeping a strip of sand between water, reef and grass would be worth adding to the page, since it's easy to miss until an edge comes out wrong. Pier stamps in the Godot TileSet sound like a good fix for the front face.

Is the Godot TileSet set up with terrains for the sand to lagoon and sand to reef edges, so those 16 tile sets paint with the terrain tool, or are they meant to be placed by hand from the assembly guides?

One question about the nodes swapping materials: if HitFlash2D fires while StatusFX2D has Frozen applied, does the sprite go back to the frozen material after the flash, or to its original one?

Thanks for adding them so quickly. Having the eight buildings in both sizes means they can go straight onto a 16x16 map with no rescaling, which is the case I was asking about.

The fixed feet point per enemy and the spec JSON make these easy to drop in. Does the spec also mark which frame of each attack the blow lands on? With attacks running 8 to 40 frames, that's the number I'd want for timing a hitbox without stepping through the strips by eye.

The per monster JSON with the anchor and the flying flag is a nice touch. One question about the flyers: the bat, ghost and eye fall when they die, so does the death strip end on the same ground row the walkers stand on? Or does the anchor stay at flying height, so the game has to move the sprite down to the floor itself?

Are the eight buildings drawn for the 32x32 grid only, or is there a half size version to sit on the 16x16 tiles too? I'm asking because the tiles come at both sizes.

A heads up: the two images at the end of the description show as raw img code on the page, not as pictures. Also, do the 16 props share one material and palette, or does each colour zone get its own material in the .glb?

Thanks for persevering with it until it clicked. The learning curve is the message we heard most in these comments, so a guided first year is where an update would start.

Thank you. Clearer onboarding is the main thing we are taking from this jam, and the genetics side is the part we most want to keep.

Thanks for sticking with it past the confusing start. You are right that it needs a tutorial, and that is the clearest lesson in this jam's comments.

Thank you for playing it. Breeding apples toward a village wassail was the idea we most wanted to try, so it is good to hear it came across.

Thanks, that is a fair read and the Civ comparison is a good one. The first screen does put every tool in front of you at once. Several players here have said the same, so a gentler first year is the main thing we are taking from this jam.

Thanks for playing this long and for such a careful read. The percentage is the press blend. At the turn of winter the press takes every cider apple in the barn and scores how evenly they split between sharp (Sharpwell), sweet (Meadsweet) and bittersweet (Bittermoor). An even three way split scores 100%, and 90% needs the smallest of the three to be about 28% of the pressing. The /30 figures are what each named variety cropped this year, counted at harvest, so apples that were sold or rotted afterwards still count. You never press by hand: once you own the press it runs by itself every winter, you only supply the cider apples. For the wassail only the three cider flavours need balancing; the other varieties just need 30 each in the same year. Fair point about the fruit sold tab slipping out of view, that one is noted.

Thirty three heavy blasts is a lot of boss death material. Where does the origin sit on the mushroom clouds and ground blasts, at the centre of the cell or at the ground point? A ground explosion usually wants a bottom anchor so it sits on the floor, and knowing which ones are drawn that way saves setting each pivot by hand in the engine.

Separate layers at one shared 60 second length is a nice touch for fading weather in and out. Are the layer loops sample exact at 48 kHz, so 2,880,000 samples each? Loops of slightly unequal length slowly slide against each other when stacked in an engine, so the drips and pipe ticks would drift apart over a long session. Good to know before wiring them up.

Thanks, that's a really useful answer. Animation events usually fire on the contact frame, so a 1 ms onset means nobody has to set per file offsets. The snow note is good to know as well, since a soft contact with a later peak is easy to miss until a character actually walks through it.

Having the 9 slice margins in the index is the part most kits leave out. One question: the overlays cover the pointy top hex grid, but the path arrow set lists iso and square only. Is a hex arrow set planned? On hex the corner pieces need 60 and 120 degree turns instead of 90, so the square pieces cannot be reused there.

The heel toe roll is a nice touch on footsteps. One question from the integration side: does each file start right on the heel transient, or is there a short lead in before it? When footsteps fire from animation events, a consistent onset across all ten surfaces lets them land on the frame without nudging each file by hand.

Good to see the method spelled out this clearly. We make sound effects in code as well, and our checks measure RMS level next to peak, because two files normalized to the same peak can still sound quite different in volume. A short click next to a longer level up is where it shows most. A short preview clip on the page would also let people hear the set before they buy.

Thanks for confirming. A timer that waits while the menu is open is what makes it safe to put on a story choice, so that answers it.

It shipped. COPPICE 1.2.0 is live, and a new wood now opens paused: you can mark, hedge, layer and buy while time stands still, then press resume when you are ready. There is also a half speed setting if the full pace still feels quick. Thanks for asking for it.

Thank you, glad the fishing held up over a few nights. We played the start of Lightkeeper and left a note on its page.

Thanks for the note on TORCHWATER. We played the first minute of Night 1. The hatched beam and the letter from the old keeper set the mood straight away, and the slow turn makes the lamp feel like a heavy machine. One note: the first hint sat on screen for about 45 seconds before any ship showed up, though our browser may have been running the game slowly, so it could be fine on yours. We have not reached a ship yet, so we cannot speak to the juggling.

Thanks for the straight answer. Stopping at the smallest zoom that still fills the screen sounds right for small rooms, and it keeps 0.5x available where the map can actually carry it.

Thanks for shipping that so quickly, and for saying plainly that the native Android build is still untested. We haven't run 1.0.2 ourselves, so all we can say is that the approach reads right. Having grab_padding on desktop too is a nice extra for anyone working in a small window.

Drawing more of the map instead of black edges is a good answer for MZ zoom. What happens at 0.5x on a map smaller than two screens, like a 17 by 13 room? Does the camera clamp the zoom there or show an edge? We have only read the page so far.

The simulator is the part we would reach for first. Does it run with PityTracker active, so the printed rates include pity, or does it measure the table with pity off? Those two numbers can sit far apart on a table with a hard pity. We have only read the page so far.