DEFLEKT - Animated Series

WATCH WHAT EXISTS

Everything produced so far, cut together in order: THREE COMPLETE EPISODES plus the opening of the fourth - Chapters 1 through 10, from a courier girl on a hoverboard to the night the enemy stopped sending scouts and sent something with a name. Over forty minutes. Chapters are still being revised as notes come in - this reel is always the current state of all of them.

SKYREELS - 37 APPROVED PROMPTS, AND WHAT THEY MADE

Every SkyReels prompt you have approved, kept here after it leaves the inbox: the exact words, the roll it became, how the gate judged it, and the clip at 720p. The 1080p masters are on disk. Credits spent on rolls so far: 2345.

THE REEL SO FAR - scene 1's first 30 seconds, then scene 2 end to end
96 seconds. Scene 1 runs 0-31.7s (its last 15 seconds are not shot yet - the slate says so), then scene 2 runs 62.9s. RE-CUT 2026-09-22 after the first assembly went out with the pre-recorded mix laid over the dialogue takes, which put every line's lips 0.24-2.11s late. Now every shot where someone speaks on camera keeps SkyReels' OWN audio - picture and sound are the same recording - and the mix carries only George and the bed over the silent shots. Built by Tools/series/cut_dialogue.py from test-sc02/CUT2.json; 1080p master at film/skyreels/REEL_v2.mp4.

SCENE 1 - the first 30 seconds, every shot SkyReels
31.7s cut against the scene-1 mix by Tools/series/cut_first30.py from test-sc01/CUT.json: sea 2.0-6.4, island push, sea, island crown, mill, porch, Holly, island wide. Brandt 2026-09-20: 'the first 30 seconds is looking good'.

APPROVE - roll it exactly like thi

SC01 S5 - PORCH

Result: PASS - full frame, frame 0 at 19.6 dB from the plate, one continuous push-in ending tight on the door, petals drift, native audio = birdsong only.

UNDER: George - "We're going to start at the bottom. On a porch. That's where things get decided." @Porch is the place, exactly as pictured. Full-frame 16:9 edge to edge, no black...

the exact prompt you approved

UNDER: George - "We're going to start at the bottom. On a porch. That's where things get decided." @Porch is the place, exactly as pictured. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: early morning at the end of the east orchard. Nobody is home yet. We start wide on the empty porch from the yard and drift slowly toward the closed door, the way you would walk up to a house you know. This is the porch where things get decided. CAMERA: one slow, steady push-in toward the porch door for the whole five seconds, at eye level; it never pulls back and never tilts up into the sky; by the end the porch and its door fill most of the frame. TIMING: 0-2s: wide on the porch and the orchard row; blossom petals drift across the yard on a light breeze; the trees sway. 2-5s: the push continues; the railing and the bench slide past the edges of frame; we settle on the closed door and the barrel beside it and hold there. MOTION LAYERS: petals in the foreground drift right to left; the blossom trees in the mid-ground sway gently; the house and porch are solid and still; the shadows stay put. <sfx>a light breeze moving through blossom trees, birdsong far off, one slow creak of porch boards as we get close</sfx> No music, no voice. MUST NOT: no person or animal; the door stays closed; no light in the windows; no camera pull-back; no text.

task 2101334799704272896 · 175 credits

APPROVE - roll it exactly like thi

SC01 S4 - MILL

Result: PASS - full frame, locked camera (per-frame change 0.74), wheel turns, water flows; native audio dropped in the cut (scribe tagged it '[outro jingle]').

UNDER: George - "We're going to start at the bottom." (the cut down the terraces, past the mill and the crossing) @Mill is the picture, exactly as it is. Full-frame 16:9 edge to edge,...

the exact prompt you approved

UNDER: George - "We're going to start at the bottom." (the cut down the terraces, past the mill and the crossing) @Mill is the picture, exactly as it is. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: the canal mill at the bottom of the town, early, working on its own - the wheel turning, water running, nobody about. A short establishing beat on the way down to the porch; the town is already at work before anyone is awake. CAMERA: locked off for all five seconds - no pan, no zoom, no push, no pull-back. The wheel is the motion. TIMING: 0-5s: the big wooden wheel turns slowly and steadily the whole time; water pours from the flume onto its paddles and drips off them into the canal; the canal flows gently toward the bottom right; the coil of rope, the sacks, the bowl on the sill and the open door stay exactly as they are. MOTION LAYERS: water on the wheel in the foreground; the wheel itself; the canal surface behind it; the mill house and the bridge solid and still. <sfx>water pouring over a wooden mill wheel and dripping into a canal, the slow creak of the wheel's axle, a light wind</sfx> No music, no voice. MUST NOT: no person, animal, boat or bird; the wheel keeps its size and its number of spokes and paddles; the water never floods, splashes high or turns white; no text.

task 2101339267711774720 · 175 credits

APPROVE - roll it exactly like thi

SC01 S2 - ISLAND

Result: PASS - full frame, push rises then eases to a HOLD as scheduled, ring stays highest, one lit glyph as on the plate; native audio = wind.

UNDER: George - "...one mountain that refused to drown. They call it Solmara." and later "Up on the crown of it there is something. We will get to it." @Island is the picture, exactly...

the exact prompt you approved

UNDER: George - "...one mountain that refused to drown. They call it Solmara." and later "Up on the crown of it there is something. We will get to it." @Island is the picture, exactly as it is. Full-frame 16:9 edge to edge, no black bars, no letterbox. The stone ring on the crown is the highest thing in the frame at every moment. SHOT: first sight of Solmara from the sea at first light - one mountain that refused to drown, a whole town climbing its flanks under strings of pink lanterns, and on the bare crown a ring of standing stone that the eye is drawn up to. We arrive. CAMERA: one slow, steady push-in from the sea toward the crown, low angle, for eight seconds; then it eases to a stop and holds. It never orbits, tilts, cranes, drifts sideways or pulls back. The island fills the frame for all ten seconds including the last. TIMING: 0-3s: the whole island centred in the calm sea, the push just beginning. 3-8s: we close on the island; the town's terraces and lantern strings pass below the centre of frame as the crown and the ring rise into the upper third. 8-10s: the push eases to a stop and HOLDS: the bare crown and the ring fill the upper two-thirds of the frame, the top rows of the town still visible along the bottom edge. MOTION LAYERS: the sea swells gently around the shore; the lantern strings hang still; the ring is still and does not light up; the sky is still. <sfx>sea against a rocky shore, a low wind that rises slowly as we get close</sfx> No birds. No music, no voice. MUST NOT: no boats, birds, clouds, people or smoke; the island does not change shape or grow a second ring; the ring does not glow, spin or open; no text.

task 2101339727663345664 · 350 credits

APPROVE - roll it exactly like thi

SC01 S1 - OPEN SEA

Result: PASS WITH A HEAD TRIM - opens on a tilted horizon for ~1.5s then levels and holds to 15.0s; the cut uses 2.0s onward. Lesson: say 'the horizon is level from the first frame'.

UNDER: George - "There is a world that is mostly ocean..." and "Nothing has come over that water in a thousand years. Nothing has come out of that sky either." @Sea is the picture,...

the exact prompt you approved

UNDER: George - "There is a world that is mostly ocean..." and "Nothing has come over that water in a thousand years. Nothing has come out of that sky either." @Sea is the picture, exactly as it is. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: the opening of the film. Open ocean at first light, and nothing on it - no land, no boat, no bird, no sun. The emptiness is the point: this is a world that is mostly water, and nothing has crossed it in a thousand years. CAMERA: low over the water, almost locked - a barely perceptible forward drift for the whole fifteen seconds, as if we are travelling slowly toward something not yet in sight. The horizon stays level and exactly where it is. It never tilts up and never pulls back. TIMING: 0-5s: long slow swells roll toward us; pale glints slide across the water. 5-10s: the same, the water a little brighter as the light lifts; the sky holds its cream-to-rose gradient. 10-15s: the swells keep rolling; nothing has appeared; hold. MOTION LAYERS: the foreground swells lift and fall slowly; glints drift on the mid-water; the far water is almost still; the sky is still. <sfx>open sea - slow swells, a low steady wind, nothing else</sfx> No birds. No music, no voice. MUST NOT: nothing appears on the water or in the sky at any moment; no big wave, whitecap, foam or spray; the horizon never tilts; no text.

task 2101343539060944896 · 525 credits

APPROVE - roll it exactly like thi

SC01 S6 - HOLLY CROSSES THE YARD - v5 after the first roll recomposed it

Result: PASS - she crosses right to left in profile, face to camera, board flat at her hip, crate in the other hand, footsteps on the track; frame 0 at 16.2 dB from the frame. She stops at ~3.3s because the TIMING block ended with 'hold' - the cut uses 0.2-3.2s. (The v4 roll before it, task 2101345230401449984, 175 credits, was REJECTED: she walked away from camera.)

UNDER: George - "That's Holly Jo. Nineteen, and she carries this island. Every loaf, every crate, every box up every stair..." THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the...

the exact prompt you approved

UNDER: George - "That's Holly Jo. Nineteen, and she carries this island. Every loaf, every crate, every box up every stair..." THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the camera stands in the yard looking SIDE-ON at the wash line, the farmhouse porch at the LEFT edge of frame, the blossom trees at the RIGHT edge, the line of hung clothes across the middle. @Holly walks ACROSS this frame from right to left IN PROFILE, her face toward the camera side the whole way - we never see her back. @Board is her hoverboard. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: this is Holly Jo. She crosses her mother's yard right to left in front of the wash line, early, already working: the board flat at her hip in her right hand (nearest us), a crate of fruit in her left, the brisk, unbothered walk of someone who runs a mountain every day. She does not stop, does not turn toward the house, does not look at us. CAMERA: locked off for all five seconds at the side of the yard; no pan to follow her, no zoom, no push, no pull back, never behind her. She stays fully in frame, in profile, throughout. TIMING: 0-1s: mid-yard, already walking, in front of the wash line. 1-4s: she crosses at a brisk pace, board and crate level, hair moving with her stride, the hung clothes stirring as she passes. 4-5s: she reaches the porch steps at the left, still in frame, still walking; hold. MOTION LAYERS: Holly walking; the clothes stirring; a few petals drifting; house and posts still. <sfx>footsteps on packed earth, the creak of a wooden crate, washing flapping once in a light breeze, birds far off</sfx> No music, no voice. MUST NOT: her back is never turned to the camera and she never walks away from us toward the house; she does not ride, drop or mount the board; the board keeps its shape and colour and grows no wheels; nobody else appears; no camera move; no text.

task 2101463088414470144 · 175 credits

APPROVE - roll it exactly like thi

SC02 R3 - MOMMA ALONE - the voice test, rolls FIRST

Result: PASS, and it settles the question the scene was waiting on. The line is verbatim in her mouth ('Mm, ducked under my arm every time'), and it is OUR cast voice: median pitch 163.3 Hz against our own take's 163.3 Hz, and not a paste of our file (waveform correlation 0.24), so SkyReels generated the performance on her timbre from the uploaded sample. Frame 0 at 17.3 dB against the frame, the best composition hold of any character shot so far; camera locked; full frame; her face holds to her sheet; the mouth articulates on the line and is closed after.

UNDER: MOMMA JO - "Mm. Ducked under my arm. Every time." She says it herself in this shot; George is silent here. THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the camera stands in...

the exact prompt you approved

UNDER: MOMMA JO - "Mm. Ducked under my arm. Every time." She says it herself in this shot; George is silent here. THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the camera stands in the yard square-on to the wash line, a medium shot; @Momma alone at the centre between the two posts, facing the camera, the cloth in both hands, her face toward us for all five seconds and never her back; @Washline is her line, its hung clothes at FRAME LEFT; the farmhouse porch at the FRAME RIGHT edge; the orchard behind. Full-frame 16:9 edge to edge, no black bars, no letterbox. She is the only person in the shot. SHOT: Momma Jo alone at the line a moment after the girl has gone, pleased with herself, going on with the washing. @Momma says quietly, to herself, <dialogue>Mm. Ducked under my arm. Every time.</dialogue><voice_ref>Mm. Ducked under my arm. Every time.</voice_ref> CAMERA: locked off for all five seconds including the last - no pan, no zoom, no push, no pull back; the posts, the line, the house and the trees stay put and the same size. TIMING: 0-0.7s: the pose in @Frame, looking down at the cloth, hands moving a little on it. 0.7-3.4s: the line - unhurried, small clear mouth shapes, the smile held where it is; one small glance up and to FRAME LEFT, her face staying to the camera, then back down to the cloth. 3.4-5s: her mouth closed and still, the half-smile widening a touch; she folds the cloth once, slowly, below her chin, and keeps hold of it; she stays where she is. MOTION LAYERS: her hands and face; the hung clothes stirring faintly; a petal or two drifting; everything else still. <sfx>a light breeze in blossom trees, cloth being handled, birds far off</sfx> No music, no jingle. No other voice. MUST NOT: nobody else appears and nobody walks through; she does not turn away or step out of frame; the clothes on the line keep their count and colours; no text.

task 2102073754414362624 · 175 credits

APPROVE - roll it exactly like thi

SC02 R2 - COIN TO POCKET - silent

Result: PASS after a ~75-minute stall on 'Generating...'. Full frame, no bars. The coin is pushed in and out of sight by ~1.5s, the fingers open and the hand comes to rest on the jacket, and from 2.5s nothing moves. No face, no second coin, no glow. Native audio is near-silent (-57.9 dB, scribe hears only '[clicking]'). One accepted deviation: the framing is tighter than the plate (frame 0 at 11.4 dB), a macro rather than the plate's wider close-up - it obeys the prompt's own framing law and reads as an insert.

UNDER: HOLLY JO, off camera - "Love you, Momma Jo!" (the mix carries it; the shot is the coin and the pocket) THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: an extreme close-up on...

the exact prompt you approved

UNDER: HOLLY JO, off camera - "Love you, Momma Jo!" (the mix carries it; the shot is the coin and the pocket) THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: an extreme close-up on @Holly's jacket front, square to camera; the top edge of frame cuts her at the chest and the bottom edge at her trouser button, so her head and shoulders stay outside the frame for all five seconds; her hand comes in from FRAME LEFT holding @Coin at the open pocket on the FRAME-LEFT panel; the orchard a soft blur behind. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: @Coin goes into her pocket by feel, the way it does every morning. One small action, then stillness. CAMERA: locked off for all five seconds including the last - the torso stays the same size in the same place; no push, no pull back, no reframing, no widening to show the whole figure. TIMING: 0-1.5s: the fingertips push @Coin down into the pocket until the coin is out of sight; only the fingertips reach the pocket lip, the hand stays outside. 1.5-2.5s: the fingers open and the hand draws back to the left the way it came in and comes to rest flat against the jacket, still in frame. 2.5-5s: the hand rests there and the pocket edge lies flat; she stays square to camera; NOTHING moves - not the torso, not the jacket, not the background. MOTION LAYERS: the hand and the coin only; the jacket settling once as the hand comes to rest; the background still. <sfx>a light breeze in blossom trees, a jacket settling once</sfx> No music, no jingle, no voice. MUST NOT: a second coin; the coin lighting up or a cyan ring around it; the coin reappearing or going anywhere but that pocket; the hand changing to the other hand, or extra fingers; the torso turning, swaying or walking after the hand comes to rest; a face entering frame; no text.

task 2101833047883788288 · 175 credits

APPROVE - roll it exactly like thi

SC02 R1 - THE DUCK - rolls LAST, after the voice test

Result: PASS WITH A TAIL TRIM - use 0.0-2.6s. Only Momma Jo's mouth moves; Holly holds her grin through the whole line, which was the two-face risk. The voice is ours again (median F0 155.3 Hz against our take's 155.3). She stays in frame at the rail post, full frame, no bars, and the board, satchel and coin all hold. The one defect is that she says the line twice, at 0.30-2.30s and again at 2.98-4.92s; the beat the cut needs is ~1.8s, so a 2.6s trim removes the repeat. Cause: the TIMING block never told her mouth to stop after the line, where R3's did.

UNDER: MOMMA JO - "Deflect, baby. Don't dodge." Holly is silent in this shot; her line is the next shot, off camera. THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the camera on the...

the exact prompt you approved

UNDER: MOMMA JO - "Deflect, baby. Don't dodge." Holly is silent in this shot; her line is the next shot, off camera. THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: the camera on the porch looking along it, @Momma at the LEFT edge in the doorway with her arm out straight to the right like a bar, @Holly at the RIGHT just past that arm, bent low at the rail post. She rises where she stands and is still at that post at five seconds; nobody goes right of it. Only @Momma's mouth moves; @Holly's lips stay still in her grin for all five seconds. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHOT: Holly has just ducked under her mother's arm, the coin already in her hand; she straightens up past the arm and is still there, in frame, when the shot ends. @Momma says, calm and level, <dialogue>Deflect, baby. Don't dodge.</dialogue><voice_ref>Deflect, baby. Don't dodge.</voice_ref> CAMERA: locked off for all five seconds including the last - no pan to follow Holly, no zoom, no push, no pull back, no widening; the porch stays put. TIMING: 0-0.5s: the pose in @Frame, Momma Jo's eyes on Holly and her head where it is. 0.5-2.6s: Momma Jo's mouth moves on the line, small calm shapes, the arm stays out; Holly comes up out of the duck grinning back at her, her feet where they are. 2.6-5s: Holly comes up to full height at the rail post and settles there, board and coin in the same hands as in @Frame, her raised hand well inside the right edge; Momma Jo's arm lowers slowly; both stay put. MOTION LAYERS: Momma Jo's mouth and arm; Holly rising, her hair with the movement; the orchard still. <sfx>a light breeze in blossom trees, birds far off</sfx> No music, no jingle. No second voice. MUST NOT: Holly leaving the frame or the camera following her; the coin changing hands or a second coin; the board changing shape or growing wheels; anyone else appearing; no text.

task 2102157264336596992 · 175 credits

APPROVE - roll it exactly like thi

SC02R B1 - THE RAIL - "Sit down a minute"

Result: PASS, and it settles the biggest open question in the film: a two-character conversation with alternating dialogue, each line in its own cast voice from its own uploaded sample. All four lines verbatim, in order, each spoken once. The voices separate with no overlap - Momma at 149.5 and 155.4 Hz against her reference 163.3, Holly at 228.6 and 193.9 against hers at 228.6. The right mouth moves on every line and the other stays closed. Picture is the cleanest measured: frame 0 at 16.8 dB, per-frame change 0.26, full frame, both faces holding off the rebuilt plate.

Result: not rolled yet.

UNDER: character line, HOLLY JO, on camera: "Momma Jo! It went out again - come look!" (53.50-56.44 in the mix). This take's own performance replaces the mix's line. The...

the exact prompt you approved

UNDER: character line, HOLLY JO, on camera: "Momma Jo! It went out again - come look!" (53.50-56.44 in the mix). This take's own performance replaces the mix's line. The floorboard_creak at 53.22, the Ring's note, the farm bed and MN01 from 55.8 stay under it from the mix. THE SCREEN DOOR IS SHUT AND STAYS SHUT for all seven seconds: @Holly is INSIDE the house, behind its mesh, the whole time, and the mesh lies over her from head to foot. The door is @Door - hinges on the LEFT, handle on the RIGHT. THE COMPOSITION IS @Frame AND IT DOES NOT CHANGE: square-on from the porch, the doorway at the centre with its lintel just under the TOP edge, the stone wall from the corner post to the RIGHT edge, the orchard and pale sky beyond the post along the LEFT edge, the porch boards along the BOTTOM edge. Same distance, same brightness at seven seconds as at zero. Full-frame 16:9 edge to edge, no black bars, no letterbox. SHE IS @Holly: her face, hair and clothes are @Holly's, and where @Frame draws them differently, @Holly is right. SHOT: the call from the doorway - one line, then quiet. @Holly, bright, <dialogue>Momma Jo! It went out again - come look!</dialogue><voice_ref>Ossie doubled his order.</voice_ref> CAMERA: locked off for all seven seconds including the last - no pan, zoom, push or pull back. The doorway frames her, so the frame holds. TIMING: 0-0.5s: she springs up from the sill to standing behind the mesh. 0.5-3.5s: head turned to FRAME RIGHT, her left hand cupped beside her mouth, @Holly speaks the line once toward the yard. 3.5-7s: her mouth closed and still; her hand comes down; her eyes stay on the yard at frame right. MOTION LAYERS: her spring up and the turn of her head; the speaking mouth and the cupped hand; her hair; the mesh, the door, the wall and the porch still. <sfx>a floorboard creaking as she stands, a quiet farm morning, birds far off</sfx> No music, no second voice. MUST NOT: anyone else in frame; the frame tightening; no text.

LOCKED - 82 ASSETS

These are registered with Higgsfield, which means a prompt can attach the actual picture instead of describing it in words. That is the whole fix: Darren drifted because his sheet could only ever be described. Anything here is safe to put in a shot today.

Changed your mind? Press REVOKE. It takes effect immediately - the asset stops being attachable and any shot that needs it gets blocked until it is re-done.

LOCKED

ANT BEE - the heart

NEVER list added 2026-09-02. The description for this asset lives in another canon source and is unchanged; this block exists only to carry its NEVER list, which it had never had. ---...

the full canon wording

NEVER list added 2026-09-02. The description for this asset lives in another canon source and is unchanged; this block exists only to carry its NEVER list, which it had never had. --- from CHARACTER-DESIGNS.md --- **Accent: honey gold (1.00, 0.75, 0.15)** ### *** IDENTITY CORRECTION: ANT BEE IS AN OLDER WOMAN. *** An older woman with a warm, knowing half-smile and laugh-lines earned honestly. Golden-blonde bob with silver at the temples. Emerald-green knit cardigan flecked with gold, wooden buttons, a small bee brooch. A honeycomb-pattern golden scarf. A beekeeper's mesh hood folded back on her shoulders, ready. Beaded earrings. Golden star-bees drift around her; one sits glowing on her raised fingertip, perfectly calm. **HER NAME IS "ANT BEE" - LOCKED.** Both words, exactly that spelling, always. Do NOT write it as "Auntie B". Do NOT treat the name as a pun or a joke, do NOT have any character explain it, riff on it, or wink at it, and do NOT build her characterization on "she's everybody's aunt". It is simply her name. (Brandt ruled on this 2026-07-26 after an earlier draft leaned on the wordplay. That reading is dead - do not let it creep back in.) **WHAT THE ART FIXED:** the bible wrote Ant Bee as a 41-year-old male "gentle giant". She is an older woman. All pronouns corrected to she/her, and anything that depended on her being a large man was rewritten. Keep the last-hive-on-a- harvested-world backstory, the softness, the humming, and THE SWARM ability. Her warmth comes from who she IS - the last keeper of a living thing on a dead world - not from a family nickname. She is now the crew's other elder alongside Darren: two people of an age who never have to explain anything to each other. Mutual respect, no romance. --- --- from series_graph.py (locked wording) --- Future crew. Game pilot (The Swarm: homing bees). Older beekeeper, honeycomb scarf, live bees.

male, he/him, a large man or "gentle giant" build, young or middle-aged rather than an elder, frail or stooped or leaning on a cane, dark hair, long loose hair past the shoulders, a...

NEVER - what breaks it

male, he/him, a large man or "gentle giant" build, young or middle-aged rather than an elder, frail or stooped or leaning on a cane, dark hair, long loose hair past the shoulders, a braid or a bun instead of the chin-length pale silver-gold bob, reading glasses or spectacles, the mesh veil pulled down over her face instead of folded back on her shoulders, no veil on her shoulders at all, a white full beekeeper's suit with gloves or a domed pith-helmet veil replacing the knit cardigan, a honey-gold or yellow cardigan or black-and-yellow bee stripes on her clothing (only the scarf is gold, the cardigan is emerald green), a zip hoodie or sweatshirt in place of the buttoned knit cardigan, a plain unpatterned scarf or no scarf, a missing bee brooch or bee brooches and patches scattered over the cardigan, a skirt, dress or apron instead of the taupe trousers and brown boots, antennae, wings or a stinger on her, cyan bees or any cyan glow on her or her bees (cyan is Holly Jo's power and the keeper's lamps), wasps, hornets, bumblebees or dragonflies in place of honeybees, a dense swarm cloud swallowing her or bees massed on her face and hands as a beard, an angry or attacking swarm, a hive, skep, smoker, honey jar or comb frame added to the sheet, a pilot flight suit, helmet or in-game neon armour (no pilot look of hers is approved), a Solmara street, night sky or any location behind her instead of the plain pale backdrop, "Auntie B" spelling, the name explained, punned on or winked at

Approved/ant-bee/antbee_1.png
ref 96c4c7c5

a canvas, cloth, waxed cotton, nylon, denim, oilskin, suede or fabric body, flap or strap (only the lining is cloth), black, grey, white, cream, ox-blood, green, blue or any dyed...

NEVER - what breaks it

a canvas, cloth, waxed cotton, nylon, denim, oilskin, suede or fabric body, flap or strap (only the lining is cloth), black, grey, white, cream, ox-blood, green, blue or any dyed leather in place of warm scuffed mid-brown, a pristine factory-new bag with the scuffs, creases and rubbed patches cleaned off, chrome, silver, nickel, steel, iron, blackened or bright-polished hardware in place of aged unpolished brass, more than ONE front closure buckle, a second buckle added to the flap, or a snap, magnet, clasp, turn-lock, drawstring, toggle, zip, velcro, lock or padlock closure, a square, straight-cut, rounded or pointed closure tab in place of the shallow V-notched tab, X-box keepers on the back in any count but TWO, D-rings in any count but ONE PER SIDE, or the riveted anchor tabs redrawn as sewn loops, a backpack, tote, handbag with grab handles, bucket bag, hard case, satchel with a rigid frame, a school satchel with two front buckles, a wide padded messenger sling, a scroll tube or a basket in place of this bag (the brass-capped message tubes are `message-cases` and the basket is CH5's, both separate props), a doubled, chained, braided, webbed, padded or shoulder-padded strap, or the bag worn on both shoulders, on the front as a chest rig, or carried in the hand instead of cross-body, studs, conchos, tassels, fringe, embroidery, tooling, a crest, badge, patch, monogram, maker's stamp, numerals or any readable letterform anywhere on it, extra pockets, flap pockets, side pockets, bottle pockets, slots or a row of D-rings added to the body, the lining redrawn in leather or in any colour but pale oat cloth, the open view packed with visible cargo (the compartment is EMPTY on the sheet and what goes in it comes from its own sheet), the game's neon cyan or magenta rim-light, any glow, cyan (cyan is the Ring, the crown stair and Holly Jo's shield) or red (red is the Swarm's) anywhere on it, a photoreal, 3D-render, CGI, model or diorama finish, this sheet's bone-grey backdrop, its neutral studio key or its detached floating ellipse shadow used as a light, palette, backdrop or staging reference for any shot, a third palette state that is neither emerald night nor cream day, a drawn panel border or frame, and Holly Jo, a hand, an arm, a shoulder, a hoverboard, bread parcels, message tubes, a counter, a ground plane or any Solmara scenery drawn onto the sheet itself

Approved/courier-satchel/satchel_1.png
ref 3e4fb525

LOCKED

CRIMSON RAPTOR - the game's own render of the red Sentinel fighter

SHEET: Approved/crimson-raptor/rendercrimson.png (registry slug crimson-raptor) APPROVED as GAME RENDER - CANON - the standing status for all five Sentinel ships in the ships block of...

the full canon wording

SHEET: `Approved/crimson-raptor/render_crimson.png` (registry slug `crimson-raptor`) APPROVED as `GAME RENDER - CANON` - the standing status for all five Sentinel ships in the ships block of `verdict_ledger.csv` and in `Tools/series_graph.py`, carried under the Manta ruling of 2026-08-25, which locks the Violet Manta to "the GAME's own render". The ledger row carries no dated verdict and no comments, and the registry note is empty. THIS PICTURE IS A RENDER OUT OF THE DEFLEKT GAME, not series art: it is the same file as `GameRefs/Ships/render_crimson.png`, copied into the Approved folder, and it is the ONLY image in that folder. THE SERIES DRAWS THIS HULL IN THE PAINTED 2D LOOK - the render is the authority on shape, count and colour, never on finish. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it at native 1024x1024 and at magnified crops of the nose, the canopy, both wings, the forward gun mount and the engine cluster - not from memory. WHAT IT IS. ONE SHIP ALONE ON A PLAIN BACKDROP, no ground, no horizon, no second object. A long, low, hard-angled fighter seen in a HIGH THREE-QUARTER REAR view: the nose points up and to the LEFT of frame, the tail and the engines come down to the RIGHT and toward the camera, and the ship is rolled so the camera looks down onto its TOP surface. THE HULL IS DEEP WINE RED - a dark oxblood lacquer, not a bright red - broken into many flat faceted plates by fine dark panel lines and stepped panel edges. Every crest and leading edge carries a lighter pink-red gloss highlight, every recess and undercut falls to near-black, and the paint is lightly worn: faint scuffs, thin scratches and rubbed edges on the raised plates. All hardware is a NEUTRAL GREY with no colour in it - barrels, grilles, vent slots and the flat blocks on the tail pods - and it is not a black material: it reads near-black where it is shadowed (the near pod's blocks average about (49, 47, 53)) and a clear mid-grey where the key catches it (the far pod's, about (122, 119, 125)). THE NOSE is a slender chisel-tipped wedge, blunt at the very tip, not a needle and not a cone; TWO thin dark rods project forward past it, roughly parallel, one off the top of the nose and one lower on the near side. THE CANOPY sits well forward on the spine and is set FLUSH INTO the hull: a low faceted glasshouse of dark olive-grey glass in THREE panes - one flat pane lying along the top of the spine, and below it on the near side two more, a small forward pane and a larger aft pane, divided by a thick body-coloured pillar. It is opaque - no interior, no seat, no instruments, nobody in it. There is no dome, no bubble, no raised hood. Aft of it the spine carries small recessed dark grille panels and slot vents. FORWARD GUN MOUNTS: a boxy body-coloured housing on each side of the forward fuselage, each carrying a tight cluster of thin dark barrels raked forward and slightly outward - on the near mount one barrel sits raised above the bundle; the far mount is mostly hidden behind the hull and only its muzzle tips clear the fuselage line. THE WINGS: TWO, one to each side, each a broad flat swept blade that SPLITS INTO TWO LONG TAPERING POINTS with a deep concave crescent bite between them - a forward-raked outer point and a shorter aft point. A dark slot runs between the wing's forward blade and the wing body. At the near wing's trailing root, on the underside, is a fine-slatted dark grille. THE TAIL: two long slim outboard pods, one each side, running aft along the wing roots; each pod's upper face carries the SAME recessed bay of THREE flat grey-black rectangular blocks - a small one forward, a large one in the middle, a smaller one aft - and both pods read alike, the near pod's in shadow and the far pod's lit. THE ENGINES: FOUR nozzles at the stern, in TWO PAIRS, one pair to each side of the tail. Each is a short cylindrical can in the same wine red, banded with a dark ring near the lip, and each mouth is a deep dark cup with a BRIGHT RED-WHITE GLOWING CORE inside it - the only bright saturated red in the picture. NOTHING ON THE HULL IS CYAN, and there is no lettering, numeral, insignia, squadron marking or decal anywhere on it. LIGHT AND BACKDROP: one soft key from the upper left front, a soft cool grey fill; the background is a flat dark grey-blue studio gradient, darkest in the corners, with no shadow cast and no surface under the ship - it floats. WHAT IT IS FOR. Per `SERIES-CANON.md`, the CRIMSON RAPTOR is one of THE FIVE SENTINEL SHIPS, the First Light's five surviving fighters that the crew recovers across the season. Its exact game entry: crimson, "3-way spread", special REFLECT NOVA (send every bolt back at once), recovered E11, quad engines. `SERIES-CANON.md` also records that the Sentinel ships are semi-alive - they hum, warm to their pilots, and choose them (Mystery M6) - and that ANY PILOT CAN FLY ANY SHIP, the game's mix-and-match, with crew members swapping ships in emergencies. `CHARACTER-CANON.md`, "THE FLIGHT CREW'S SHIPS - WHO FLIES WHAT" (Brandt ruled 2026-08-29): "CYAN RAZOR and CRIMSON RAPTOR are registered with no pilot assigned. Do not invent one." `ASSET-MAP.md` lists it under SHIPS with code colour (1.00, 0.18, 0.22) and the series note "Future", under the section rule "GAME = LAW; art from game renders/captures, never invented". The game code agrees: `Source/Deflekt/DFKGameState.cpp` names it third in the ship list and gives it `FLinearColor(1.00f, 0.18f, 0.22f)`. Nothing in the docs assigns it a home, a hangar or a scene beyond the E11 vault beat quoted under RECORDED CONFLICT below. PROMPTING. ATTACH THIS SHEET TO EVERY SHOT THAT CONTAINS THIS SHIP and copy the counts out of the NEVER line verbatim - four engine nozzles, two wings, two points per wing, two nose rods - because per LOOK-LOCK a number that is not written into the prompt is a number the model will choose for itself. THE SHIP IS ALONE ON THIS SHEET: no pilot, no crew, no figure of any kind, no cockpit interior, no hoverboard, no shield, no town, no Ring, no sea, no sky, no enemy craft, no bolts, no HUD. Everything else in a shot is composed in from its own approved sheet. LAW ZERO-F APPLIES AND IT BITES HERE: this asset has exactly ONE VIEW, so by F1 it is NAMED, NOT LOCKED, and by F2 no shot may be generated from a camera this sheet does not cover. The one camera it covers is the high three-quarter rear. Any other angle - side, front, plan, low, cockpit-side - is CAPTURED FIRST from the real game mesh (`dfk.PreviewShip 2` parks this ship, `dfk.ShipYaw <deg>` turns it, `Tools/capture_ships.ps1` and `dfk.ForceShipSelect 1` put it big and clean on the ship-select screen) and added to the sheet; it is never extrapolated by a generator. State heading and orientation explicitly in every shot per LAW ZERO-E5. A second in-game capture of this ship exists at `GameRefs/Ships/select_crimson-raptor.png`; it is NOT on the registry, is NOT approved, was NOT transcribed here, and is not the sheet. RECORDED DEFECTS. THE SHEET'S FINISH IS NOT THE FILM'S FINISH: this is a photoreal 3D render - glossy specular lacquer, physically-lit metal, a soft studio gradient backdrop with vignetted corners and no ground - and `film/LOOK-LOCK.md` requires "painted 2D animation background art, bold clean ink linework, flat cel shading" and forbids, verbatim, "Not photoreal, not a 3D render, not CGI, not a diorama, not a scale model, no plinth, no table, no studio backdrop". So the render is a GEOMETRY AND COLOUR reference only; its backdrop, its gloss and its studio light belong to the sheet and never travel into a shot. ONE VIEW ONLY, which is the LAW ZERO-F1 condition, recorded here so nobody mistakes "canon" for "locked". THE FORWARD GUN BARRELS DO NOT RESOLVE at 1024 px: the near mount reads as one raised barrel above a bundle of two or three - about four in all - and the far mount is occluded to two visible tips, so NO BARREL COUNT MAY BE WRITTEN INTO A PROMPT FROM THIS PICTURE; capture the count off the mesh first. NO SCALE REFERENCE: there is no figure, ground or object beside the hull, so the Manta's canopy-anchor scale test cannot be applied to this ship from this sheet, and no size statement should be written from it. RECORDED CONFLICT - THE COLOUR. The registry wording, `ASSET-MAP.md` and `DFKGameState.cpp` all give this ship as crimson (1.00, 0.18, 0.22), which is a bright saturated scarlet. THE SHEET'S HULL PAINT IS NOT THAT COLOUR: it is a dark wine/oxblood red, sampled at roughly (118, 64, 66) on the lit crests and (79, 22, 26) in the shadowed flanks, with the whole hull's median near (78, 26, 31), and the bright saturated red appears only inside the four engine mouths. Both are recorded; this block does not resolve which one a painted shot should use. RECORDED CONFLICT - THE PILOT. `SERIES-CANON.md` E11 "SYSTEM CRASH" reads: "Ki dives the vault where the CRIMSON RAPTOR sleeps; it answers Ki's touch. 'KI JOINS THE CREW!'" `CHARACTER-CANON.md`, THE FLIGHT CREW'S SHIPS (Brandt ruled 2026-08-29), reads: "CYAN RAZOR and CRIMSON RAPTOR are registered with no pilot assigned. Do not invent one." Both are recorded; this block does not resolve whether the E11 beat assigns Ki to this ship. RECORDED CONFLICT - RED ON A FRIENDLY HULL. `film/LOOK-LOCK.md` states "CYAN belongs to us and appears ONLY as: the Ring's glyph, the crown stair, Holly Jo's shield, and friendly drive-glow. RED belongs to the enemy and appears nowhere else." This is a friendly Sentinel ship whose hull is red and whose four drive glows are red, in the game and on this sheet. Both are recorded; this block does not resolve the exception. VERIFIED 2026-09-06 by a second agent against the sheet: 69 claims checked, 7 corrected. --- from series_graph.py (locked wording) --- Game ship, crimson (1.00, 0.18, 0.22).

orange-red, pink, magenta, violet, brown or any non-red hull (wine red versus the code's bright scarlet is left OPEN above, so neither may be forbidden here), a matte, bare-metal,...

NEVER - what breaks it

orange-red, pink, magenta, violet, brown or any non-red hull (wine red versus the code's bright scarlet is left OPEN above, so neither may be forbidden here), a matte, bare-metal, chrome, rusted or unpainted hull, any count of engine nozzles but FOUR, a single big engine, twin engines or six engines, engines in one row instead of TWO PAIRS, any count of wings but TWO, a plain single-pointed wing instead of a TWO-POINTED FORK, any count of nose rods but TWO, a raised bubble canopy, a dome, a glass hood or a canopy with a visible pilot, seat, instruments or lit interior, a nose cone, a snout, a dorsal fin or a whip tail, a manta-ray silhouette or any part of the VIOLET MANTA's hull, bolted wooden patches or any PATCHED MANTA repair, cyan glow, cyan rim light, cyan inset strips or any cyan anywhere on this hull, the game's neon rim light, HUD, reticles, health bars or arena grid, letters, numerals, squadron numbers, insignia, decals, labels or watermarks, a photoreal, 3D, CGI, plastic-model or diorama finish in a film shot, a plinth, table, studio backdrop, vignette or drawn panel border in a film shot, any pilot, crew, hand or figure of any kind on this sheet, any invented pilot assignment, any camera angle this sheet does not cover.

Approved/crimson-raptor/render_crimson.png
ref eca5ec8a

LOCKED

CYAN RAZOR - the cyan Sentinel fighter, the game's own render

SHEET: Approved/cyan-razor/rendercyan.png (registry slug cyan-razor) APPROVED with status "GAME RENDER - CANON" - the ships category, where the GAME IS LAW and the art comes from game...

the full canon wording

SHEET: `Approved/cyan-razor/render_cyan.png` (registry slug `cyan-razor`) APPROVED with status "GAME RENDER - CANON" - the ships category, where the GAME IS LAW and the art comes from game renders and captures, never from invention. Its ledger row is `cyan-razor,CYAN RAZOR,ships,GAME RENDER - CANON,,,,` : no verdict, no comment, no decided_on date and no actioned_by_claude mark - the ledger's four trailing columns, and this file carries no wave column at all, so the status is the registry's own, inherited from the ship existing in the shipped game, not a dated approval written by Brandt on a review page. The registered file is byte-identical to `GameRefs/Ships/render_cyan.png`, which is where it came from. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, at full size and at native crops of the engines, the prow, both wings, the dorsal deck and the plate under the hull - not from memory. WHAT IT IS. One spacecraft alone on a plain square plate: no ground, no horizon, no stars, no architecture, no figure, no text. It is seen FROM ABOVE and from its left front quarter, so the whole top surface faces camera - the two engines and their exhaust sit at the UPPER RIGHT of the frame, the long pointed prow runs down to the LOWER LEFT, and a soft dark elliptical shadow lies on the plate directly beneath the hull. THE HULL IS A BROAD FLAT ARROWHEAD BUILT ENTIRELY OF HARD FLAT FACETS - triangles and trapezoids meeting at sharp creases and bevelled edges, with no curved or organic surface anywhere on it (the two engine cylinders, below, are the only round forms on the ship). Its material is two things and only two. First, POLISHED MIRROR CHROME, silver-white, which takes hard white highlights along every upward-facing crease and reflects the dark plate as near-black in its downward facets. Second, INSET PALE TEAL PANELS - flat and satin, running from an almost white ice-blue on the lit faces to a saturated turquoise in shadow - laid into the chrome as long rectangles, chevrons and slender triangles, every one of them framed by a thin raised chrome lip. The chrome is the ground and the teal is the inlay: this is a silver ship with teal panels, not a cyan-painted ship. THE PROW is a long tapering blade of hull, about a third of the whole length, narrowing to one sharp point at the lower left; its top face carries a long teal stripe between two chrome ribs, and the narrow face below that top face is NOT teal - it is near-black mirror chrome taking the dark plate, sampling #141e1f and #060b0e. THE WINGS ARE TWO, both swept back, and the viewing angle draws them very differently: the FAR wing, at upper left, is a thin flat blade seen nearly edge-on, with a very fine leading edge, a black slot separating it from the hull along its root, and a small teal chip at the tip; the NEAR wing, at right, is broad and faces camera, panelled in three long teal rectangles between chrome ribs, and it KINKS DOWNWARD at a knuckle about two thirds of the way out so that its tip hangs below the line of the hull. THE DORSAL DECK between the wings carries a large elongated hexagonal pale-teal panel set flush in the chrome, further chevrons and triangles of teal around it, and TWO DARK OPENINGS, near-black, set flush in the deck - the count is two, not one: a small rectangle forward of the engines (about x442-472, y369-376 on the 1024px plate) and, outboard and aft of it, a larger chrome-lipped tapered slot forward of the near engine (about x626-676, y438-461). There is NO bubble canopy, NO dome, NO glass blister, no visible cockpit and no pilot. THE ENGINES ARE TWO, and the count is the picture's, not the docs': two short cylinders mounted on top of the rear deck, side by side, each a fluted chrome barrel with vertical ribs, and around the forward end of each cylinder a RING OF SMALL BEADS glowing cyan-white. From the back of each cylinder one plume streams up and to the right - a cone that is blown out to white-cyan at the mouth and cools outward into a soft turquoise haze with no hard edge and no visible flame shape. Two engines, two plumes, and that glow is the only light the ship emits. PALETTE AND LIGHT: silver-white, pale teal and turquoise on a near-black desaturated blue-green field (a vertical gradient, about #1f292b along the top edge cooling to about #161b1e along the bottom, and even from side to side - not an even field, and the corners are not darker than the middle). A single cool white key comes from above and slightly left; there is nothing warm anywhere in the frame, no rim light of any other colour, and no lens flare. WHAT IT IS FOR. The docs give it three jobs and nothing more. FIRST, it is one of THE FIVE SENTINEL SHIPS - the First Light's five surviving fighters, recovered across the season, with the game's exact names, colours and specials: CYAN RAZOR (cyan) is "fast, straight", its special is SLIPSTREAM (bullet-time), and it is RECOVERED IN E6. SECOND, E6 "GONE FISHING" is where it enters the story: Ring 11, the Deepwater Shrine, a drowned world, where KITTY - after hooking the crew's supply pod mid-flight and being saved from the Hunt Guild - pays them back by diving the flooded shrine for the CYAN RAZOR, steals the ship, gets to the horizon and comes back, on the episode captioned "KITTY JOINS THE CREW!". THIRD, it carries the general ship law: the Sentinel ships are semi-alive, they hum, they warm to their pilots and they choose them (Mystery M6, are the Sentinel ships alive?), and ANY pilot can fly ANY ship, the game's mix-and-match, so crew members swapping ships in an emergency is a recurring delight. Its registry wording is "Game ship, cyan (0.15, 0.90, 1.00). Crew assignment as the story grows", and Brandt's flight-crew ruling of 2026-08-29 is explicit that CYAN RAZOR and CRIMSON RAPTOR are registered WITH NO PILOT ASSIGNED and that one must not be invented. Nothing else about this ship is written down: it has no interior, no named guns, no history before E6 and no hull damage state. PROMPTING. THIS PICTURE IS A GAME RENDER, and it must be used the way the Manta's render is used - it is the authority on the HULL (silhouette, facet layout, where the teal sits, the two engines, the downward-kinked near wingtip) and it is NOT the authority on the LOOK. The series draws this ship in the PAINTED 2D ANIMATION look - bold clean ink linework, flat cel shading, painted background art - so every prompt that attaches this sheet must say painted 2D animation and must say NOT photoreal, not a 3D render, not CGI, not a diorama, not a scale model, no plinth, no studio backdrop. STATE THE HEADING IN WORDS. The sheet shows one three-quarter angle from above and to the ship's left; the way the ship happens to face on this plate must never be allowed to decide which way it flies in a shot, and there is no side, front, rear, underside or cockpit view to fall back on. ASSET ISOLATION: nothing else is on this sheet and nothing else may be read off it. No pilot, no crew, no cockpit interior, no Solmara, no sea, no Ring, no Deepwater Shrine, no HUD, no score, no reticle, no second ship, no shield, no weapon fire, no coins. Holly Jo comes from her own master, the ship's cyan deflect shield from the ship-shield sheet (`shield_ship_v3`), the VIOLET MANTA from `Approved\violet-manta\render_violet.png`, and the enemy Interceptor from its own game captures - each composed in from its own block. THE OTHER GAME FILE FOR THIS SHIP IS NOT A SHEET: `GameRefs\Ships\select_cyan-razor.png` is a top-down GAMEPLAY SCREENSHOT with the whole HUD burned into it - DEFLEKT, SCORE, LIVES, LEVEL, TIME, BEST, "BOSS IN 37", "PERFECT!", the DEFLEKT BEAM / SPECIAL: TORNADO / BOOST bars and the control legend - and the ship in it is a few dozen pixels seen in plan view. It must never be attached to a shot, and no hull detail may be taken from it. SCALE: this render carries no scale reference at all - no figure, no ground, no prop - so it cannot answer how big the ship is. The Manta's canopy-anchor rule belongs to the Manta's block; any size statement for the Razor has to be written from the story, not measured off this plate. RECORDED DEFECTS. (1) THE FINISH IS THE DEFECT. This is a photoreal 3D studio render - mirror reflections, ray-traced specular highlights, a soft contact shadow under the hull and an evenly lit seamless dark backdrop - which is precisely the finish LOOK-LOCK forbids in every shot of the picture. The sheet can therefore never be used as, or animated into, a frame; it is hull reference only. (2) THE PAINTED SHIP SHEET DOES NOT EXIST. ASSET-MAP's per-ship deliverable - a painted-dawn SHIP SHEET at 3/4, side, front and cockpit, generated FROM the game capture as primary reference - is still unticked for all five ships, so this single-angle render is the only master this ship has, and three of the four views that sheet was to carry - side, front and cockpit - are simply not drawn anywhere. (3) NO COCKPIT IS ANSWERED. The render shows no canopy, no glass and no seat; the only openings on the hull are the two dark deck recesses described above. Where a pilot sits in this ship is not settled by any approved picture. (4) THE STATUS IS UNDATED. The ledger row has an empty verdict, an empty comment and an empty decided_on, so nothing records Brandt looking at this specific file and saying yes. The Manta's render is in exactly the same position - `violet-manta,VIOLET MANTA,ships,GAME RENDER - CANON,,,,` is the identical undated row - and what Brandt ruled on 2026-08-25 were the Manta's PAINTED variants (`manta_hum`, `manta_dead`, `manta_second_seat`), never `render_violet.png` itself. RECORDED CONFLICT (docs vs picture, colour). The docs call this ship cyan and give one number - ASSET-MAP "CYAN RAZOR | (0.15, 0.90, 1.00)", the graph entry "Game ship, cyan (0.15, 0.90, 1.00)", SERIES-CANON "CYAN RAZOR (cyan)" - which is a bright blue-cyan. The picture shows a MIRROR-CHROME SILVER-WHITE hull with pale teal inlays, no cyan paint on the hull at all, and the only saturated colour is the engine ring and plume, whose body samples green-leaning turquoise (about hue 178, for example #298078 and #3ea9a1) with a white-cyan blown-out core, rather than the stated blue-cyan. Both are recorded here; this block does not resolve which one a shot should follow. RECORDED CONFLICT (doc vs doc, pilot). CHARACTER-CANON's flight-crew ruling of 2026-08-29 states that CYAN RAZOR and CRIMSON RAPTOR "are registered with no pilot assigned. Do not invent one", and the registry wording says "Crew assignment as the story grows". SERIES-CANON's E6 outline has KITTY dive the Deepwater Shrine for this ship, steal it, fly it to the horizon and bring it back on the episode she joins the crew. Both are recorded here; this block does not decide whether that makes her its pilot. VERIFIED 2026-09-06 by a second agent against the sheet: 156 claims checked, 8 corrected. --- from series_graph.py (locked wording) --- Game ship, cyan (0.15, 0.90, 1.00). Crew assignment as the story grows.

any engine count but TWO, any plume count but TWO, one long central thruster, a quad-engine cluster (that is the Raptor) or a single big engine (that is the Wasp), orange, red, yellow,...

NEVER - what breaks it

any engine count but TWO, any plume count but TWO, one long central thruster, a quad-engine cluster (that is the Raptor) or a single big engine (that is the Wasp), orange, red, yellow, white-hot, magenta or violet exhaust, hard-edged afterburner flame cones or ring-shaped shockwaves at the nozzles, a cyan-painted, turquoise-painted, white matte, grey gunmetal, black, gold or violet hull (violet is the Manta), magenta panel-seam webbing tracing the plating (that light belongs to the Interceptor), the teal inlay panels redrawn as glowing neon strips, lit veins or a hull-wide energy glow, a curved organic manta-ray body, a rounded jet fuselage or any soft surface in place of the hard flat faceted arrowhead, a raised bubble canopy, a glass dome, a cockpit blister, a visible pilot or seats, a dorsal fin, vertical stabiliser, rudder or trailing tail, wingtips bent UPWARD or both wings drawn identical instead of the near wing kinking down at its knuckle, a symmetrical two-wing plan flattened to a plain delta with the prow blade dropped, gun barrels, turrets, cannons, missile pods or torpedo racks, landing gear, wheels or struts, registration numbers, lettering, insignia, decals, watermarks or any readable text, the game's HUD - score, lives, level, timer, bars, PERFECT!, reticle or control legend - anywhere in frame, the top-down HUD screenshot `select_cyan-razor.png` used as the reference, a photoreal or 3D-rendered finish, mirror-chrome reflections, a studio backdrop, a plinth, a table or a contact drop shadow in a film frame, a background of any kind baked onto the isolated sheet, the deflect shield drawn as a bubble or dome wrapped around the whole ship instead of coming from its own sheet, any figure, crew member or Holly Jo on this sheet, and a named pilot or owner attached to this ship.

Approved/cyan-razor/render_cyan.png
ref 35e04c10

LOCKEDNO "NEVER" LIST

DANERREN COIN

Approved/danerren-coin/coin_b.png
ref 22e607f9

LOCKED

DARREN - the warrior

BLOND hair, swept back from the temples and tied behind; LONG BLOND BEARD reaching mid-chest. Broad, heavy-built. BLUE-STEEL PLATE ARMOR - segmented chest and shoulder plates with...

the full canon wording

BLOND hair, swept back from the temples and tied behind; LONG BLOND BEARD reaching mid-chest. Broad, heavy-built. BLUE-STEEL PLATE ARMOR - segmented chest and shoulder plates with GLOWING BLUE KNOTWORK patterns etched across chest, pauldrons, bracers and belt. Thick brown FUR mantle over the shoulders and fur at the boot tops and thighs. Wide leather belt with a round steel boss. Brown fur-trimmed boots with steel guards. On his BACK: a round wooden shield, steel-rimmed, with a steel dome boss and a ring of GOLDEN RUNES around the rim. AGE: 41. RULED 2026-09-08 by Brandt ("give him an age that makes sense but it doesn't really need to be said"). This closes a real conflict that had already reached a shot: this block previously implied 29, while the SkyReels shot card called him "54, widowed ex-Bastion guard". Those are different men, and the confession only works one way. 41 is chosen because it is the only reading that carries every fixed piece of him at once: old enough to have served in the Bastion, married, and lost her; old enough to read as a mentor to a nineteen-year-old rather than a peer; and it puts roughly TWENTY YEARS between the day he stepped aside (around twenty-one) and the night he tells Holly about it. That twenty years is the weight in the line - a 29-year-old has not carried it long enough for "the man who stepped aside" to have become who he is, and a 54-year-old reads as her grandfather rather than someone she could become. HIS AGE IS NEVER STATED. No line of dialogue, narration or on-screen text gives a number. It exists to keep the drawing and the performance consistent, nothing else. What the audience sees is a man in his early forties: weathered but still a fighter, the face of someone who has been carrying something a long time and is not old. AND THE SHEET GOVERNS THE DRAWING, NOT THE AGE. The number does not license grey hair, a lined face, or an unarmoured body - the NEVER line above still stands unchanged. It was a paraphrase from memory ("the older man ... grey-blond") that put a white-haired man in a knit sweater into a finished shot while darren_p1.png was attached to the prompt. Copy this block; never describe him from memory. --- from CHARACTER-DESIGNS.md --- **Accent: steel-cyan (0.31, 0.76, 0.85)** Heavyset, powerful older man built like a bulwark. Long blond-brown hair swept back, and a huge braided beard. Warm, crinkled eyes and a surprisingly gentle smile. Fur-collared steel plate armor over dark leathers: pauldrons, bracers, a broad belt with a domed steel boss, knee plates and heavy boots. A round shield slung on his back. Every plate is etched with interlaced knotwork that GLOWS steel-cyan - the same light as his SHIELD WALL. Reads as: a Norse/warden warrior, not a soldier. Ancient, dented, maintained. **WHAT THIS FIXED:** the bible had him as a temple caretaker in a guard's uniform. He is grander than that - a WARDEN of the old order in inherited armor, which now also explains the glowing knotwork as First Light craft (House Danerren metalwork). Keep his age, his grief, his sewing, his wall. Keep him gentle; the armor is the joke - the biggest, most armored person in the show is the softest one in it. --- --- from series_graph.py (locked wording) --- VIKING ship fighter - keeps this exact game look (braided beard, fur-trimmed knotwork armor, round shield = his Shield Wall). Comes through the portal to Solmara, trains Holly for many months, then brings her to his world to fight the enemy. Opening beat: beaten in his world's war, then called to where Holly is - she is the answer. Deeper backstory held offline.

dark hair, clean-shaven, plain tunic, unarmored, helmeted.

You said: DARREN's NEUTRAL master - the turnaround with the shield slung on his back. LONG BLOND BEARD TO MID-CHEST; a short or trimmed beard is the named CH6/CH12 drift. Distinct from 'darren-shield-states', which is the OFF/ON shield sheet and is not his character master.

Approved/darren/darren_p1.png
ref a2fb824e

LOCKEDNO "NEVER" LIST

DARREN SHIELD STATES

You said: Darren's shield OFF (left) and ON (right). Approved 2026-08-29: 'This is perfect.' The ON panel also lights his EYES - that was flagged on the card as something he had never ruled on, and he approved it anyway, so glowing eyes ARE canon in the shield-up state. His neutral master is 'darren'.

Approved/darren/darren_shield_states.png
ref 7782e93c

LOCKED

DARRENS WORLD - Vardeim's war coast, viking starships under red fire

SHEET: Approved/darrens-world/vardeimv2.png (registry slug darrens-world) APPROVED 2026-08-29 in the rework wave and registered as darrens-world, against Brandt's note "Should be...

the full canon wording

SHEET: `Approved/darrens-world/vardeim_v2.png` (registry slug `darrens-world`) APPROVED 2026-08-29 in the rework wave and registered as `darrens-world`, against Brandt's note "Should be viking themed but more futurrisitc where they also fight with lazer peams and space ships"; the graph status is "NAMED + CONCEPTS APPROVED - CANON" and the verdict ledger carries the wave-12 rows `dworld2_b` / `dworld2_c` and the wave-20 rows `vardeim_redsky` / `vardeim_ring` as APPROVE, decided 2026-08-25. The superseded war coast `dworld2_a.png` is in `Series/Denied/2026-08-29/` and must never be attached. TRANSCRIBED FROM THE SHEETS 2026-09-06 by opening all five pictures in `Approved/darrens-world/` at full size, plus native crops of the beached hull's gunwale, the airborne hull, the three shielded warriors and the top strip of sky - not from memory. Until now this entity had five approved pictures, one sentence of graph wording and `never: null` in the canon index, which is how a shot spec was able to describe its shields wrongly. WHAT IT IS. VARDEIM'S WAR COAST AT NIGHT, a wide 16:9 battle plate (2752x1536) with no named character in it, drawn in the show's flat cel language with heavy black ink outline. THE SKY is flat desaturated TEAL-GREEN, darkest along the top edge - no stars, no moon, no cloud shapes, no red crack - and fine pale near-vertical streak lines are ruled across the whole of it. THE LAND: snow-streaked grey rock mountains ring the horizon on both sides, a cold blue-teal inlet fills the left and middle distance with long pale-cyan strokes lying on the water, and the foreground is a bare dark slate-and-charcoal PEBBLE SHORE scored with long striations, rising to dark rock outcrops at the right. The snow is on the mountains and in pale patches lying on the dark rock outcrops at the right; the shore itself is dark shingle. FIVE SHIPS, ALL VARDEIM'S, ALL ONE DESIGN: DRAGON-PROW LONGSHIP STARSHIPS. A carved dragon head at the prow, knotwork down its neck, mouth open on teeth; a curled spiral stern-post; clinker planking amidships under riveted metal armour plates over the fore-hull; a carved chevron-knotwork band running the sheer strake; and a row of ROUND SHIELDS hung along the near gunwale, each a plank disc with a domed central boss (FOUR on the left beached hull and FOUR on the upper-right airborne hull; FIVE on the upper-left airborne hull and FIVE on each of the other two grounded ships). Under the hull sit cylindrical DRIVE NOZZLES with glowing cyan circular ports; a boxy deck housing carries a glowing cyan rectangular screen; BEAM CANNON on pintle mounts stand amidships with the muzzle flaring cyan. TWO ships are AIRBORNE, upper left and upper right, each hanging on downward cyan thruster cones from underslung pods - THREE cones under the upper-left hull, FOUR under the upper-right - with a further cyan jet trailing aft from the stern nozzle, each burning amidships with an orange fire and a grey-brown smoke plume, each firing a cyan beam forward past its own dragon head. THREE ships are DOWN at the waterline: one large at left foreground standing on A-frame LANDING LEGS with flat footpads on the shingle, prow up-right, two cannon firing cyan while a red beam bursts orange on its deck in flying debris and a grey smoke column; a second at centre-right, same design, hit and burning; a third, smaller, further right on the water, firing cyan and struck with orange sparks. THE FIRE IS TWO-COLOURED AND THE SIDES ARE NEVER SWAPPED. Every Vardeim light is CYAN - drives, hull ports, deck screens, beams, sword blades, shield barriers. Every incoming beam is RED: THREE red beams come down steeply from off the top of frame and there is no fourth - two are long and end in the orange bursts on the two grounded hulls, and the third is thinner and stops in mid-sky at a small red bolt with an orange flame head. THE ENEMY ITSELF IS NOT IN FRAME - no Swarm hull, no body, no Warlord; only its fire enters. THE WARRIORS, roughly a dozen, every one anonymous, scattered from the foreground to the far right of the shore. Mail hauberks, heavy grey-brown FUR-COLLARED CLOAKS and mantles, riveted CONICAL HELMS with a nasal bar and no horns, wide belts, cross-wrapped leather boots. Their weapons are CYAN ENERGY BLADES - a sword-shaped blade of cyan light on a plain cross-guard hilt - and a few also carry an ordinary dark blade sheathed or held low. THREE of them, in the foreground, carry the barrier: a domed CYAN BARRIER BUBBLE standing PROUD of the shield face, visibly wider than the shield on every side, its bright rim arcing outside the shield's edge all round, its curved surface webbed with fine crackle lines. TWO of the three have the physical shield drawn inside it - a round wooden shield of pale plank staves with a metal rim and a domed metal boss. On the THIRD, the foreground-left warrior, the dome is drawn ALONE on a clenched fist, with no plank disc, no rim and no boss inside it and the shore's strata showing straight through. Either way the barrier is carried on the arm; it never stands off an open palm. CAMPFIRES of stacked logs burn along the shore, six or more, each laying a warm orange pool on the shingle; those fires and the burning hulls are the only warm light in a cold picture. No text, no lettering, no banner and no rune appears anywhere on this sheet. THE FOUR OTHER APPROVED PICTURES IN THE FOLDER ARE DIFFERENT PLACES AND STATES, NOT THIS ONE. `dworld2_b.png` THE LONG-HALL CAMP (square, 2048x2048): night, snow-covered ground, a timber long-hall with a steep SHINGLED PITCHED ROOF under snow, crossed carved gable finials at the ridge, carved knotwork over the lintel, a chimney trailing pale smoke, plank double doors standing open on an orange fire within, and a lower wing at the right with a second lit doorway; in front of it a camp of six dark canvas A-frame ridge tents on guy ropes, spear shafts standing upright, four burning pole TORCHES, and round shields racked lower-left (blue-grey planks, iron boss), three more leaning against the hall wall right of the doors, and a mixed group lower-right - red-brown and blue-grey plank shields, one of them with red-and-ochre radial segments, over a stack lying flat behind them. Flat dark slate blue-grey sky, snow falling. NO cyan, NO beams, NO drives, NO starship anywhere in it. `dworld2_c.png` THE SCARRED FIELD (square, 2048x2048): a wide snow-and-mud valley between rounded snow mountains, heavy slate-purple cloud over a low pale cream-and-peach band; a TORN BANNER on a spear-topped pole, dark blue-grey with a large silver interlace knot device and a shredded fly; dozens of spear shafts standing and broken; six round wooden shields lying and leaning; one small orange pyre in the middle distance under a thin smoke column; about a dozen black ravens circling. No figures, no cyan, no red beam. `vardeim_redsky.png` THE RED-CRACK SKY (16:9, 2752x1536): the long-hall camp re-framed wide with everything unchanged, plus a jagged RED FISSURE splitting the sky left of the hall - a branching vertical crack with a hot pink-white core - washing red-magenta across the cloud and laying a red glow over the snow; eight tents, FIVE torches, and four shield groups - a leaning pair lower-left, three against the hall wall right of the door, and two racks at lower-right. Still no cyan and no starship. `vardeim_ring.png` VARDEIM'S RING ON THE ICE (16:9, 2752x1536): a massive upright stone torus of dark weathered grey-green stone, its whole outer face carved with one continuous interlace band, snow lying along the rim, standing on a snow drift over black cracked ice with a cold grey sea beyond and heavy grey-blue overcast above. ONE small CYAN GLYPH, a hook-and-spiral mark on a darker inset panel at the top of the rim, is the only lit thing on it, and the mouth is EMPTY - sea and sky show straight through. ASLEEP. Away to the right along the far shore, four small orange fires under dark smoke columns. WHAT IT IS FOR. VARDEIM IS DARREN'S WORLD, named by Brandt 2026-08-20 in his own spelling - not "Vardheim" - and the name is public canon that narration may use freely, not a spoiler. The graph wording: a Viking war-world losing its fight against the enemy; Darren is beaten here before crossing to Solmara; Chapters 2/3 travel here when he brings Holly back to help. SERIES-CANON's live lock (2026-08-25) makes Vardeim his HOME world, not an adoptive one - TEN WINTERS in a Vardeim shield-wall (CH2-15) and a crossing to Solmara at about TWENTY-SEVEN, two years ago, so "the last of his shield-wall" is earned. The older reading - adoptive world, crossed at nineteen - is in SERIES-CANON's SUPERSEDED Darren timeline, is marked DO NOT PROMPT FROM THIS, and must never be copied out of it. Brandt ruled on 2026-08-29 that Vardeim is viking AND futuristic, both halves required: dragon-prow longship hulls are armoured STARSHIPS with cyan drives, and warriors carry energy weapons and cyan force-field shields. E1 carries Vardeim as its B-thread - the cold intercut at CH1 beat 4, the shield-wall at CH2-15, the decision at CH3 beat 3 - and hands E2 all of Vardeim. In the four-minute film the slug `darrens-world` is attached to exactly two shots, both 5 seconds and both without a named character in them because canon forbids singling Darren out: A3-03, the fleet lifting off the black shingle on cyan plumes with red beams coming down, and A3-04, the locked shield wall with red fire breaking across the domed cyan barriers. The two wave-20 cards have their own jobs: `vardeim_redsky` is the state card for CH3's sky cracking red, recurs heavily in E2 and is the approved Vardeim flash in E3-CH7; `vardeim_ring` is Vardeim's own gate, the door Darren crossed through, and E2's escape gate. Further out, the Volume One break names Vardeim as the destination the whole volume points at; its phrasing of that - the destination "named off the shivering lamp" - is NOT carried here, because Brandt ruled 2026-08-29 that the Keeper's chamber is just Vess's room, the lamps carry no meaning, and the world-lamp reading may not be written back into any note. PROMPTING. NOBODY WHO HAS A NAME IS ON ANY OF THESE SHEETS. Darren is composed in from `Approved\darren\darren_p1.png`, his shield's on/off states from `Approved\darren\darren_shield_states.png`, Holly Jo from her own master; every warrior on the war coast is anonymous and stays anonymous. The enemy is composed in as RED FIRE ONLY - no Swarm scout, weaver or Warlord sheet is ever attached to a Vardeim plate. FIVE PICTURES, FIVE JOBS: attach `vardeim_v2` for the war coast under fire, `dworld2_b` for the long-hall camp at night, `dworld2_c` for the scarred field after a battle (its job in E1 CH1 beats 4c/4d), `vardeim_redsky` when the sky must be cracked, `vardeim_ring` for the gate on the ice. Do not attach one and ask for another's state - A3-03's spec had to be revised specifically to strip an imported red-cracked sky and an imported gate back out of a war-coast shot. VARDEIM IS NOT SOLMARA: its roofs ARE pitched and shingled, the flat-roof law belongs to Solmara and does not apply here, and neither the emerald-night nor the cream-day lock is carried onto Vardeim - its night is teal-green and slate blue-grey, cold, with orange only from fire. Quote the counts verbatim into any prompt built from this block: three thruster cones under the upper-left airborne hull and four under the upper-right, three red beams and no fourth, four round shields on the beached gunwale, three shielded warriors in the foreground, one cyan glyph on the Ring. RECORDED DEFECTS, so nobody "fixes" them into a new picture and so the open ones are not mistaken for settled. THE STYLE SPLITS ACROSS THE FIVE: `vardeim_v2` is flat cel with heavy black ink linework, `vardeim_ring` is soft painterly with no ink outline and no cel banding at all, `dworld2_c` is a painterly landscape that still carries black ink outlines on its foreground props, and `dworld2_b` / `vardeim_redsky` sit between them; LOOK-LOCK requires bold clean ink linework and flat cel shading on every shot, and ANIMATION-AUDIT-2026-08-24 already logged the Vardeim run as going cel to painted-cel to fully painterly in four cuts. Not fixed. READABLE TEXT ON `dworld2_c`: the round shield at lower left carries a ring of gold-ochre RUNIC LETTERFORMS around its rim, and LOOK-LOCK bans letters outright. ASPECT: `dworld2_b` and `dworld2_c` are 1:1 SQUARE and cannot fill a 16:9 frame without cropping roughly half their content or padding; the other three are 2752x1536. GENERATOR ARTIFACT: the fine pale near-vertical streak lines ruled across the whole sky of `vardeim_v2` (and of the denied `dworld2_a`) can be read as falling snow or as scratches on a scan; nothing is load-bearing on them. RECORDED CONFLICT, WHICH PICTURE IS THE SHEET: `C:\Deflekt\Tools\series_graph.py` (the repo-root Tools folder, not `Series/Tools`) points `darrens-world` at `AssetSheets\wave12\dworld2_b.png`, while the rework-approval registry line in CHARACTER-CANON.md and the asset record both name `Approved\darrens-world\vardeim_v2.png`. Both stated; not resolved here. RECORDED CONFLICT, THE RULING AGAINST THREE APPROVED PICTURES: the 2026-08-29 ruling says a purely historical Viking plate is now WRONG for Vardeim, and the war coast `dworld2_a` was moved to `Series\Denied\2026-08-29\` under it, yet `dworld2_b`, `dworld2_c` and `vardeim_redsky` are equally purely historical - no drive, no beam, no energy weapon, no starship in any of the three - and all three are still in `Approved\`. Both stated; not resolved here. RECORDED CONFLICT, THE WORDING AGAINST THE FOLDER: the graph wording names the approved looks as "the war coast, the long-hall camp, the scarred field", but the war coast plate it was written for is now denied and the war coast that is approved is `vardeim_v2`, a different picture. RECORDED CONFLICT, AN UNHEADED NEVER ALREADY EXISTS: a NEVER paragraph for this asset sits in CHARACTER-CANON.md immediately after the rework-approval registry list with no heading above it, so `canon-index.json` reads this entity's `never` as null; that paragraph also still says every Vardeim barrier is bonded to the face of the shield, while SPEC-VS-SHEET.md and the sheet itself show a DOMED BUBBLE standing proud of the face, which is how the film's A3-04 spec was corrected on 2026-09-04. RECORDED CONFLICT, THE RING IS ASLEEP: ANIMATION-AUDIT-2026-08-24 records CH3-12 playing "when the sky went red, it woke" over a picture in which the Ring is fully asleep with one small cyan glyph and an empty mouth, and an asleep Ring with one glyph is exactly what `vardeim_ring` shows. Both stated. VERIFIED 2026-09-06 by a second agent against the sheet: 168 claims checked, 18 corrected. --- from series_graph.py (locked wording) --- VARDEIM (named by Brandt 2026-08-20): a Viking war-world losing its fight against the enemy. Darren is beaten here before crossing to Solmara; Chapters 2/3 travel here when he brings Holly back to help. Approved looks: the war coast, the long-hall camp, the scarred field.

a purely historical Viking plate - timber longships under a square sail on a mast with rigging and oars run out, no drive nozzles and no beams anywhere in frame (the exact picture...

NEVER - what breaks it

a purely historical Viking plate - timber longships under a square sail on a mast with rigging and oars run out, no drive nozzles and no beams anywhere in frame (the exact picture Brandt refused, now in Denied), axes, spears, bows and plain steel swords as the only weapons with no cyan energy blades, no domed shield barriers and no beam cannon present, the opposite overcorrection of a clean sci-fi fleet - sleek chrome starfighters, gunships or wedge cruisers with no carved dragon-head prow, no curled spiral stern-post, no clinker planking and no row of round plank shields along the gunwale, hulls that fly with no cyan thruster cones or drive nozzles under them, fewer than THREE thruster cones under an airborne hull (the sheet carries three under one and four under the other), warriors in bodysuits, sealed power armour or full visored helmets instead of mail, fur-collared cloaks and riveted conical nasal helms, horned or winged helmets, ornate gold filigree parade armour, a marble palace, a bridge of coloured light, a living dragon flying or fighting (the dragon is a carved prow and nothing else), Vardeim's own beams, blades, shield barriers, hull ports, deck screens and drive plumes drawn in any colour but Ring-cyan - never magenta, violet, green, amber, gold or white - or the two sides swapped so incoming fire reads cyan and Vardeim's shields read red, a free-floating disc of concentric cyan rings standing off an open palm (that is HOLLY JO's deflect shield; a Vardeim barrier is a domed bubble carried on the ARM - over a physical round shield on two of the sheet's three foreground warriors, on the closed fist alone on the third - and never off an open palm), that barrier drawn as a flat skin lying on the shield face or as a bubble smaller than the shield - it stands proud of the face and is wider than the shield on every side, Darren singled out of the crowd, or any warrior given his glowing rune-knotwork armour or his planked steel-rimmed gold-runed shield, the Interceptor, a Swarm scout or weaver, the Warlord, or any enemy hull, body or crew drawn at all - the enemy stays off-frame and only its red fire enters, the Ring on the ice or the red-cracked sky imported into the war-coast plate, or the war coast's ships and beams imported into the camp (all separate registered pictures and separate states), the Ring drawn awake - rim band burning, mouth filled, more than the ONE small cyan glyph at the top of its rim, Solmara smuggled in - teal-green cubic flat-roofed houses, cream daylight, blossom orchards, pink or amber lantern strings, the island profile or the town Ring on its mountain, green grass, forest, farmland, desert or any warm climate in place of snow mountains, dark pebble shore, cold water and black ice, a bright blue sunny sky, golden-hour warmth or a green aurora, an orbital or outer-space view - starfield, vacuum, the planet seen from outside, a pristine undamaged fleet at rest with no smoke plumes, no hits and no burning hulls (Vardeim is LOSING), photoreal, 3D-rendered or soft painterly finish with no black ink outline in place of the show's flat cel language, the game's neon cyan-magenta rim light on stone, hulls, water or people, runes, glyphs, banners, labels, numerals or any readable lettering anywhere - including runic letterforms around a shield rim, a drawn panel border, frame, letterbox or vignette, and jets, helicopters, tanks, missiles or rifles shouldered like modern assault weapons

You said: VARDEIM: viking AND futuristic - dragon-prow starships, energy weapons, cyan force-field shields. His ruling 2026-08-29.

Approved/darrens-world/vardeim_v2.png
ref 437b578b

LOCKEDNO "NEVER" LIST

DEFLECT SHIELD

You said: META for what the deflect shield looks like

Approved/deflect-shield/shield_c_strike.png
ref 63c61e1b

LOCKED

EMERALD WASP - Pat's Sentinel, the game's own render

SHEET: Approved/emerald-wasp/renderemerald.png (registry slug emerald-wasp) APPROVED as GAME RENDER - CANON - the status it carries in verdictledger.csv row 30 and in...

the full canon wording

SHEET: `Approved/emerald-wasp/render_emerald.png` (registry slug `emerald-wasp`) APPROVED as `GAME RENDER - CANON` - the status it carries in `verdict_ledger.csv` row 30 and in `Tools/series_graph.py`, with no verdict date and no comment recorded, because it did not come up for a look the way a generated sheet does: it entered as GAME TRUTH under rule 2b and LAW ZERO-D, which make the DEFLEKT game the authority for every ship. The registry wording is one sentence - "Game ship, emerald green." - and the registry note is "Pat's ship." The file in `Approved\emerald-wasp\` is byte-identical to `GameRefs\Ships\render_emerald.png` (same md5, a5bf5abb...), so the asset has exactly ONE picture, not two. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at native crops of both leading blades, the spine, the lit housing, the right wing tip and the plate - not from memory. WHAT IT IS. A single spacecraft alone on a dark plate, square frame, ship centred, nothing else in the picture. The camera is slightly ABOVE it and off its front left, so the ship's long points lead to the LOWER LEFT of frame and its wide layered body closes to the UPPER RIGHT. THE SILHOUETTE IS A BROAD FLAT ARROWHEAD. Leading it are TWO long straight NEEDLE-POINTED BLADES, near-parallel, each tapering over most of its length to a fine sharp tip: the UPPER one sits higher and carries its point furthest to the LEFT of frame, the LOWER one runs below it and puts its point nearest the BOTTOM of frame. Both are thin in section - flat plates, not tubes or barrels - and each carries a narrow polished grey-silver chamfer along its inner top edge. Behind them the hull STACKS UP IN LAYERED ANGULAR PLATES stepping back and outward, with a raised centre spine carrying ONE flat BLADE FIN that runs back along the top and overhangs the hull above and behind the body, ending in a ROUNDED BLUNT CAP and not in a point. To the right, ONE broad flat SWEPT WING PANEL sweeps out and back and ends in a BLUNT TIP CUT AT AN ANGLE - a chamfered corner, not a point. Almost every surface is hard-edged and faceted: flat plates meeting in crisp seams, hard chamfers, a slight camber across the largest panels. The two exceptions are both ROUNDED and neither is a point: between and behind the blades the raised centre spine runs FORWARD and ends in a BLUNT ROUNDED SNOUT, and the dorsal fin ends in its rounded cap. MATERIAL AND COLOUR. Glossy painted metal with a car-body finish. In shade the hull is a DEEP PINE-EMERALD GREEN (around 25,97,51 to 54,111,76); where the broad soft key rakes across a plate it sweeps to a near-white PALE MINT highlight (around 180,207,192), so the same one colour reads dark on the flanks and almost white on the top plates. Panel seams are fine light grey-white lines and many panel edges carry a POLISHED GREY-SILVER chamfer strip. There is no second hull colour, no trim colour and no metal that is not this green or that silver. THE LIGHTS ARE GREEN, AND THEY ARE SEPARATE BARS, NOT PIPING. Roughly TWO DOZEN separate glowing marks (twenty-four read as distinct at native size) are let into recesses across the hull: bars and slashes with rounded ends, most of them short but several running long, each sitting inside its own recess - where a run does follow a panel edge it is BROKEN INTO SEGMENTS with visible gaps, never one unbroken line and never a full outline. Their core is near-white green (around 197,255,211) bleeding out into saturated green. The largest and brightest is ONE recessed housing on the near flank just forward of centre holding EXACTLY THREE parallel glowing bars. The rest are singles and small runs: TWO long strokes end to end with a gap between them, in the channel along the inner top edge of the UPPER leading blade ONLY - the LOWER blade carries no light anywhere in this view - one long curved stroke along the lower edge of the near flank, several short strokes on the upper plates, a long stroke on the right-hand panel, and ONE small green CAPSULE light, a short bar with rounded ends, set into the angled end face of the right wing tip. THE DARK SLOTS. Several near-black recessed intakes are cut into the upper hull - plain angular slits, and at least two of them LOUVRED with fine black slats inside. They are unlit and they are the darkest thing on the ship. NONE OF THEM IS A WINDOW. WHAT IS NOT DRAWN ON IT. No canopy, no glass, no cockpit, no seat, no hatch anywhere in this view. No gun barrels, turrets, cannons or missile pods. No engine nozzle, exhaust or flame. No landing gear, wheels or struts. No numbers, letters, insignia, decals or markings of any kind. The one thing that could be mistaken for a painted or engraved graphic is a group of FOUR short parallel slashes on the upper hull just off the spine - and they are neither painted nor engraved: they are LIT, green, and carry the same near-white core as every other mark on the ship. THE PLATE. A plain dark charcoal studio backdrop, near-black at top left (15,16,20) lifting slightly toward the bottom (29,33,36), with a soft wide dark CAST SHADOW lying under the hull and spreading down and to the LEFT across the floor, so the ship reads as standing on a studio floor. One broad soft key from the upper left is the whole light. No horizon, no stars, no ground detail, no plinth, no fixture in frame. RENDERING STYLE: A 3D RENDER. Photographic gloss, true specular sweeps, a soft raytraced shadow, faint bloom around the lit bars. This is a photograph of the game's mesh, not painted art - see RECORDED DEFECTS. WHAT IT IS FOR. One of THE FIVE SENTINEL SHIPS, the First Light's five surviving fighters recovered across the season (SERIES-CANON). Its exact roster entry: EMERALD WASP (emerald), "wide scatter", special VORTEX - a singularity that swallows bolts and erupts them back - SINGLE BIG ENGINE, RECOVERED E14. E14 "SENTRY" is Ring 9, Crimson City, the air-assault world where Josh holds a rooftop and joins the crew: "EMERALD WASP recovered from the city's foundry-vault." It is PAT'S SHIP - Brandt ruled the flight crew's ships on 2026-08-29 and CHARACTER-CANON records it in as many words: "EMERALD WASP is PAT's ship. Registered." The Sentinels are semi-alive - they hum, warm to their pilots and choose them - and any pilot CAN fly any ship (the game's mix-and-match), so a crew member in someone else's cockpit is canon, not an error. Nothing else is decided: it has no scene in E1, no shot in the film, no painted series sheet, and ASSET-MAP still lists it "Future" with the per-ship painted-dawn ship sheet (3/4, side, front, cockpit) UNCHECKED. WHAT THE STATUS MEANS: this render is canon for the HULL - shape, colour, plating, lights - because the game is the authority for ships. It is not canon for the FINISH. The series DRAWS this hull in the show's painted 2D look (painted 2D animation art, bold clean ink linework, flat cel shading, per LOOK-LOCK), never as a glossy 3D render on a studio plate. PROMPTING. Attach this sheet to every shot the ship appears in, and COPY THE COUNTS INTO THE PROMPT VERBATIM - three bars in the lit housing, four slashes in the upper-hull group, two strokes on the upper leading blade and none on the lower, one light at the right wing tip, roughly two dozen green marks in all, two leading blades, one dorsal blade fin - because a number that is not written into the prompt is a number the model chooses for itself (LOOK-LOCK, after the hoverboard's four light-bars). ASSET ISOLATION: the sheet carries THE HULL ALONE. Pat is not on it - compose him in from `Approved\pat\patd_hoodset_1.png` and his own block; no other Sentinel, no Solmara, no arena, no sky, no ground, no fire, no shield (the cyan deflect disc is Holly Jo's and there is one shield per frame) and no figure of any kind is baked onto this picture, and none may be. The dark plate and its floor shadow ARE the sheet's backdrop, not a location - never carry them into a shot as a night sky, a hangar or a deck. STATE THE HEADING EVERY TIME (LAW ZERO-E, E5): this is one three-quarter view with the long points to the lower left, so the prompt says which end leads, which way the ship travels across frame, which way is up and which way its fire goes. AND THE HARD ONE - LAW ZERO-F, F1 and F2: A DESIGN WITH ONE VIEW IS NOT A LOCKED DESIGN, IT IS MERELY NAMED. This asset has exactly one picture, so no shot may be generated from a camera this sheet does not cover. If a beat wants side, front, rear or cockpit, THE ANGLE IS CAPTURED FIRST from the game mesh (`dfk.PreviewShip` / `dfk.ShipYaw`, `Tools\capture_ships.ps1`, `dfk.ForceShipSelect`) and added to the sheet. An extrapolated hull collapses into a generic jet with a bubble canopy - that is exactly how the Manta, already declared locked, diverged five more times inside a day, six failures with one cause. RECORDED DEFECTS. THE SHEET IS A 3D RENDER, which is the film's STYLE law inverted ("Not photoreal, not a 3D render, not CGI, not a diorama, not a scale model, no plinth, no studio backdrop"). It is kept and registered anyway because the game outranks the generator on ship geometry; the picture is the authority on the hull and has no authority at all on the finish. THE PLATE IS NOT EMPTY: a soft floor shadow and a graded backdrop put the ship in a studio, which is the same flaw Brandt named on the Manta's sheet on 2026-08-29 - "the background is wrong and it changes facing direction so you would want it without background to really have it be meta". Nobody has re-cut this one on a plain plate. ONE VIEW ONLY, and no other view of this ship is registered. `GameRefs\Ships\select_emerald-wasp.png` is NOT a second view: opened, it is a top-down GAMEPLAY frame with the full HUD across it (SCORE, LIVES, BOSS IN 36, DEFLEKT BEAM, "SPECIAL: TORNADO", the on-screen control legend) and the ship is a small green shape in the middle of an arena. It is unregistered, it is a scene frame, and a scene frame is never a ship reference. The count of glowing marks is exact only where it is stated as exact: three bars in the housing and one wing-tip light are counted; "roughly two dozen" is a read at native size where bloom joins neighbouring marks. RECORDED CONFLICT - THE PILOT HAS NOWHERE TO SIT. The docs fly this ship: SERIES-CANON gives the First Light five launch cradles for the Sentinel fighters and rules that any pilot CAN fly any ship, CHARACTER-CANON assigns it to Pat, and the ship-scale gate is "A PILOT SITS INSIDE THIS SHIP ... every scale statement must satisfy that or the picture is wrong on its face". The sheet shows no canopy, no glass, no cockpit and no hatch. Both are stated here and neither is resolved: do not draw a canopy onto the ship to fix it, and do not write the ship up as uncrewed. The missing view is a capture job for the game mesh, not a drawing decision. RECORDED CONFLICT - THE SINGLE BIG ENGINE. SERIES-CANON's roster entry gives EMERALD WASP a "Single big engine". No engine, nozzle, thruster or exhaust is visible anywhere on this sheet from this angle. Both recorded; do not invent one to satisfy the line. RECORDED CONFLICT - VORTEX OR TORNADO. SERIES-CANON names the ship's special VORTEX ("a singularity that swallows bolts and erupts them back"). The game's own HUD, in `GameRefs\Ships\select_emerald-wasp.png`, reads "SPECIAL: TORNADO", and both `series_graph.py` and ASSET-MAP name PAT's game power Tornado ("a funnel that drags enemies"). Both recorded; not resolved here. RECORDED CONFLICT - GREEN LIGHT ON A FRIENDLY SHIP. LOOK-LOCK's colour grammar reads "CYAN belongs to us and appears ONLY as: the Ring's glyph, the crown stair, Holly Jo's shield, and friendly drive-glow. RED belongs to the enemy and appears nowhere else." This is a friendly Sentinel and every lit mark on it is GREEN, on the game's own render, in a roster where the ships are named and coded by colour. Both stated. Do not recolour this ship's lights cyan to satisfy the lock, and do not read this entry as licensing green light anywhere else in the show. RECORDED CONFLICT - THE REGISTRY HAS NO PILOT EDGE. `Tools/series_graph.py` registers `emerald-wasp` with an EMPTY link list and the wording "Game ship, emerald green.", while CHARACTER-CANON records Brandt's 2026-08-29 ruling, "EMERALD WASP is PAT's ship. Registered." Both stated; the graph edge is not added here. VERIFIED 2026-09-06 by a second agent against the sheet: 96 claims checked, 9 corrected.

any hull colour but the deep pine-emerald green with pale mint highlights - not the Manta's violet-amethyst, not the Interceptor's charcoal-violet with magenta seams, not cyan, teal,...

NEVER - what breaks it

any hull colour but the deep pine-emerald green with pale mint highlights - not the Manta's violet-amethyst, not the Interceptor's charcoal-violet with magenta seams, not cyan, teal, blue, gold, crimson, orange, white, grey or black, RED anywhere on it at all (red is the Swarm's and appears nowhere else in this show), lit marks in any colour but green, the green lights drawn as continuous neon piping, an unbroken outline or a glowing seam tracing every panel edge instead of separate short slashes and bars each sunk in its own recess, any count but THREE parallel bars in the lit housing, any count but FOUR slashes in the upper-hull group, those four slashes drawn unlit, engraved or hull-coloured instead of glowing green, a lit strip run along the LOWER leading blade (only the upper one carries light in this view), more than one light at the right wing tip, a hull with its lights dead or missing entirely, a matte, chalky, rusted, sand-blasted, weathered or battle-scarred hull in place of the glossy painted finish, hull patches, scars, dents or damage of any kind (none is on the sheet and none is ruled), an organic curved manta-ray body, a rounded fuselage or a tubular jet body in place of the flat faceted arrowhead of stacked angular plates, a raised bubble or dome canopy, a glass cockpit, a visible pilot inside, or any window invented onto the closed hull (the dark slots are unlit louvred intakes, not glass), one leading blade, three or more leading blades, blades that are blunt, rounded or stubby rather than long straight needle points, a second dorsal fin, a vertical tail fin, a whip tail or a stinger off the back, a pointed nose cone on a raised centre spine, gun barrels, turrets, cannons, missile pods or hardpoints, round jet nozzles, afterburner flames or a visible engine glow, deployed landing gear, wheels or struts, insect anatomy of any kind - wings, wasp stripes, yellow-and-black banding, antennae, a segmented abdomen, legs or compound eyes (WASP is a name, not a shape), registration numbers, letters, insignia, roundels, kill marks, decals or any readable text on the hull or in the frame, a second ship, a phantom duplicate hull or another Sentinel sharing the sheet, Pat, Holly Jo, any pilot or any figure drawn onto the sheet, Holly Jo's cyan deflect disc, a shield bubble or a dome wrapped around this ship, the game's HUD, score chips, arena, rubble or neon rim light carried into a series frame, a photoreal, glossy, chrome or 3D-render finish in any series shot (the show is painted 2D, ink linework and flat cel shading), this sheet's charcoal studio plate, its graded backdrop or its floor shadow used as a night sky, a hangar, a deck or any location, the ship drawn so small that a pilot could not fit inside it, any camera angle this one-view sheet does not cover invented rather than captured from the game mesh, the unregistered gameplay frame `select_emerald-wasp.png` attached as a reference, and the Violet Manta or any other Sentinel recoloured green and passed off as this ship

You said: Pat's ship.

Approved/emerald-wasp/render_emerald.png
ref 643120ca

LOCKEDNO "NEVER" LIST

FARM KITCHEN

You said: The Jo farmhouse kitchen. Every light is open flame and water comes from a hand pump - drawn this way deliberately to kill the shipped CH10-12 defect (electric bulb + refrigerator).

Approved/farm-kitchen/kitchen_1.png
ref abf4190e

LOCKEDNO "NEVER" LIST

FARMHOUSE

You said: The Jo farmhouse + porch. Brandt approved farm_v2.png 2026-08-25 (WAVE 14); registered 2026-09-05 so the v2 porch shots 1-07/1-08 can attach it. Its pitched roof is a recorded deviation under the v2:farmhouse-roof card - porch shots are framed with the main roof OUT OF FRAME until he rules. Canon block: CHARACTER-CANON.md 'THE JO FARM'.

Approved/world-suite/farm_v2.png
ref 8acc6766

LOCKEDNO "NEVER" LIST

FISHING BOATS

You said: Rowing dory, single-mast netter with a patched sail, trap-hauler with wicker traps. KEPT AS IS on his ruling. STYLE DEVIATION ON THE RECORD: drawn in the GAME's neon palette (cyan/magenta rim-light), not the series' painted teal/violet. Attach it for the BOAT DESIGNS only - never use it to set light or palette for another asset.

Approved/fishing-boats/boats_1.png
ref 8bf77280

LOCKED

## FISHING GEAR - what the harbour works with, in the game's palette

SHEET: Approved/fishing-gear/gear1.png (registry slug fishing-gear) SHEET: Approved/fishing-gear/gear1.png (registry slug fishing-gear) Ref media id:...

the full canon wording

SHEET: `Approved/fishing-gear/gear_1.png` (registry slug `fishing-gear`) SHEET: `Approved/fishing-gear/gear_1.png` (registry slug `fishing-gear`) Ref media id: 34e083d6-2035-496c-84df-1692250182eb. TRANSCRIBED BY OPENING THE SHEET 2026-09-02 - it was registered with a picture and no words until now. FIVE objects in a row on a near-black charcoal plate, cel-shaded under a heavy black ink outline, each one rimmed COOL CYAN down its upper-left edge and HOT MAGENTA down its lower-right, with a soft glow bleeding off every silhouette into the dark. Read the deviation paragraph at the foot before using this sheet for anything: that light is the GAME's, not the show's. LEFT - THE FLOAT LINE. A three-strand rope headline coiled flat into about five turns with an open eye in the middle, its tail running out and back across the front of the coil. Threaded on it, SEVEN barrel-shaped wooden FLOATS - short spools drilled through the long axis, dusty rose-tan wood with the grain drawn - and every one of them CARVED, each with a different motif cut into its face: hooks, curls, spirals, and on the largest, front and centre, a scroll with a fanned sunburst edge. The carving is the whole point of the prop: these are one fisher's own floats, made by hand and told apart by their marks. NO NETTING IS DRAWN ANYWHERE ON THIS SHEET - it is the float line, coiled, not a bundled net. SECOND - THE WICKER FISH TRAP. Standing upright, bell- or beehive-shaped: a wide swelling body that draws in to a narrow NECK and flares out again into a broad open MOUTH, the rim a thick bundled hoop wrapped with lashings, a woven funnel throat visible down inside it. The body is pale tan vertical cane STAVES crossed by horizontal rope binding hoops, and the staves run out PAST the lowest hoop as a fringe of short splayed stub ends - there is no woven floor, no base plate, no foot. Painted around it, TWO ZIGZAG CHEVRON BANDS, one round the widest part and one low near the stub ends, each band alternating CYAN and MAGENTA. No door, no lid, no handle, no bridle, no buoy. CENTRE - THE DAY'S CATCH. A shallow round basket of broad flat woven cane with a plain rim ledge, heaped with whole silvery lilac-white FISH - five or six of them, rows of pale spots down the flank, one lying tail-up with its fluke standing clear of the rim - bedded on a heaped pale mound of crushed ice, one flat wooden slat standing upright at the back. IT IS FULL, and that is load-bearing: the fisher on `townsfolk-workers` carries an EMPTY creel because he is going out. This basket is the other end of the same day. FOURTH - THE GAFF HOOK. One long straight shaft of dark red-brown wood tapering to a plain blunt butt, no cap or ferrule at the bottom. At the head, a pale steel socket sleeved over the shaft and fixed through with EXACTLY TWO round rivets set one above the other, and out of it a smooth polished hook sweeping up, over and back down to a point with a small BARB on the inside of the tip. Unpainted, unwrapped, nothing tied to it - no lanyard, no cord, no rope. RIGHT - THE ROPE HANK. Natural tan three-strand rope with the lay drawn in, doubled and made up into a long flat hank - wide loop top, wide loop bottom, pinched at the waist - bound at that waist with about five turns of whipping, one loose working END left sticking out to the upper right. This is rope made up to be CARRIED, and it is a different object from the flat spiral ground coil in `lane-kit`. WHAT IT IS FOR: this is the working kit of Solmara's harbour district on the island's FAR side, and of the orchard shore on the near side where the boats are hauled up. It dresses a quay, a net shed, the fish stall, a boat being loaded or unloaded, and it is what the fisher on `townsfolk-workers` handles. It is ordinary-life set dressing for the town BEFORE the attack. THE GAFF IS NOT A WEAPON AND IS NEVER STAGED AS ONE - Solmara has no weapons, that absence is the argument `lane-kit` and CH20 make, and a hooked pole levelled like a spear destroys it in a single frame. THE STYLE DEVIATION, ON THE RECORD (Brandt ruled KEEP AS IS, 2026-08-31): this sheet and `fishing-boats` were generated in another session against the DEFLEKT GAME's neon identity - cyan and magenta rim-light on a near-black plate - rather than the series' painted teal/violet, and not on the bone-cream backdrop every other prop sheet uses. I flagged it and he kept them. THE CONSTRAINT THAT COMES WITH THAT RULING: attach this sheet for the OBJECT DESIGNS ONLY. It is never a light reference, never a palette reference, never a backdrop reference, for anything - `townsfolk-workers`, `lane-kit` and `terraced-crops` each name this sheet's neon by name as something that must not leak onto them. Everything built out of these objects is repainted into the shot's own state: EMERALD NIGHT or CREAM DAY, never a blend, and never the neon.

knotted mesh netting or a bundled or draped net drawn in place of the coiled float line, smooth undecorated floats (every one is carved, and no two carvings match), spherical ball...

NEVER - what breaks it

knotted mesh netting or a bundled or draped net drawn in place of the coiled float line, smooth undecorated floats (every one is carved, and no two carvings match), spherical ball floats, glass net floats, orange plastic buoys or polystyrene blocks, floats hung off the line as pendants instead of threaded through their long axis, a rod and reel, a harpoon, a spear, a trident or a long-handled landing net added to the set, a second or double hook head on the gaff, a barbless point, a cross-guard, a wrist lanyard or cord wrapped round the shaft, one rivet or three in the gaff ferrule instead of two, or a hook head lashed or glued on with no steel socket at all, a metal, fibreglass, telescoping or painted gaff shaft, the gaff levelled like a spear, gripped as a weapon, carried into a fight or drawn with blood on it, a flat-topped box or half-cylinder lobster pot in place of the standing bell shape, a lid, hinged door, handle, rope bridle or marker buoy on the trap, a woven floor or a solid base under it (the stave ends splay open and unbound), a third chevron band or only one, or chevrons in amber, yellow or green instead of cyan and magenta, a trap woven from wire, plastic or netting instead of tan cane, an empty catch basket (it is full - the EMPTY one is the fisher's creel on townsfolk-workers and the two states must never be swapped), live or swimming fish, fish in water, red, orange, gold or tropical fish instead of silver-lilac, blood, guts, gutted or filleted fish, a knife, cleaver or chopping board, the rope hank drawn as a flat spiral ground coil (that is lane-kit's rope), nylon, blue polypropylene, wire cable or chain in place of three-strand hemp, a plastic tote, steel bucket or modern crate, a sixth object added to the row or any of the five dropped, readable text, lettering, numbers, price boards or labels anywhere, hands, people, a boat, a quay, a background, ground plane or studio set drawn onto the sheet itself, this sheet's neon rim-light, glow or near-black plate used as the light, palette or backdrop reference for any other asset, its cyan read as Ring-light or Holly Jo's power (it is the game's rim and means nothing), and in any shot it is staged in - pitched or tiled roofs, tan, beige or brown stone, yellow or amber lantern strings, or a dusk or any third palette state

You said: Net with carved floats, wicker fish trap, the day's catch, gaff hook, rope coil. KEPT AS IS on his ruling. Same style deviation as fishing-boats: neon-rimmed rather than painted. Attach for the OBJECTS only, never for palette.

Approved/fishing-gear/gear_1.png
ref 34e083d6

LOCKEDNO "NEVER" LIST

FX GLYPH

You said: Macro on the Ring's rim with ONE glyph lit - the resting state, close enough to see the carving. RECORDED DEFECT: the glyph reads as a LETTERFORM (an R and an N are visible), and the show's rule is NO_TEXT in every frame. Any prompt using this must state the glyphs are not letters of any alphabet. Do not read a glyph COUNT off this crop: at rest the Ring shows ONE, awake it shows FORTY.

Approved/fx-glyphs/glyph_2.png
ref 1fc443fb

LOCKED

GOLD VANGUARD - the heavy gold gunship, one game render only

SHEET: Approved/gold-vanguard/rendergold.png (registry slug gold-vanguard) APPROVED as GAME RENDER - CANON - the status the ledger carries for it (verdictledger.csv, row gold-vanguard,...

the full canon wording

SHEET: `Approved/gold-vanguard/render_gold.png` (registry slug `gold-vanguard`) APPROVED as `GAME RENDER - CANON` - the status the ledger carries for it (`verdict_ledger.csv`, row `gold-vanguard`, category `ships`, no verdict comment and no decided-on date), and the same status `Tools/series_graph.py` holds beside its locked wording, "Game ship, gold." THE PICTURE IS A RENDER FROM THE DEFLEKT GAME, not series art: it was staged 2026-08-20 in `Series/GameRefs/Ships/` with the other four ship renders and copied to `Approved/gold-vanguard/`. The hull is the game's own ship mesh (`ASSET-MAP.md`: meshes from `DriveableSpaceshipPack_Vol1`, coloured by the `MI_DFK_Ship_*` materials - `Content/Materials/MI_DFK_Ship_Gold.uasset` for this one). In the game's roster it is ship index 4 with UI accent colour (1.00, 0.75, 0.15) (`Source/Deflekt/DFKGameState.cpp`). THE SERIES DRAWS IT IN THE PAINTED 2D LOOK; this render is the hull truth, never the finish. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it at full size and at native crops of both prong tips, the spine, both engine drums and the stern - not from memory. WHAT IT IS. One ship alone on a plate, filling most of the frame, seen from ABOVE AND AHEAD ON ITS NEAR SIDE: the nose points to the upper left, the engines face the lower right, and the top surfaces are turned toward camera. THE HULL is a broad, flat, slab-sided arrowhead - thick and heavy, widest across the middle, squared off at the stern. TWO PRONGS REACH FORWARD, one each side, each a blocky wedge ending in a blunt chamfered tip; the near prong is drawn low and close to camera, the far prong runs up and away, and between them the hull steps down to a short central nose. There is no pointed nose cone, no tail fin, no vertical stabiliser, no wing that sweeps back, no visible landing gear. THE PLATING IS THE DESIGN: the entire hull is a patchwork of flat rectangular panels separated by fine dark seams, in exactly TWO materials interleaved with no pattern - polished warm BRASS-GOLD, mirror-bright and nearly white where the key light strikes it and deep amber-brown in shadow, and flush MATTE DARK-GREY-TO-BLACK panels of the same rectangular sizes. Panels run from small squares to long slabs several times their own width. The gold is USED: fine scuffs across the flat panels, grime settled in the seams, dark scorching around the engine housings. A few small raised gold blisters, narrow recessed slots and shallow gold-lipped hatches break the surface. ON THE SPINE, behind the nose, sits a raised flat DARK-GREY EQUIPMENT DECK - a shallow slab carrying two small gold-capped fittings, one narrow slot, and a long dark rail running forward from it down the centre line. ALONG THE TOP OUTBOARD EDGE OF THE FAR PRONG runs a long, low, glossy BLACK BAND set flush into the gold and crossed by raised gold ribs. A SECOND, WIDER GLOSSY BLACK BAND runs along the near prong's outboard face, and a raised glossy black block sits on the hull top just behind the spine deck, so this band is not the only glossy dark surface on the ship. No bubble canopy, dome or framed cockpit is drawn anywhere. THE GUNS project FORWARD from under the prong tips: thin dark gunmetal barrels, each with a stepped bright collar near the muzzle, hung on a small stepped bronze mount block below the tip. FOUR barrels are visible at the far tip in a staggered cluster of unequal lengths; TWO are visible at the near tip. BLACK LOUVRED GRILLES of fine parallel slats are set into the hull - a large one on the far stern's outboard face inside a gold surround, its slats stacked along the hull's length, and two more under the near prong's lower outer flank whose slats run across the flank, the smaller of the pair further forward. THE ENGINES ARE TWO LARGE ROUND DRUMS side by side at the stern, the near one lower and left, the far one higher and right, each drum roughly a quarter as wide as the hull is long. Each housing is built of dark scorched metal staves banded around it; a bright ORANGE-AMBER RING of light runs the whole way round the housing about a third back from the mouth, and the open mouth shows a hot orange-to-white interior with a ring of small orange lights around the inner lip. Between and above the drums sits a stepped dark centre block with a black louvred vent and a short ladder of small orange-lit slots. THE ONLY LIGHT COLOURS ON THIS SHIP ARE ORANGE AND AMBER, at the drums and on the stern centre block between them; there is no cyan, no magenta, and no glowing seam or edge line anywhere on the hull. LIGHT: one hard key from the upper left flares the top surfaces almost white-gold and drops the underside to near black; the drums throw their own orange light onto their housings and onto the floor behind. BACKGROUND: none of the world. A seamless DARK CHARCOAL-GREY studio sweep with no horizon line between wall and floor. One soft pale pool runs down the LEFT side behind the nose - and even at its brightest it is still a dark grey, not a mid grey - while the top, the whole right side and the ground under the hull fall away to near black. THE GROUND IS MATTE, NOT MIRRORED: it carries a soft dark SHADOW below the hull and two orange pools of engine light behind the drums, and no reflected image of the ship anywhere. The ship FLOATS - no ground contact, no gear, no struts, no stand, no plinth. NO TEXT: not one letter, numeral, insignia, decal or watermark on the hull or the plate. RENDERING STYLE: PHOTOREAL 3D - reflective metal shaders, hard specular highlights, a studio floor and a soft vignette. No ink line, no cel bands, no brushwork. WHAT IT IS FOR. GOLD VANGUARD is one of THE FIVE SENTINEL SHIPS, the First Light's surviving fighters recovered across the season (`SERIES-CANON.md`): the gold one, "heavy twin", special PRISM - deflects shatter into homing shards - recovered E17. The picture and the doc agree on the engines: "heavy twin" and two drums. The Sentinel ships are semi-alive - they hum, warm to their pilots and choose them - and any pilot CAN fly any one of them, the game's mix-and-match carried into the show as crew swapping ships in emergencies. Brandt ruled on 2026-08-29 (`CHARACTER-CANON.md`, THE FLIGHT CREW'S SHIPS) that this is JP's ship, "when he joins the group eventually", and the wording matters: the ship reads as his only from the chapter he joins onward. JP HIMSELF IS NOT RULED ON - he has no master sheet and cannot be attached to a shot - so this ship can appear before its pilot can. `ASSET-MAP.md` still lists the per-ship deliverable that has not been made: a painted-dawn SHIP SHEET (3/4, side, front, cockpit) generated FROM the game capture. Until that exists, this render is all there is. PROMPTING. TAKE THE SHAPE, NOT THE FINISH. Carry the silhouette, the two-material panel patchwork, the spine deck, the prong-tip guns, the grilles and the orange drum rings into a painted 2D animation frame - bold clean ink linework, flat cel shading - and never carry the render's photoreal chrome, its studio backdrop, its mirror floor or its corner vignette. LAW ZERO-F APPLIES IN FULL. F1: a design with one view is not a locked design, and this asset has exactly ONE view, the three-quarter from above-front-left; it is named, not locked. F2: no shot may use an angle the sheet does not cover. If a beat needs another angle, PHOTOGRAPH THE MESH FIRST - `Tools\capture_ships.ps1` puts each ship big and clean on the ship-select screen (`dfk.ForceShipSelect 1, dfk.PreviewShip 4` is this ship), and `Tools\capture_manta_turnaround.ps1` shows the yaw-sweep pattern (`dfk.PreviewShip` plus `dfk.ShipYaw`) for a real turnaround. Never generate a ship view that could be captured instead. NOTHING ELSE IS ON THIS SHEET: no pilot, no JP, no May-Day, no Holly Jo, no cockpit interior, no hangar, no tarp, no arena, no planet, no town, no other ship, no ORBI. Every one of those is composed in from its own sheet, and there is no approved JP sheet at all, so a shot cannot show this ship's pilot. THE SHEET GIVES NO SCALE ANCHOR - no readable cockpit, and no person beside it - so never state a size, a seat count or a pilot's position from this picture; the Manta's canopy-length anchor belongs to the Manta and cannot be borrowed. QUOTE THE COUNTS VERBATIM into any prompt, per the LOOK-LOCK rule: TWO engine drums, TWO forward prongs, ONE orange ring around each drum, ZERO glowing hull seams. RECORDED DEFECTS. ONE VIEW ONLY, which is an F1 breach on its face - a second capture of the same mesh already exists unregistered at `GameRefs/Ships/select_gold-vanguard.png` (the ship-select screen) and is not part of this asset. NO CANOPY IS READABLE: the far prong's flush black band could be glazing or vents, and the picture cannot settle it, which is also why the asset has no scale anchor. THE BARREL COUNT CANNOT BE SETTLED FROM ONE CAMERA - four barrels read at the far prong tip, two at the near one, and the near cluster is seen almost edge-on so it may hide more; do not write a per-tip count into a prompt until a second view exists. THE PHOTOREAL 3D FINISH, the seamless studio backdrop, the shadow-catching studio floor and the dark falloff are exactly what `film/LOOK-LOCK.md` bans from a frame ("not photoreal, not a 3D render, not CGI, no studio backdrop"); that is inherent to a GAME RENDER - CANON asset and is not a fault to be "fixed" by generating replacement art. THE WORN FINISH - scuffs, seam grime, scorching at the drums - is the render's own surfacing, not damage from a story beat; do not read it as battle damage and do not clean it to bright unmarked gold. RECORDED CONFLICT - WHO FLIES IT. `CHARACTER-CANON.md` (THE FLIGHT CREW'S SHIPS, Brandt ruled 2026-08-29) and this asset's registry note both say GOLD VANGUARD is JP's ship, "when he joins the group eventually". `SERIES-CANON.md` gives the same ship to MAY-DAY (real name Aaron): E16 "PUNCHLINE" ends with "GOLD VANGUARD glints under the show-rig tarp" at his arena, and E17 "MAY-DAY" has him answer the crew's mayday and join with "Gold Vanguard + PUNCHLINE + the whole crew", the episode in which the roster also records the ship as recovered. Two documents, two pilots. Not resolved here. RECORDED CONFLICT - THE DRIVE GLOW. The sheet's drive light is ORANGE-AMBER: an orange ring around each drum and a hot orange-white throat. `film/LOOK-LOCK.md` lists "friendly drive-glow" among the only four things in the film that may be cyan. The render is the hull truth for this ship and it is not cyan. Not resolved here. VERIFIED 2026-09-06 by a second agent against the sheet: 107 claims checked, 8 corrected.

any count of engine drums but TWO, any count of forward prongs but TWO, more than one broad orange ring around a drum housing, a cyan or violet or magenta drive glow, glowing hull...

NEVER - what breaks it

any count of engine drums but TWO, any count of forward prongs but TWO, more than one broad orange ring around a drum housing, a cyan or violet or magenta drive glow, glowing hull seams or a neon rim line of any colour, magenta panel-seam webbing (that light is the Interceptor's), a sleek curved manta-ray or delta hull, the Violet Manta recoloured gold, swept-back wings, a pointed nose cone or snout, a dorsal fin or tail fin, a raised bubble or dome canopy, deployed landing gear, wheels or struts, turrets, missile pods or a single fat cannon in place of the thin barrel clusters, a smooth unpanelled hull, flat yellow paint, chrome silver or bronze-only plating instead of brass-gold panels interleaved with matte dark-grey ones, clean unscuffed showroom gold, registration numbers, lettering, insignia, decals or any readable text on the hull, the render's studio backdrop, its shadowed studio floor, its dark falloff or any plinth, table or stand carried into a shot, the ship resting on the ground on this sheet's terms, a photoreal or 3D or CGI finish in a series frame, a second gold hull or phantom duplicate behind the real one, any figure, pilot, cockpit interior or JP drawn onto this sheet.

You said: JP's ship, when he joins the group eventually.

Approved/gold-vanguard/render_gold.png
ref a0e494ce

LOCKEDNO "NEVER" LIST

HARBOUR DISTRICT

You said: SOLMARA's harbour, on the FAR side of the island - the side not visible in solmara-island. Brandt ruled KEEP AS IS twice. DEVIATION ON THE RECORD: pitched tile roofs, AMBER lantern strings and grey-blue stone, where every other Solmara plate is flat-roofed, pink-strung and teal-green. Safe while the harbour is the only far-side location; a shot showing the harbour AND the terraces together would show two different towns and needs a re-roll first.

Approved/harbour-district/harbour_1.png
ref de3969a5

LOCKED

HOLLY JO

Young woman, late teens. MID-BROWN / chestnut hair, long and wavy, past the shoulders, warm brown highlights - NOT red, NOT ginger, NOT auburn. Cropped NAVY-BLUE bomber jacket with HOT...

the full canon wording

Young woman, late teens. MID-BROWN / chestnut hair, long and wavy, past the shoulders, warm brown highlights - NOT red, NOT ginger, NOT auburn. Cropped NAVY-BLUE bomber jacket with HOT PINK piping down the front, collar and pockets, one grey sleeve panel and a small shoulder patch. BLACK crop top beneath, midriff visible. BLACK slim trousers. Navy trainers with pale soles. Slim, athletic. Soft warm PAINTERLY rendering with rounded features and a friendly face - not hard black ink outlines, not angular. hard-inked angular anime face, long skirt or dress, armor. SPEC-VS-SHEET DEFECT, FOUND AND FIXED 2026-09-07. Until today this block read "AUBURN / warm reddish-brown hair" and "MAGENTA-VIOLET piping" - and `shot_gate.py` copies this text VERBATIM into every prompt Holly appears in. The sheet it claims to describe does not say that: measured off `hj_p2.png`, her hair is R=194 G=112 B=74, a warm mid-brown. The words "AUBURN" and "VIOLET" were doing the drifting, not the model. Every Act 3-5 shot in the v2 film came out RED-HAIRED with PURPLE piping because the gate told it to, and Brandt rejected exactly that on 2026-09-07: "this is not good art for Holly", pointing at 3-04. He then pointed at the bakery shot and said "yeah this is the meta version of Holly Jo." THE LESSON: a spec that paraphrases a sheet from memory outranks the sheet at generation time, because the words travel into the prompt and the picture does not. Transcribe colours by MEASURING the sheet. See `Approved/holly-jo/hj_meta_bakery.png` - the shot-proven master. GLOW STATE (Approved\holly-jo\hj_glow2.png): hands and forearms haloed Ring-cyan with thin cyan wrist-rings. Used ONLY at approved milestones. --- from CHARACTER-CANON.md --- `Approved/holly-jo/hj_p2.png` is the **META master**. His words: "This is the meta version of Holly." It is registered (`holly-jo`) and it is the sheet a prompt attaches. `Approved/holly-jo/Pilot3.png` stays APPROVED but is **NOT the meta**: "Approving but know this is not the meta but is like her in the game." So it is the in-game likeness, usable when a shot is deliberately showing the GAME's Holly Jo, and never as the character master. It is deliberately unregistered so it cannot be attached by accident. DENIED and dead: `hj_f1.png`, `hj_f2.png` (AssetSheets/wave1). Do not revive them. STILL WRONG: `hj_glow2.png`. "I'm on the fence on this one. Here hands are supposed to create a deflect shield in front of her. We have assets like it but this one is off." The sheet shows glowing HANDS; canon is a shield SHE MAKES, standing IN FRONT of her, hands outside it. This is the same staging error the animation audit found in CH9's two hero deflect frames, where her hand and forearm are inside her own shield. One fix, two places. --- from CHARACTER-DESIGNS.md --- **Accent: hot pink (1.00, 0.30, 0.60)** Young woman, late teens. Long brown hair pulled into a high, swinging ponytail. Warm, confident half-smile; bright hazel eyes; athletic build. Olive/khaki bomber jacket, sleeves pushed up, worn open over a grey training top; a circular mission patch (star/comet on navy and red) on the left chest; zip pockets on the sleeve. A fitness tracker on one wrist. SIGNATURE PROP: a kettlebell, carried casually on one shoulder like it weighs nothing. Lit in hot pink from one side, acid-yellow-green from the other. **LOCKED WARDROBE - MATCH THE UPLOADED REFERENCE EXACTLY.** Her jacket is a **NAVY-BLUE bomber**, worn open, sleeves pushed up, over a black training top, with dark leggings and sneakers, a fitness tracker on the wrist, and the courier satchel worn cross-body. Long brown hair, loose or pulled back. (An earlier draft of this doc said olive/khaki with a high ponytail from a first-pass image - that is SUPERSEDED. The uploaded Higgsfield reference is the canonical one, and every generated shot must match it.) She wears this, unchanged, in every shot until the milestone below. **DECIDED (2026-07-26), NAVY IS FINAL.** The narration page called the jacket "hot pink" and two early shots split the difference badly - one zipped the jacket shut and painted magenta blush onto her cheeks, the other put a pink streak in her hair. Neither is the design. Brandt confirmed navy stays: it holds a clean silhouette against a gold sunrise, and it keeps hot pink free to mean something specific elsewhere - hero deflect is cyan, swarm fire is red, and a fully pink hero would blur into that grammar. Hot pink lives ONLY as a rim-light along her silhouette edge and as piping/trim on the jacket. It must never appear on skin (blush, makeup) or in her hair. The narration page's "hot pink jacket" line is being corrected to match this, not the other way around. **WARDROBE EVOLUTION - THE ONE ALLOWED CHANGE (approved 2026-07-26).** Costume is otherwise fixed all season, because a fixed outfit is how a young audience tracks a character. The single permitted evolution is when she stops being a courier and becomes a PILOT: she keeps the navy bomber and the satchel - the silhouette and the hot-pink accent NEVER change - and GAINS First Light flight gear layered over them: a Sentinel flight harness across the chest, and a socket at the shoulder or belt where the key-shard rides. Rules for it: (1) the jacket itself never changes, (2) it is added ONCE, at a story milestone, never gradually, (3) the audience should be able to date any frame in the series by whether the harness is on. Recommended milestone: the end of E2, when the Manta chooses her and she leaves Solmara. If a later season needs another step, it follows the same law - add a layer, never replace the jacket. **WHAT THIS FIXED IN THE BIBLE:** Holly Jo is an ATHLETE, not just a skater courier. This is a better fit for the game than what was written: her signature ability SECOND WIND is literally a "HIIT burst - rapid fire + a speed surge" and the code comment calls it an "interval sprint." So: she trains. She runs intervals up the orchard terraces before her route. Her endurance is EARNED, which is why she is still standing at the end of a fight when nobody should be, and why the "second wind" is a real thing about her body and not a metaphor. Keep the courier job and the delivery-racing - the athlete identity sits under it and explains it. --- --- from series_graph.py (locked wording) --- THE LEAD. Game pilot (Second Wind: 6s rapid fire + speed surge). Courier on Solmara. Series look derives from this game portrait, repainted painted-dawn: late teens, athletic, long loose brown hair, open navy bomber with hot-pink piping over a black top, courier satchel.

blonde, RED or GINGER hair, PURPLE or VIOLET jacket piping, a

You said: META Holly Jo. Approved/holly-jo/Pilot3.png is also approved but is the IN-GAME look, not the meta - never attach Pilot3 as the character master.

Approved/holly-jo/hj_p2.png
ref a02a7ba6

LOCKEDNO "NEVER" LIST

HOLLY JO SHIELD

You said: Holly Jo's GLOW / SHIELD state - she is making the cyan disc in front of her palms. Use ONLY at approved milestones. Her neutral master is 'holly-jo'.

Approved/holly-jo/hj_shield.png
ref 74ac364a

LOCKEDNO "NEVER" LIST

HOVERBOARD

Approved/hoverboard/hover_p1.png
ref 33369cc9

LOCKED

You said: Vess's room. He ruled 2026-08-29 that it is JUST HIS ROOM - atmosphere, not the world-lamps - so the lanterns carry no meaning and their count is not canon. Registered on the reading that 'it stays'; revoke on /series if that is wrong.

Approved/keepers-chamber/lamp_chamber.png
ref 36d36bbf

NEVER - what breaks it

female or she/her, an older or middle-aged man read out of the silver hair (he is 24), dark, brown, blond or auburn hair, long hair, a ponytail, a topknot or a shaved head in place of the silver-grey high textured crop with tight-faded sides, clean-shaven or a full long beard instead of a few days of salt-and-pepper stubble, a grim, stern or blank expression in place of the sly amused half-smile and raised eyebrow, heavy-built or broad in Darren's build (he is wiry and athletic), a cat, cat ears, whiskers, a tail or a paw print anywhere on him or his gear, KITTY treated as a given or birth name rather than a callsign, without the orange-and-blue harness rig or without its lures, a lure count other than five or all five clipped on one side of the buckle, lures with no treble hooks, dull unpainted lures, or lures that glow, more than one EL strip per shoulder strap or EL strips in amber, yellow, green, red or magenta (they are cyan), the KITTY chest tape missing, misspelt or reading another word, any other readable lettering, logo, stencil or patch added anywhere, the small enamel fish pin dropped or swapped for a badge, medal or military insignia, green woodland, olive, brown desert, grey urban or pink camo, or a plain unpatterned hoodie in place of the teal-and-blue camo, a rucksack, dive tank, pack or slung bag on his back (the back is bare straps), a wetsuit, dive mask, goggles, rebreather, life vest, waders, oilskins, a sou'wester, a knit cap or any hat, or the hood pulled up over the crop, armour, a breastplate, a flight suit, a jumpsuit or any uniform, full-fingered gloves, gauntlets, or gloves in any colour but black, brown boots, trainers, sandals or bare feet, a fishing rod, reel, creel or net drawn as his gear (his tool is the hook named Bait and it is not on this sheet), a harpoon gun, rifle, blade or sword, glowing eyes (that is Darren's shield-up state alone), a cyan deflect disc in or above his hands (the shield is Holly Jo's power, never his), any background, boat, wreck, deck, water, prop or ground plane drawn onto the sheet itself (three views on a plain cream backdrop), photoreal, 3D-render or flat-vector finish, and in any shot built around him: the game's neon magenta rim-light, pitched or tiled roofs, tan or beige stone, yellow or amber lantern strings, or a dusk or third palette state

Approved/kitty/kitty_1.png
ref a441e6b4

LOCKEDNO "NEVER" LIST

LANE KIT

You said: How a town with no weapons fights: ladders, crates, wet sailcloth, boat planks, water butts. Nothing military anywhere - that contrast is the argument CH20 makes.

Approved/lane-kit/lanekit_1.png
ref 2de6eb1c

LOCKED

LANTERN STAFF - the hooked staff and the cyan-flame lantern hung from it

SHEET: Approved/lantern-staff/staff1.png (registry slug lantern-staff) APPROVED 2026-08-25 in WAVE 10, verdictledger.csv row staff1.png / "WAVE 10 - VESS'S LANTERN-STAFF", verdict...

the full canon wording

SHEET: `Approved/lantern-staff/staff_1.png` (registry slug `lantern-staff`) APPROVED 2026-08-25 in WAVE 10, `verdict_ledger.csv` row `staff_1.png` / "WAVE 10 - VESS'S LANTERN-STAFF", verdict APPROVE; the registry card carries status SHEET APPROVED. It is the only image in `Approved/lantern-staff/` and the only image the registry lists besides its `AssetSheets/wave10/` original, which is the same file. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at native crops of the crook, the cage interior, the top and bottom cage bands and the foot - not from memory, not from the filename, and not from the one-sentence registry note that has stood in for this block since the wave landed. WHAT IT IS. A PROP STUDY of ONE object, drawn THREE TIMES on a plain studio plate. LEFT, small, the COMPLETE staff top to foot, standing upright with the crook at the top and the lantern hanging clear of the shaft to the right. MIDDLE, large, a DETAIL of the crook and the hanging lantern, the shaft running off the top and the bottom edges of the frame. RIGHT, large, a DETAIL of the foot - grip, bands and butt shoe - running off the top edge. All three are the same object at three scales. There is no variant, no second design, and no other view. The backdrop is a flat warm PALE-GREY studio ground graded straight down, from a slightly darker warm grey along the WHOLE top edge to pale cream at the bottom, with no left-to-right falloff at all, and no room, no floor line, no horizon or anything else in the picture. Two soft brown elliptical CAST SHADOWS sit on an implied ground, one under the full staff's foot and one below the right-hand detail. THE SHAFT is one length of DARK BROWN WOOD, near-black in its shaded core with warm mid-brown lit edges, bark stripped, carrying long vertical grain and a few knots, its silhouette very slightly irregular rather than planed straight. It is round in section and holds close to ONE thickness down its whole length - a little heavier just under the bend and again through the grip - and it does NOT taper toward the foot. THE TOP IS A SHORT BENT CROOK, not a curl: the shaft bends forward at roughly a right angle a short way below the top and runs out almost horizontally to frame RIGHT for about three shaft-widths, ending in a CUT BRANCH STUB whose sawn face is pale tan with concentric growth rings. THE HEAD HAS TWO CUT ENDS, not one: above the bend the shaft carries on a little further and stops in a SECOND cut face, pale tan, about a shaft-width across, hewn and slightly ragged with no growth rings on it. So the head is a natural FORK - the stem cut off short above the branch, the branch cut off short to the right - and not a bent tip. THE IRON, and the order of it matters. FIVE pieces, all the same dark grey-brown iron. (1) High on the crook, close to the stub, a forged EYELET STRAP wrapped around the wood with its loop hanging beneath. (2) A wide BAND carrying one round rivet head, clamped around the shaft just below the bend. (3) A BAND at the top of the grip. (4) A BAND at the bottom of the grip. (5) The BUTT SHOE at the foot: a heavy cap flaring slightly to a flat bottom, one small rivet on its side, hard bright chipped highlights along its edges. Between bands (3) and (4) the shaft carries a SPIRAL GRIP WRAP of WARM MID-BROWN leather strap, roughly seven overlapping turns laid at a shallow diagonal, lighter and warmer than the near-black wood beneath it. Below band (4) a short stretch of BARE WOOD shows before the shoe. THE HANGING. A large forged IRON RING, roughly two fifths of the lantern's width, passes through the eyelet strap's loop. The lantern hangs from that ring by a short iron BAIL rising out of a small round boss at its apex. Nothing else joins them: no chain, no rope, no cord, no thong, and the lantern is not fixed to the wood. THE LANTERN is a TAPERED SIX-SIDED IRON CAGE, NARROWEST AT THE TOP AND WIDEST AT THE BOTTOM. From the apex boss, iron struts splay down to a narrow riveted TOP COLLAR; SIX vertical RIBS run from that collar down the outside of the glass to a broad riveted BOTTOM RIM BAND. There are SIX GLASS PANELS - three across the near face, the centre one much the widest and the two flanking ones foreshortened - and the two back ribs read as dark verticals seen through the glass just inside the silhouette. Low down, about a third of the way up from the foot of the cage, a separate heavy iron GUARD HOOP encircles it standing PROUD of the glass, clasped to each rib by a short bracket; its NEAR side passes in front of the candle, and its FAR side reads through the glass as a horizontal bar behind the FLAME, above the candle's melted top - not behind the candle. The glass is pale and near colourless, milky, brushed with soft vertical strokes and tinted green-grey where the flame reaches it. INSIDE, standing on a shallow DISHED METAL FLOOR PLATE with a raised rim, is ONE SHORT PALE CANDLE - a squat cylinder with a softly melted top and a drip lip, cream-white and washed cyan by its own light - with a dark upright wick. THE FLAME is a tall leaf-shaped tongue with a hooked tip and one small detached wisp above it: a saturated GREEN-LEANING CYAN body around a near-white cyan core standing over the wick. It is the only light source inside the picture, and it lays cyan on the inner faces of the cage, on the glass, on the candle and on the near side of the wooden shaft. It is not a beam; there is no flare, no halo, no spark and no smoke. SCALE AND FINISH. The lantern is about one fifth of the staff's overall height and about three shaft-widths across at its base. Nothing on the sheet sets the staff's height against a person. The rendering is PAINTED: a dark drawn contour around every form with soft, blended, value-modelled shading inside it, and visible brush strokes in the wood grain and the glass. All the metal is one material, but it is lit two ways - the shaft's bands and the butt shoe carry hard bright highlights and read polished, while the lantern's cage is matte and carries a warm rust-brown patch on one facet of the bottom rim. WHAT IT IS FOR. It is KEEPER VESS'S staff and nobody else's. The registry card is one sentence and it is the whole brief: "Tall staff, small glass cage, faint cyan flame. Exists only if Vess does," with the single graph edge "Carried by keeper-vess". CHARACTER-CANON carries it inside the KEEPER VESS block as HIS STAFF, and that block's NEVER line ends "the staff in anyone's hands but Keeper Vess's". In E1 the manifests attach it four times: CH1 beat 3b, Vess at the summit before the dim Ring with the staff up - the OMEN, where the order is fixed, the flame LEANS toward the Ring first and one glyph blinks in answer; CH1 beat 5d, "Vess does not run; he raises the staff", held in silence; CH2's stair-descent two-shot; and CH2-04/05 on the morning stair with Darren. E1-FULL-EPISODE carries it in shot 7 (Vess from behind, mid-climb, staff in hand), shot 10 (frozen on the top stair, staff LOWERED) and shot 19 (coming back up the road at night to the porch). E4-CH11 lists `lantern-staff` with `keeper-vess` for shot 05. Nothing in the docs gives the prop any power, history or origin of its own, and none is invented here. PROMPTING. NOBODY IS ON THIS SHEET - not a hand, not an arm, not a figure. Vess composes in from `Approved\keeper-vess\vess_1.png`; the Ring, the stair, the crown, the town and the sea each come from their own plates. No location and no time of day is baked in, so the shot's state (EMERALD NIGHT or CREAM DAY) comes from the plate, never from here. The studio backdrop's warm grey key must NEVER be used as a shot's light reference: in a shot the flame is the local light and the plate supplies the rest. Attach this sheet for SHAPE and copy the counts verbatim into the prompt's must-list, because a number that is not written down is a number the model picks for itself: SIX cage sides, ONE candle, ONE flame, ONE guard hoop, TWO cut wood ends at the head, TWO bands bracketing the grip, ONE riveted band below the bend, ONE eyelet strap, ONE hanging ring, ONE butt shoe. The lantern HANGS from the crook and SWINGS - it is never mounted on top, never at mid-shaft, never in a free hand. Take the finish from the film's LOOK-LOCK (bold ink linework, flat cel shading), not from this plate: the soft blended modelling here is prop-study rendering and must not be inherited into a shot. RECORDED DEFECTS. The right-hand foot detail FLOATS - its cast shadow sits centred DIRECTLY BELOW the shoe, not offset to either side, but separated from it by a clear band of backdrop about a third of the shoe's own height, so the object does not stand on anything. The middle detail carries no shadow at all, so one plate has three elements and two different ground treatments. Two of the three elements are BLEED CROPS cut by the frame edge (the middle by the top and bottom, the right by the top); only the left element is a complete view, and the sheet holds no back, no top-down and no second angle. The glass carries a warm cream specular streak on the upper front panel and cooler ones on the flanking panels - a studio key from outside the picture, on an object whose only in-world light is the flame. The flame's innermost core is drawn NEAR-WHITE inside the cyan body; the KEEPER VESS NEVER line forbids "a white ... flame", and the body here is unambiguously cyan, so this is recorded rather than corrected and nobody should flatten the core to solid cyan. The rendering is soft painted value-modelling, not the flat cel shading the film LOOK-LOCK names as the STYLE. RECORDED CONFLICT (media id): the asset record `_graph_only_assets.json` gives this sheet's ref as `b46c01f1-f033-4949-bf07-5db0216da52b`; CHARACTER-CANON.md line 96, inside the KEEPER VESS block, gives the same file `Approved\lantern-staff\staff_1.png` as `id 14724801-0a9a-4020-b066-46d9ee7bb77d`. Both are recorded as written; neither is resolved here. RECORDED CONFLICT (box versus cage): ANIMATION-AUDIT-2026-08-24.md line 158 describes the canon prop as "the canon lantern hanging from the hook at the top of the staff (iron-framed box, cyan flame) exactly as in Approved\lantern-staff\staff_1.png", and names "a larger, tapered conical cage, containing a CANDLE" as the WRONG lantern that a shot had drifted into. The sheet IS a tapered cage containing a candle, and the KEEPER VESS NEVER line agrees with the sheet - it forbids "a square four-panel railroad lantern instead of the round tapered iron cage that is widest at the bottom" and names "the short pale candle standing on its flat base plate". Both statements are recorded as written; neither is resolved here. RECORDED CONFLICT (gnarled): CHARACTER-CANON's KEEPER VESS block calls it a "tall gnarled dark-wood staff". The shaft on the sheet is a debarked round branch with long grain, a few knots and a slightly irregular silhouette; it is not twisted, burled or heavily gnarled. Both stand. RECORDED CONFLICT (dark leather): the KEEPER VESS NEVER line calls the grip a "spiral dark-leather grip wrap". On the sheet the wrap is a WARM MID-BROWN leather, lighter and warmer than the near-black shaft it is wound around. Both stand. RECORDED CONFLICT (registry wording): the registry and graph card say "small glass cage, faint cyan flame". On the sheet the cage is an IRON frame carrying glass panels rather than a glass cage, and the flame is a saturated bright cyan, small only in the size of the pool it would throw and in proportion to the staff. Both stand. RECORDED CONFLICT (stale map): ASSET-MAP.md line 100 still lists "[ ] VESS'S LANTERN-STAFF (if Vess survives)" as unbuilt, while `verdict_ledger.csv` and the registry both carry it as SHEET APPROVED with `staff_1.png` approved 2026-08-25. Both stand. VERIFIED 2026-09-06 by a second agent against the sheet: 132 claims checked, 7 corrected. --- from series_graph.py (locked wording) --- Tall staff, small glass cage, faint cyan flame. Exists only if Vess does.

an amber, orange, yellow, gold, white, green, red, magenta or violet flame, a cyan rim around a warm core, a flame with no white-cyan core or a core drawn any colour but white-cyan, an...

NEVER - what breaks it

an amber, orange, yellow, gold, white, green, red, magenta or violet flame, a cyan rim around a warm core, a flame with no white-cyan core or a core drawn any colour but white-cyan, an unlit, cold, smoking or empty lantern, two flames or two candles, a glowing crystal, orb, gem, bulb, coal or ember in place of the candle, a tall taper or a floor-length candle, an oil reservoir, fuel tank, wick knob, burner or chimney instead of the ONE short pale candle standing on its shallow dished floor plate, a pink paper lantern like the town's strings, a brass, gold, bronze or copper frame, filigree, engraving, or carved, inlaid or glowing runes, glyphs or letters anywhere on the wood, the iron or the glass, tinted, stained, coloured, frosted, cracked or broken glass, a glass jar, bulb or any modern fitting, a square four-panel railroad or box lantern, a cage with any side count but SIX, a cage narrowest at the bottom or straight-sided instead of widening toward its foot, a missing, doubled or mid-height guard hoop, a cage missing its top collar or its bottom rim band, the lantern bolted rigidly to the staff head or standing upright like a lamppost, slung from a chain, rope, cord or leather thong instead of the ONE forged iron ring through the eyelet strap, hung at mid-shaft, hung from a fully curled shepherd's crook, or carried separately in a free hand, two lanterns, a straight planed or varnished shaft, pale blond, birch, grey driftwood, bamboo, painted or metal shafts in place of the dark grained wood, a smooth top with no crook, a fully curled crook, a crook with no cut branch stub, a blade, spear point, axe head, claw or finial on either end, a bare shaft missing the spiral leather grip, a grip wrapped in black, red, white, rope or cloth instead of warm brown leather, any band count but the TWO bracketing the grip plus the ONE riveted band below the bend, a missing iron butt shoe, a rubber ferrule or a walking-cane tip, a short cane, a crutch or a wand, a beam, spotlight cone, lens flare, halo, sparks, embers or smoke in place of a small steady pool of cyan candlelight, the DEFLEKT game's neon rim light, HUD glow or chrome styling on it, a photoreal, 3D, CG, plastic or metal-render finish, an exploded view, turnaround strip, colour-swatch bar, callout, arrow, ruler, label, caption or any lettering on the plate, a hand, arm, glove, figure, Vess or anyone else drawn onto this sheet, any background at all - stair, Ring, crown, town, lantern strings, orchard, sea, sky, stars, room, wall or floor line - and the staff in anyone's hands but Keeper Vess's.

Approved/lantern-staff/staff_1.png
ref b46c01f1

LOCKEDNO "NEVER" LIST

LANTERN STRINGS

You said: Solmara's signature light - one sagging catenary cord carrying SIX lit rose-pink ribbed paper lanterns. Approved 2026-08-25 in WAVE 12 - THE REALIGNMENT: ASSET SHEETS REPAINTED. The count is FIVE small lanterns plus ONE large hero lantern on the same cord, so the big one is a scale detail and not a second fixture; the plate's near-black backdrop is NOT the film's deep blue-violet night and never travels into a frame. Registered 2026-09-07 (approved but never registered).

Approved/lantern-strings/lantern_p2.png
ref 729b50aa

LOCKED

MARKET SQUARE - the town's fountain, drawn alone on a plain backdrop

SHEET: Approved/market-square/fountainp2.png (registry slug market-square) APPROVED as WORLD SUITE - CANON (verdictledger.csv row market-square, category places); the picture itself is...

the full canon wording

SHEET: `Approved/market-square/fountain_p2.png` (registry slug `market-square`) APPROVED as WORLD SUITE - CANON (`verdict_ledger.csv` row `market-square`, category `places`); the picture itself is `fountain_p2.png`, verdict APPROVE 2026-08-25 in "WAVE 12 - THE REALIGNMENT: ASSET SHEETS REPAINTED" (ledger line 95), and `_graph_only_assets.json` carries the registry note "This is the market square master. Approved/world-suite/market_v3.png is a DIFFERENT picture and was denied ('close but still needs work') - do not substitute it." `ref-media-ids.json` no longer says that: its note was corrected 2026-09-07 and now reads "The market square's FOUNTAIN, one isolated prop on a plain near-black backdrop - NOT the square itself". TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at native crops of the head, the coping, the base and the shaft - not from memory. Until now this entity had a picture and one sentence of canon, which is the condition that let the fountain drift between shots and, once, be left out of its own square altogether. WHAT IT IS. ONE STONE FOUNTAIN, ALONE, on a square plate, centred, seen from slightly above at a three-quarter angle so both tiers read as wide ellipses. THE BACKDROP IS A FLAT NEAR-BLACK CHARCOAL with a faint blue-grey cast - sampled 28-30, 31-33, 34-36 at all four corners, at mid-left, and directly under the base, so it is one flat value with no gradient and no vignette. There is NO horizon, NO sky, NO ground plane, NO flagstones and NO CAST SHADOW: the stone simply ends against the dark. THE BUILD IS TWO CONCENTRIC CIRCULAR TIERS IN THREE COURSES OF BLOCK. The outer tier is a wide, low STEP RING - one course of blocks with a rounded outer edge, its flat top a continuous ledge running the whole way round. Nothing on the sheet fixes its real width: there is no figure and no scale reference anywhere on the plate. Set in from that ledge stands the BASIN WALL: two courses, a lower course of block faces and above it a COPING course whose top faces catch the light and form the rim. Every block is drawn as its own trapezoid closed by a dark ink joint; the widths are irregular, there is no repeat unit, and the joints of the step ring do NOT line up with the joints of the basin wall above it. THE STONE IS WEATHERED TEAL-GREEN throughout - mid-value, cool, brush-mottled, with short hairline dark cracks flicked across some faces and a chipped corner or two. THE POOL AND THE CENTREPIECE. The basin holds a brimming pool of pale MINT-AQUA water, its surface carrying concentric ripple rings drawn as thin ink arcs and pale cream strokes, brightest at the centre and fading toward the wall. Standing in that pool, dead centre, a stack of FOUR STONE PARTS, and the count is the design. From the water up: (1) a TAPERED SHAFT, narrower at the top and flaring toward its foot, its base submerged, no carving on it; (2) ONE COLLAR - a single plain band that overhangs the shaft slightly; (3) a wide CAPITAL BLOCK above the collar, a shallow trapezoid wider at the top than at the bottom, with a plain flat face; (4) a shallow UPPER DISH, a circular bowl with a thin lip, brimming with the same pale mint water and flecked with white ripple marks. Standing in the middle of that dish's water, a small tapered NOZZLE STUB with a dark oval HOLE in its top. NO water is drawn issuing from the nozzle - the dish is simply full. THE FALLS ARE TWO, and only two: one at the left, one at the right, each leaving through a squared step-notch in the dish's rim and hanging straight down as a broad pale ribbon streaked with white highlights, into the pool, where each raises a small ring of splash. The two falls are the only falling water on the sheet. There is no jet, no arc, no plume and no spray. THE LIGHT. A warm CREAM-GOLD key from LOW, with no source drawn in frame: every surface that faces down or inward toward the pool takes it, and every surface that faces camera stays cool. It lays a warm sandy cream-tan wash across the FAR INNER FACE of the basin wall (sampled around 165,149,123 and 169,152,122), across the lower third of the capital block and the collar, and up the shaft's left and right flanks and across its foot - the centre of the shaft stays teal-green; it puts pale cream-gold highlights on the pool (243,229,180 in the warm strokes, rising to a near-white 249,250,232 at the brightest) and cream-white edges on the two falls. Everything else stays cool teal-green. The stone that faces camera on the outer step ring falls into the coolest, darkest value on the plate. RENDERING STYLE. PAINTED 2D with BOLD BLACK INK LINEWORK on every silhouette and every block joint, flat cel shading with soft brush mottling inside the shapes. Not photoreal, not a 3D render, not CGI, not a diorama or a scale model; no plinth, no table, no studio backdrop. WHAT IT IS FOR. The locked wording from the graph entry, kept whole: "Where the town gathers; where Danerrens change hands every day." `SOLMARA-GEOGRAPHY.md` fixes the place: "MARKET SQUARE is the widest terrace, mid-slope on the south face, fountain at center. The Ring is visible above the rooftops to the NORTH (upper background) from the square", and "OSSIE'S BAKERY fronts a lane one terrace BELOW the market square." The fountain is the square's DEFINING LANDMARK: the town master calls it out by name, records that "the audit already convicted one shot for losing it", and the seam plate says the square "resolves as a small circular stepped basin" with the fountain "present in this plate". It is also load-bearing infrastructure - THE WELL IS CUT (Brandt ruled 2026-08-31): "The town takes its water from the spring-fed canal stepping down the terraces and from the approved fountain in the market square. There is no separate well or cistern, and none is to be drawn." The graph ties it to the currency (`Currency` -> `danerren-coin`; the coin's own entry reads `Spent at` -> `market-square`), and the market vendor's block names this sheet as one of his two homes: "He is the figure for the market square - the approved fountain prop and the wide `solmara-market-plate`." In the film the square is established twice, A1-04 and A2-03, both with a push-in on this fountain; `film/LOOK-LOCK.md` records that A1-04, the market lock-off, drifted off the fountain entirely at ELEVEN seconds and held at SEVEN, so a locked-off shot on this prop stays under eight seconds with the lock in the first line. PROMPTING. THIS IS A PROP ISOLATE, AND ALMOST NOTHING IN THE MARKET SQUARE IS ON IT. Not on this sheet, and each composes in from its own registered picture: the square itself, its flagstones, its trestles, its cream and tan awnings, its stalls and its surrounding buildings (the wide plate `solmara-market-plate`, `Approved/world-suite/market_v5.png`); the crowd's adults (`townsfolk`) and its children (`children`), a single islander (`townsfolk-workers`), the vendor with his brass two-pan balance (his own registered design); the coins (`danerren-coin`); Holly Jo, Momma Jo, Petra, Ossie, Vess, Darren and the hoverboard (each their own sheet). Also absent by design: the pink lantern strings, the Ring, the mountain, the sky, the ground, a cast shadow, and the COIN PLINTH - the plinth belongs to the wide square, never to this prop. LAW ZERO-B, and canon states it in as many words: "`market-square` is the ISOLATED FOUNTAIN prop; `solmara-market-plate` is the wide town plate. Different pictures, different jobs." `film/editor_notes.md` convicts shot A2-03 for attaching BOTH and rules "Drop `market-square`" - so attach this sheet when the fountain itself is the subject of the frame, attach the wide plate when the square is, and never both in one prompt. THE SHEET CARRIES NO STATE. Its flat dark backdrop is a prop backdrop, not the emerald night sky, and its warm cream-gold key belongs to neither Solmara state - relight the prop into EMERALD NIGHT (deep blue-violet sky, rose-pink lantern strings, teal-green stone) or into CREAM DAY (cream-gold sun, matte unlit lanterns, cool blue-teal shadows) in the shot, never a blend and never a third state. RECORDED DEFECTS. The fountain drawing itself is clean and breaks no LOOK-LOCK law; the problems are all in the record around it, plus two things about the plate. (1) NO STATE AND NO MOTIVATED LIGHT. The warm cream-gold key has no source in frame, so a prompt that carries this sheet in unrelit will import a warmth that neither Solmara state licenses. (2) HAIRLINE INK MARKS. The capital and the shaft carry a few short hooked ink strokes as stone cracking; they are not glyphs and they spell nothing, but the Ring's rim has already produced Roman letterforms under a hard push-in on this show, so a push-in on this prop must keep them as cracks. (3) RECORDED CONFLICT - THE NAME SAYS PLACE, THE PICTURE IS A PROP. The registry files this as `MARKET SQUARE`, category `places`, and the graph wording describes a place where the town gathers; the approved sheet is one fountain isolated on a plain backdrop with no square, no crowd, no buildings and no ground. `CHARACTER-CANON.md` line 2416 states the intent ("the ISOLATED FOUNTAIN prop"), but the registered NAME was never narrowed to match. Both are on the record; not resolved here. (4) RECORDED CONFLICT - THE GRAPH POINTS AT A DIFFERENT PICTURE. `C:/Deflekt/Tools/series_graph.py` line 110 gives `market-square` the image `AssetSheets\wave11\market_v2.png`, a wide town plate; `_graph_only_assets.json` and `ref-media-ids.json` give the sheet as `Approved/market-square/fountain_p2.png`, this isolated fountain. Both are on the record; not resolved here. (5) RECORDED CONFLICT - THE DENIED SIBLING'S VERDICT IS RECORDED TWICE, DIFFERENTLY. The registry note says `Approved/world-suite/market_v3.png` "was denied ('close but still needs work')" and `CHARACTER-CANON.md` line 2358 and `verdicts-cache.json` (key `stale:market`) carry that same refusal; `verdict_ledger.csv` line 136 records `market_v3.png` as APPROVE, WAVE 18, 2026-08-25. Separately, `Approved/world-suite/` today holds `market_v5.png` and not `market_v3.png`, and canon registers `solmara-market-plate` as `market_v5.png`, which `SPEC-VS-SHEET.md` says "still sits unruled in Rework". All of it is on the record; not resolved here. (6) RECORDED CONFLICT - THE CENTREPIECE IS SIMPLER IN THE WIDE PLATES THAN IT IS HERE. The town master describes the square's fountain as "ONE low round stepped fountain basin and a single pale upright column at its centre"; the island profile calls it "a round basin FOUNTAIN and a central stone spout pillar"; the seam plate resolves it as "a small circular stepped basin with a pale cyan-white central figure". This sheet draws the centre as a four-part stack - shaft, collar, capital, dish - under a nozzle, feeding TWO falls, not a single plain column. Both readings are on the record; not resolved here. VERIFIED 2026-09-06 by a second agent against the sheet: 98 claims checked, 10 corrected. RECORDED DEFECT, DOWNSTREAM AND THE REASON THIS BLOCK EXISTS: with no canon words to copy, the v2 film's shot 1-01 drew the market fountain as A GLOWING CYAN FLAME-SHAPED STATUE on a stone basin - off-model on every count, and additionally a colour-law break, since it put a fifth cyan source in the frame. That is exactly what a word-less asset produces, and it is why every asset in this library now has a block.

any spout count but TWO, a jet, arc, plume, spray or fan of water issuing from the nozzle, water that glows or is lit cyan, magenta, gold or white from within, any tier count but TWO...

NEVER - what breaks it

any spout count but TWO, a jet, arc, plume, spray or fan of water issuing from the nozzle, water that glows or is lit cyan, magenta, gold or white from within, any tier count but TWO (one step ring, one basin) or any course count but THREE, more than one collar, more than one upper dish, a second nozzle, a dry, frozen, drained, cracked or overflowing basin, tan, beige, brown, sandstone, grey-blue, pale mint, whitewashed or white marble stone in place of weathered teal-green, bronze, copper, iron, tile, mosaic, brick or plaster construction, a square, rectangular, octagonal, lobed or scalloped basin in place of the round one, a well with a bucket, rope, winch, arch or roof, a pump, a spigot, a trough or a cistern (the well is CUT), a plain flat basin with the stepped tiers removed, a figurative statue of any kind at the centre - person, animal, fish, bird, dragon, angel or the Ring itself - in place of the plain stone stack, a carved face, mask, gargoyle or beast-head spout, a canopy, baldachin, pergola or any pitched, gabled, peaked or tiled roof built over it, carved glyphs, runes, sigils, a ring emblem, numerals, letterforms, a plaque, a dedication or a watermark anywhere on the stone or in the frame, ink cracks resolved into pseudo-writing under a push-in, the game's neon cyan-magenta rim-light on the stone or the water, red light of any kind (red is the Swarm's), a coin plinth, stall, trestle, awning, cart, basket, lantern string, cord, pole, building, wall, roofline, the Ring, the mountain, the orchard, the canal, the sea or any sky drawn onto this sheet, flagstones, paving, a ground plane, a cast shadow or a drawn shadow ellipse added under the base, Holly Jo, Momma Jo, Petra, Ossie, Vess, Darren, the vendor, townsfolk, children, the hoverboard, a Mint drone or ANY figure on this prop sheet, this sheet used as the wide market square, attached in the same shot as `solmara-market-plate`, or attached as the light, palette or roofline reference for anything, its flat dark backdrop read or reused as the emerald night sky, its warm cream-gold key carried into a shot as a third palette state or blended with the night, blast scars, rubble, dust, damage, Grey figures or harvest drain baked onto the prop, a drawn panel border, frame, letterbox or vignette on the plate edge, and a photoreal, 3D-render, CGI, diorama or scale-model finish.

You said: The market square's FOUNTAIN, one isolated prop on a plain near-black backdrop - NOT the square itself (that is solmara-market-plate / world-suite/market_v5.png). Two teal-green stone tiers, a pale pedestal, two falling streams. Approved WAVE 12, 2026-08-25. ATTACH FOR THE FOUNTAIN ONLY and state the palette state; the sheet carries neither, and its backdrop is not a night sky. world-suite/market_v3.png was DENIED and is never a substitute. Note corrected 2026-09-07 (it previously said 'market square master').

Approved/market-square/fountain_p2.png
ref 33084afc

LOCKED

MAY-DAY

NEVER list added 2026-09-02. The description for this asset lives in another canon source and is unchanged; this block exists only to carry its NEVER list, which it had never had. ---...

the full canon wording

NEVER list added 2026-09-02. The description for this asset lives in another canon source and is unchanged; this block exists only to carry its NEVER list, which it had never had. --- from CHARACTER-DESIGNS.md --- **Accent: magenta (1.00, 0.24, 0.68)** A big, warm, heavyset man. Round face, rosy cheeks, black rectangular glasses, a neat grey-white goatee and moustache, and a wide open delighted laugh - the most joyful face in the series. A black flight helmet with a magenta-lit shell and goggles pushed up on the brow; across the goggle strap, in white show- lettering: **"May-Day."** A boom mic on a coiled cable at his cheek. Navy-blue leather flight jacket with a brown leather collar, brass zip, chest and sleeve patches (one is a stylized "S"). Lit in hot magenta. **WHAT THIS FIXED:** the bible implied a lean 33-year-old daredevil. He is older, bigger and warmer - a beloved SHOWMAN, which is better: the crowd-pleaser whose whole body is part of the act. The helmet with his stage name on it is the character in one object - he wears his callsign where his face should be. Keep everything else: the frozen mayday, Roz, joining last, "My name is Aaron. May-Day's the guy who shows up." --- --- from series_graph.py (locked wording) --- Future crew. Game pilot (Punchline: a huge deflecting ring). Cheerful older pilot, name on his helmet. Canon: real name Aaron.

lean or slim build, a young man, brown or black hair and beard in place of grey-white, clean-shaven, a full long beard or a handlebar moustache, no glasses, round wire-frame or aviator...

NEVER - what breaks it

lean or slim build, a young man, brown or black hair and beard in place of grey-white, clean-shaven, a full long beard or a handlebar moustache, no glasses, round wire-frame or aviator glasses, sunglasses or mirrored lenses, bare-headed, a brown WWII soft leather flying cap, a white silver or orange helmet shell, a full-face visored helmet, an oxygen mask covering his face, goggles pulled down over his eyes instead of pushed up on the brow, a helmet with no lettering, lettering reading AARON or MAYDAY as one word, a shearling or fur collar in place of the plain brown leather one, a brown tan olive or orange jacket, a one-piece flight suit or coveralls, magenta-violet piping down the jacket front (that is Holly Jo's jacket), a bare patch-free jacket, invented insignia replacing the round chest squadron patch the winged name-tape or the sleeve flag, a white silk aviator scarf, leather flight gloves (his hands are bare), cargo trousers shorts black combat boots or white trainers in place of dark jeans and brown lace-up boots, a grim stern or brooding expression, a cyan amber or orange rim-light in place of hot magenta, cyan glow on his hands or a deflect shield of his own

Approved/may-day/mayday_2.png
ref c49618d0

LOCKED

MESSAGE CASES - three brass-capped courier tubes, one open with its scroll

SHEET: Approved/delivery-pod/pod3.png (registry slug message-cases) APPROVED as "WAVE 5 - DELIVERY POD RE-ROLL" in verdictledger.csv - pod3 APPROVE, pod4 DENY in the same wave, pod1...

the full canon wording

SHEET: `Approved/delivery-pod/pod_3.png` (registry slug `message-cases`) APPROVED as "WAVE 5 - DELIVERY POD RE-ROLL" in `verdict_ledger.csv` - pod_3 APPROVE, pod_4 DENY in the same wave, pod_1 and pod_2 DENIED in the wave before it - and carried in the registry as `delivery-pod`, type `props`, status "SHEET APPROVED". RENAMED in the registry note 2026-08-30 from DELIVERY POD to MESSAGE CASES; the folder, the ledger rows and the graph's own entry name all still read `delivery-pod` / DELIVERY POD (the graph's slug is already `message-cases`), so the path and the name do not agree and that is expected, not a mistake to correct. The `ASSET-BROWSER.html` entry lists this asset as kind `orphan`, gap `no-canon-block`, status `unsafe` - this block is what closes that gap. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at 2x and 4x native crops of the left case's cap and latch, the standing case, and the open case's mouth - not from memory. WHAT IT IS. THREE cylindrical carrying cases on a flat empty backdrop, and nothing else in frame. They are ONE design shown in three states: closed and latched (left, lying), closed and standing on end (centre), and open with a scroll coming out (right, lying). EVERY CASE IS THE SAME BUILD. A plain barrel of pale cream-tan material with long LENGTHWISE grain seams running end to end, warming to a faint pink-mauve along its shaded lower edge, capped at BOTH ENDS in polished warm BRASS, and wrapped ONCE around its middle by a single DARK RED-BROWN LEATHER STRAP - a flat band roughly a fifth of the barrel's length in width, with a visible overlapping join and a crease where it folds. One strap per case. No buckle, no keeper loop, no stitching, no hardware on the strap, no shoulder sling or carry cord anywhere on the sheet. No lettering, no seal, no wax, no ribbon, no crest, no stamp, no maker's mark on any of the three. LEFT - CLOSED AND LATCHED. Lies almost horizontal, tilted down to the left, its near end toward camera-left. That near end is a flat BRASS LID seated inside a wide brass collar, and on the collar sits a BRASS HASP LATCH: a small upright rectangular plate with one round rivet at its top and one at its bottom, and a hinged flat brass tongue swinging out across the barrel with an OBLONG SLOT near its rounded tip, a faint pale keeper stub on the barrel behind it. Its leather strap sits at the barrel's middle. The far end, upper right, is a wide brass collar band, a groove, then a rolled brass rim beyond it - TWO brass rings read at that end. CENTRE - STANDING UPRIGHT. The same case stood on end, seen slightly from above so the top reads as a shallow ellipse. The top is a flat brass lid disc whose rim OVERHANGS a straight brass collar skirt below it, and that skirt steps straight down onto the barrel with no ring at the join. The bottom is a wide brass foot band stepping out to a WIDER ring below it, so the case stands on a slight flare. The strap is at the exact middle, its overlap and fold facing camera. NO LATCH IS VISIBLE on this one - the hasp is turned away. RIGHT - OPEN, WITH THE SCROLL. Lies diagonally, closed end up and to the left, open mouth down to the right. The LID HAS SWUNG FULLY OPEN to the right on a small BRASS HINGE PIN visible at the top of the mouth - it is HINGED to the case, not lifted off - and it reads as a shallow brass cup with a dark olive-bronze inner face. Out of the brass mouth comes a ROLLED PARCHMENT in pale cream, its spiral end toward camera, its outer edge torn into a soft wave, the inside of the roll in warm brown shadow. The barrel interior behind it is warm brown. This case's strap sits at the barrel's middle, like the other two. ONE scroll, in ONE case; the other two are shut and show nothing inside. PALETTE AND LIGHT. Warm polished BRASS GOLD with a bright specular highlight along the top of every ring and warm brown at each ring's shaded underside, CREAM-TAN barrels, RED-BROWN leather. Nothing cool is anywhere in frame - no teal, no cyan, no magenta, no green, no blue. A single soft key from the upper left; round-form shading with soft blended terminators. BACKDROP. Flat, empty, pale warm grey-cream with a faint canvas grain, very slightly darker along the top edge. No ground plane, no table, no plinth, no horizon, no architecture, no props, nobody. Under each case a soft warm ORANGE-BROWN shadow shape. RENDERING STYLE. PAINTED digital illustration with smooth airbrushed gradients, glossy highlights on the brass and soft blended edges - no black ink outline, no flat colour fills, no cel bands, no hard shadow terminator. WHAT IT IS FOR. What the docs say and nothing more: it is a PROP, the thing Holly Jo carries deliveries in, and the graph holds one edge for it, "Carried by holly-jo". The graph's locked wording is "The brass-capped wooden scroll tube Holly carries deliveries in - Brandt picked it over the wicker case 2026-08-19", so a wicker or woven case was the losing option and must never come back. The registry note adds "Three brass-capped parchment message/scroll cases with leather straps - what a courier carries. It is NOT a pod, NOT a drone, NOT a container." `ASSET-MAP.md` records the same: "[A] DELIVERY POD - pod_3 brass-capped scroll tube APPROVED 2026-08-19." `E1-CH1-MANIFEST.md` places it OUT of Episode 1 Chapter 1 by name - "NOT NEEDED FOR CH1: ships, pilots other than Holly, gray-world, swarm, seven-worlds, delivery pod, drone (they enter in later chapters)" - so it enters later. The docs do not say who sends one, what is written on the scroll, where they are made, or whether a case is ever opened on camera; none of that is canon and none of it may be invented in a prompt. PROMPTING. THE SHEET IS THREE STATES OF ONE OBJECT, NOT THREE OBJECTS - pick the state a shot needs and name it (shut and latched, stood on end, or open with the scroll), and do not put three cases in a shot because the sheet shows three. NOBODY AND NOTHING ELSE IS ON THIS SHEET: Holly Jo is composed in from Approved\holly-jo\hj_p2.png, the courier satchel is the separate `courier-satchel` sheet, the bread parcels are the separate `bread-package` sheet, and the hoverboard, the Danerren coin and the Mint drone are each their own approved asset - never draw any of them onto this one, and never draw a hand, an arm or a shoulder holding a case on the sheet. The flat field IS this sheet's backdrop: any street, room, satchel, cart or carrier is composed in the PROMPT. TAKE THE DESIGN FROM THIS SHEET AND THE LIGHT FROM THE FILM: the sheet is lit warm on a neutral field, and a shot's light comes from the EMERALD NIGHT or CREAM DAY lock in `film/LOOK-LOCK.md`, never from the sheet's studio key. Copy the COUNTS verbatim into the prompt's must-not list, per the LOOK LOCK's "quote the never list" rule: ONE leather strap per case, brass at BOTH ends, ONE hinged lid, ONE scroll and only in an open case, no buckle, no sling. Registry name is MESSAGE CASES - attach this path, and write the words "message case" or "scroll case" in the prompt rather than "pod", which is the word that drew a rideable object. RECORDED DEFECTS, so nobody "fixes" them into a new picture. (1) THE LEFT CASE FLOATS: its cast shadow is a detached soft ellipse well below and to the left with clear empty backdrop between the two, so the case sits on nothing - a generator artifact, and a shot must set the case on a real surface or in a hand. (2) THE SHADOWS ARE ORANGE: they are a warm terracotta rather than a neutral or cool grey, and the CREAM DAY lock calls for "crisp narrow cool blue-teal shadows" - the orange must not travel off this sheet. (3) THE FINISH IS NOT THE FILM'S: smooth airbrushed gradients and glossy speculars with no linework at all, which reads as a rendered product illustration, where the LOOK LOCK's style law is "bold clean ink linework, flat cel shading" and explicitly forbids a 3D-render read. This sheet is a DESIGN reference only; the drawn look comes from the lock. (4) THE LATCH DOES NOT RESOLVE MECHANICALLY: the hinged tongue with its oblong slot lies across the barrel and the keeper it should catch is a faint pale stub, so it reads neither clearly fastened nor clearly open - treat it as a plain brass hasp and never elaborate it into a lock, padlock, buckle or keyhole. (5) THE BRASS IS NOT IDENTICAL ACROSS THE THREE: the left case's far end has two rings and a rolled rim, the standing case's foot steps out to a wider ring, and the open case's mouth is a single plain collar, and only the open case shows a hinge. Minor and not load-bearing - the constant is brass at both ends and one hinged lid. RECORDED CONFLICT - WHAT THE THING DOES. The registry note, the graph wording and `ASSET-MAP.md` all describe a hand-carried brass-capped scroll tube, "what a courier carries", and the sheet draws three hand-sized cases with no means of propulsion and nothing to stand on. `E1-HIGGSFIELD-SHOTLIST.md` b12 and b14 and `RESHOOT-PROMPTS.md` describe a "delivery pod" that is airborne ahead of Holly, leads her down the lane, planes fast along a canal and is ridden - "balanced standing upright on the delivery pod as it planes fast along the water". Both readings are recorded here as they stand; this block does not resolve which is canon. RECORDED CONFLICT - MATERIAL. The graph's locked wording says "wooden scroll tube"; the registry note says "parchment message/scroll cases". On the sheet the barrels are pale cream-tan with long vertical grain seams, which supports either reading and settles neither. Recorded, not resolved. RECORDED CONFLICT - APPROVAL DATE. `ASSET-MAP.md` and the graph wording both date the approval 2026-08-19; `verdict_ledger.csv` dates pod_3's APPROVE, and the DENY rows around it, 2026-08-25. Recorded, not resolved. VERIFIED 2026-09-06 by a second agent against the sheet: 120 claims checked, 6 corrected. --- from series_graph.py (locked wording) --- The brass-capped wooden scroll tube Holly carries deliveries in - Brandt picked it over the wicker case 2026-08-19.

a pod, capsule, drone, hover-sled, sled, cargo container, crate, box, chest, barrel, basket or anything rideable, anything Holly Jo stands on, surfs, sits on or is carried by, anything...

NEVER - what breaks it

a pod, capsule, drone, hover-sled, sled, cargo container, crate, box, chest, barrel, basket or anything rideable, anything Holly Jo stands on, surfs, sits on or is carried by, anything that flies, hovers, planes, glides or moves under its own power, a wicker or woven case (that is the version Brandt rejected), a fourth case design or three cases drawn as three different designs, more or fewer than one leather strap per case, two straps, crossed straps, a buckle, a shoulder sling, a carry strap, a handle, a chain, a lanyard, a cord or a hanging tag, brass at only one end, a bare uncapped end, silver, chrome, steel, iron, pewter, copper, bronze-green patina or gold plate in place of the warm brass, a wax seal, a ribbon, a crest, a house sigil, a rune, a glyph, a monogram, a maker's mark or a stamp anywhere on a case, any letter, numeral, word, label, watermark or writing on the case or on the parchment, a lit, glowing or emitting case, a lens, screen, light, seam-glow or any mechanism, a lock, padlock, key, keyhole or combination dial, cyan, magenta, teal, red or any neon rim light copied off the game's palette onto this series prop, a scroll showing in a shut case, more than one scroll, a scroll that is flat paper, a folded letter or an envelope rather than a roll, the open case's lid detached and lying loose (it is hinged to the mouth), a hand, arm, fingers, figure or any character drawn on the sheet, a satchel, bread parcel, coin, skate, hoverboard, drone or any other approved asset drawn onto this sheet, a table, plinth, shelf, ground plane, street, room, sky, horizon or any setting on the sheet, a pitched, gabled or tiled roof anywhere in a frame that uses it, and photoreal, 3D-render, CGI, product-photograph, diorama, scale-model or panel-split treatments, and this sheet's orange cast shadow or its warm studio key carried into any film shot.

You said: RENAMED 2026-08-30. Three brass-capped parchment message/scroll cases with leather straps - what a courier carries. It is NOT a pod, NOT a drone, NOT a container. The folder is still named delivery-pod on disk, which is legacy and misleading. The actual courier DRONE is a separate asset - see Approved/mint-drone/drone_a.png.

Approved/delivery-pod/pod_3.png
ref f6f494d4

LOCKEDNO "NEVER" LIST

MINT DRONE

You said: THE MINT COURIER DRONE. Egg-shaped polished gold, ONE cyan lens, red equator strip lights, two folded legs, underside coin hatch. Front / three-quarter / underside. Already existed and was simply never registered; the build list proposed drawing it again. NOT the same thing as 'message-cases' (scroll tubes).

Approved/mint-drone/drone_a.png
ref f86ef0e7

LOCKED

MOMMA JO - Holly Jo's MOTHER

Older woman, warm and weathered. GREY hair, wavy, gathered in a low BUN at the nape. Muted BLUE work dress, collared, sleeves rolled to the forearm, skirt to mid-calf. TAN-BEIGE canvas...

the full canon wording

Older woman, warm and weathered. GREY hair, wavy, gathered in a low BUN at the nape. Muted BLUE work dress, collared, sleeves rolled to the forearm, skirt to mid-calf. TAN-BEIGE canvas APRON, stained with use, tied at the back, one patch pocket. Grey stockings, scuffed BROWN lace-up boots. Kind, direct face; smile lines. --- from series_graph.py (locked wording) --- Holly Jo's mother. Silver-streaked hair, weathered warm face, apron. Pays Holly the coin toll every morning; her law: never fly somebody else's route. Painted-dawn sheet to generate.

blonde, auburn, red, brown, black or pure-white hair, or any streaked or dyed colour in place of the silver-grey, hair worn loose and long past the shoulders, in a braid, a plait, a...

NEVER - what breaks it

blonde, auburn, red, brown, black or pure-white hair, or any streaked or dyed colour in place of the silver-grey, hair worn loose and long past the shoulders, in a braid, a plait, a ponytail, a high bun, a topknot or a bonnet, a fringe or bangs across the forehead, a headscarf, cap, bandana, hood or shawl over the head, a smooth unlined young woman's face aged down to make "mother" read, an aged crone of seventy-plus (the CH8-11 error, roughly fifteen years older than this sheet), a stated age, birth year or any number attached to her in a line, caption, shot note or prompt, the words grandmother, granddaughter, grandma, granny or nana anywhere in narration, a beat intent or a shot note, a surname of any kind, "Momma Jo May", or the bare address "Momma" without the "Jo", a gaunt, frail, stooped or bent posture, a cane, stick, walking frame or wheelchair, spectacles, make-up or painted nails, jewellery of any kind - ring, wedding band on view, earrings, necklace, pendant, brooch, watch or hair ornament, a white, black, red, striped, floral, gingham, checked or otherwise patterned apron in place of the plain tan-beige canvas, a frilled pinafore or maid's apron, a waist-only apron with no bib, a butcher's or leather apron, a strap count other than TWO, straps crossed at the back, a bib button count other than the TWO dark round buttons at the top corners, more than ONE patch pocket or no pocket at all, a pocket on the bib, the apron tied at the FRONT or knotted instead of the one flat bow at the small of the back, a pristine unstained apron or a torn, ragged or patched one - it is worn and blotched with olive-brown work stains and nothing more, a green, brown, black, white, red, purple or patterned dress in place of the muted slate-blue, floral print, plaid, stripes, embroidery, lace, ruffles or decorative trim on anything she wears, a short skirt, a floor-length skirt sweeping the ground, trousers, a jumpsuit or a nightgown, sleeves buttoned down to the wrist, sleeveless arms, or sleeves rolled ABOVE the elbow (they stop just below it), a collar buttoned to the throat, a scarf, cardigan, coat or shawl on THIS sheet, bare legs or white, black, striped or coloured stockings in place of grey, bare feet, sandals, clogs, slippers, heels, tall riding or knee boots, black boots, buckled, strapped or zipped boots, or a lace count other than the four visible bars, armour, a uniform, a robe, neon, tech, a visor, a headset or any Ring or Swarm styling on her clothing, anything at all in her hands on this plate - a cup, kettle, basket, loaf, coin, lamp, tool, broom or weapon, the fringed shawl or oil hand lamp from the MOMMA JO, NIGHT variant appearing on this daylight card, a fourth view, a three-quarter view, a head-only inset, an expression strip or a colour-swatch bar added to the plate, fewer than the three front / left-profile / back views, views drawn at different scales, or figures off the common ground line, the profile turned to face frame-RIGHT instead of frame-left, a teeth-showing grin, a laugh, a scowl, or tears on her face (she never cries on screen), any background whatsoever - porch, farmhouse, kitchen, orchard, drystone wall, lane, cobbles, terraces, town, lantern strings, Ring, mountain, sea, sky or stars, furniture, a table, a chair, a second figure, Holly Jo, Darren, a child or an animal sharing the plate, cyan, magenta, violet or red light on her, her clothes or her rim (the only light here is the warm gold key), night, lantern, fire or emerald-night grading baked onto this daylight card, this sheet's plain studio backdrop or its warm gold rim used as the LIGHT reference for a composed shot, outline-free painted brushwork, soft photoreal rendering, a 3D or CG finish, thick impasto or watercolour bleed in place of the ink contour plus flat wash (the gate has already killed one take for drifting into soft realism), and text, labels, view captions, arrows, name plates or any lettering anywhere on the plate

You said: Holly Jo's mother.

Approved/momma-jo/momma_1.png
ref 71549c47

LOCKEDNO "NEVER" LIST

ORCHARD SHORE NIGHT

You said: The pebble tideline below the orchard, night - where the dead Manta comes ashore. Named by CH6. This is the NEAR-side coast; Solmara's harbour is round the far side.

Approved/orchard-shore/shore_night.png
ref 137e990b

LOCKEDNO "NEVER" LIST

ORCHARD TREE

You said: One isolated blossom orchard tree, full crown, gnarled teal-and-grey trunk, on a black plate. Approved 2026-08-25 in WAVE 12 - THE REALIGNMENT: ASSET SHEETS REPAINTED; used by E4-CH11-MANIFEST shots 16 and 17. RECORDED CONFLICT, UNRESOLVED: this sheet is drawn clear PINK, while every Solmara town card, the E4-CH11 manifest row ("Purple orchard trees") and ANIMATION-AUDIT-2026-08-24 all call these trees PURPLE - the audit logs pink cherry blossom as a defect to re-roll. State the intended blossom colour explicitly in every prompt rather than letting this sheet decide it. Registered 2026-09-07 (approved but never registered).

Approved/orchard-tree/tree_p2.png
ref 36f1349b

LOCKED

OSSIE - the baker, one man in three views

SHEET: Approved/ossie/ossie1.png (registry slug ossie) APPROVED 2026-08-25 in WAVE 2 - verdictledger.csv carries the variant row ossie1.png, WAVE 2 - OSSIE TURNAROUND, variant,...

the full canon wording

SHEET: `Approved/ossie/ossie_1.png` (registry slug `ossie`) APPROVED 2026-08-25 in WAVE 2 - `verdict_ledger.csv` carries the variant row `ossie_1.png, WAVE 2 - OSSIE TURNAROUND, variant, APPROVE, 2026-08-25` and the item row `ossie, OSSIE, characters, TURNAROUND APPROVED`; `series_graph.py` holds the same status with the locked wording. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it - and at magnified crops of the face front-on, the profile, the back of the head, the apron bib, the waist tie and both pairs of feet - not from memory and not from the name. Until now this entity had a picture, one sentence in the graph and NO never list, which is the condition that lets a shot describe him wrongly. `AssetSheets/wave2/ossie_1.png` is the same file byte for byte (md5 cb9b0d9a2a301fb471da2d389788b093); there is no second Ossie sheet and none was ever denied. WHAT IT IS. A THREE-VIEW CHARACTER TURNAROUND: ONE man drawn THREE times on one wide plate, evenly spaced, standing straight and still with his arms hanging at his sides. LEFT is the FRONT view, MIDDLE is the PROFILE facing SCREEN LEFT, RIGHT is the BACK view. He is ELDERLY, SHORT and HEAVY - round through the chest and belly, thick neck, sloping shoulders, thick bare forearms, small feet, about four heads tall (his head, hair-top to chin, is a bit over a quarter of his full height). THE HEAD: WHITE-SILVER HAIR, full on top, brushed up off a high forehead and swept back into a soft wave, longer at the nape and over the ears, thinning at the temples. Bushy pale grey-white eyebrows with TWO short vertical creases between them, one rising off the inner end of each brow. Small dark brown eyes under heavy upper lids, pouches beneath. A large rounded BULBOUS NOSE flushed red at the tip. Round, strongly flushed RED-PINK CHEEKS. A THICK WHITE MOUSTACHE that covers the whole upper lip and droops past both corners of the mouth, the tips flicking slightly outward and up. NO BEARD - the chin and jaw are shaved clean - heavy jowls, a soft double chin, large ears, warm peach skin. The mouth is CLOSED and LEVEL in both views that show it - the back view shows no face at all. Only a short straight segment of the mouth line shows below the moustache, both corners hidden under its drooping tips, so NO smile is readable off this sheet. NO hat, no cap, no kerchief, no glasses, nothing on the head. THE CLOTHES: a warm mid-BROWN long-sleeved COLLARED work shirt with a pointed collar and a small triangle of CREAM undershirt showing at the throat, the SLEEVES ROLLED to a thick cuff just above the elbow, the roll reading a paler grey-brown where the inside of the cloth shows. Over it a full-length CREAM-TAN CANVAS BIB APRON DUSTED WITH FLOUR - soft white smears and speckles over the bib, heaviest across the belly, more down the skirt - a squared bib panel from the front, rounded at the top corner in profile, hung from TWO straps, one rising off each top corner of the bib and passing over that shoulder, a waist band crossing at the middle and TIED AT THE BACK in a bow with two loops and TWO hanging tails side by side at the small of the back, the skirt falling to about KNEE LEVEL - the hem lands level with the knee, never at mid-calf and never at the ankle, its side edges showing at both hips from behind. Loose GREY-TAUPE trousers - a muted warm khaki-grey, NOT green: every lit sample reads red above green above blue - rumpled at the shin, the hem breaking over the shoes; from behind, two welt pockets at the seat and a centre seam. On his feet, one-piece CLOGS in mid-brown ochre: closed, no laces, no buckles, no straps, a rounded upturned toe, a raised curved rim standing up behind the heel and a low carved heel block underneath - and the toes are DUSTED WHITE with flour. THE HANDS ARE BARE, OPEN AND EMPTY, hanging at his sides with the fingers relaxed and slightly curled; no ring, no watch, no tool, nothing held. LIGHT AND BACKDROP: a plain flat pale WARM-GREY backdrop, very slightly lighter toward the BOTTOM in a plain vertical gradient, the left and right edges sampling the same at every height, with ONE soft grey shadow ellipse under each figure. No floor line, no horizon, no wall, no props, no scenery. A soft warm front key plus a WARM ORANGE-GOLD RIM down the outer edge of both arms and both legs, along the shoulders and across the tops of the clogs. There is NO cyan, NO magenta and NO neon anywhere on the plate. RENDERING STYLE: painted 2D with soft blended shading, airbrushed skin, mild flat masses in the cloth and a thin dark brown line - the CLEAN SHEET STYLE that `Series/.claude/skills/deflekt-episode/SKILL.md` names in as many words ("momma_1, ossie_1, petra_2 approved in the clean sheet style"). Not photoreal, not a 3D render. WHAT IT IS FOR. Ossie the baker of Solmara, and the graph's locked wording is his: "The baker. White hair + mustache, flour-dusted apron, kneads through everything. Teases Holly daily; she is never late." He runs the bakery, and `SOLMARA-GEOGRAPHY.md` fixes where that is - "OSSIE'S BAKERY fronts a lane one terrace BELOW the market square." He is a stop on Holly Jo's morning round: `E1-CH1-MANIFEST.md` names Beat 2 shot 2c, "bakery stop - bread bundles into the satchel", REF `world-suite\bakery_v2.png` + `ossie\ossie_1.png`, and `ANIMATION-AUDIT-2026-08-24.md` names CH1-07 (s902) "Ossie's ovens - now morning". THE TEASE IS HIS - `E1-INTRO-5MIN.md` C4 is "OSSIE: You're late, Holly Jo. / HOLLY JO: Early, Ossie! / NARR: She is never late.", and `E1-FORMATB-SCRIPT.md` B15 is "OSSIE (VO): One of these mornings you're gonna drop something", and his bread is named again at B19, not by him but by Holly Jo on the porch to Momma Jo - "Toll. / Paid. Two of Ossie's, still hot." The v2 four-minute film gives him the same line as its one bakery shot: 1-04, mode LIP, CREAM DAY, assets `ossie` + `ossie-s-bakery-inside` + `the-bread-package` + `bakery-interior-day`, beat "The bakery. Ossie holds out two loaves, warm. Fond, not scolding.", with Holly Jo's answer at 1-05. His voice is cast and settled - card `cast:ossie` ruled "KEEP HIM" (`RULINGS-2026-09-05.md`, "George, Holly Jo, Ossie confirmed doing their new job"), audition kept at `auditions/c4_ossie.mp3`. Beyond the round he carries story: CH3's "bakery lane carry" is Darren carrying flour up two terraces for him ("By the second month, Ossie had stopped calling him the stranger"), and Darren's silence at Ossie's counter is a canon beat. In the E1 acts he answers Vess in the street about the drones ("Ossie the baker answered, because Ossie always answers"), bars his shop door with flour still on his hands, holds up all ten fingers to score Holly Jo's trick, and stands in his lit doorway when the last scout aims its biggest bolt at the bakery lane, "too stubborn to hide". `E5-E7-VOLUME-ONE-BREAK.md` closes CH16 on "Ossie alone at his counter, grey to the fingernails, stacking the day's coins by size" - the grey block records that this STORY item is still awaiting ratification, so it is not a shot yet, and if it is ever drawn the grey is DRAWN from `the-grey`, never made by draining this sheet. PROMPTING. Attach this sheet, ref media id 299dc3a1-6e51-4fa1-ab24-ff28b69f5d02, on every frame Ossie is in. IT IS AN ISOLATED CHARACTER PLATE AND NOTHING ELSE IS ON IT: no bread, no parcels, no counter, no oven, no peel, no doorway, no lane, no satchel, no hoverboard, no second person, no ground. Everything he touches composes in from its own sheet - the parcels from `Approved\bread-package\package_1.png` and the count on the line is TWO, the work room from `Approved\bakery-interior\bakery_int_1.png` (EMERALD NIGHT) or `Approved\bakery-interior\bakery_int_day_1.png` (CREAM DAY), the shop front from `Approved\world-suite\bakery_v2.png`, Holly Jo from `Approved\holly-jo\hj_p2.png`, Darren from `darren_p1.png`; the interior blocks say the same thing back ("compose him in from `Approved\ossie\ossie_1.png`"). THE PLATE'S LIGHT IS A NEUTRAL WARM STUDIO KEY AND BELONGS TO NO SOLMARA STATE - state the shot's light in the prompt and relight him into EMERALD NIGHT or CREAM DAY, never a blend and never a third state; the episode skill puts it plainly, character sheets keep the look of their approved turnarounds and the SCENE prompt states the lighting. MOUTH: in an EPISODE he never speaks on camera - Format B is a lore-first narrated saga with NO on-camera speech, ever, so the tease is VO and his mouth stays shut; the v2 FILM is the one exception, where 1-04 is a LIP shot and carries its own recorded trim ("line 2.4s; Ossie's mouth keeps moving for 3.6s after it", out 3.5). `E1-PRODUCTION-STATE.md` (2026-08-02) still tells an agent to re-roll Ossie against the b15 / CH1 bakery still, job 8b065c9f; that note predates this sheet's 2026-08-25 approval and THIS SHEET is the reference now. Per the LOOK LOCK, copy the clauses below that carry counts, colours and materials VERBATIM into the shot's MUST NOT list - a number that is not written into the prompt is a number the model will choose for itself. RECORDED DEFECTS. Three, none load-bearing, all recorded so nobody "fixes" them into a new picture. (1) THE BACK VIEW DOES NOT DRAW THE APRON'S NECK STRAP: the front and the profile both hang the bib from straps over the shoulders, but from behind there is only the shirt collar, the waist band and the bow - the straps simply vanish. It is a generator artifact and must not be read as a waist-only apron. (2) THE FLOUR PATTERN IS NOT THE SAME IN ALL THREE VIEWS - broad smears across the front bib and belly, a lighter dusting in profile, none visible from behind. Flour is scatter, not a marking; no view's pattern is canon. (3) The plate is lit by a neutral studio key with a warm orange-gold rim and a shadow ellipse under each figure, which is sheet convention, not a place - see PROMPTING. By the letter of `film/LOOK-LOCK.md` this soft painted rendering is not the film's "bold clean ink linework, flat cel shading", but the clean sheet style IS the approved look for the character turnarounds and is not a defect to correct. RECORDED CONFLICT, unresolved and not mine to settle: the picture shows a ONE-PIECE CLOG with a carved heel block, no laces and no visible seams or straps, which reads as WOODEN, while `CANON-DRAFT-CHARACTERS.md` (marked NOT CANON YET, awaiting Brandt) describes "Brown leather clog-boots with a rounded toe". Both are stated here; the shape is not in dispute, only the material. THE SAME NOT-CANON-YET DRAFT ALSO SAYS "Grey-green loose trousers", and the sheet does not bear that out - every lit sample of the trousers is a warm grey-taupe. AND ONE CONFLICT FOUND ON THIS PASS, NOT PREVIOUSLY RECORDED ANYWHERE: the v2 film's shipped 1-04 prompt (`film/_1-04.prompt.txt`) orders "THICK DARK eyebrows (dark, not white)" and its MUST NOT list carries "never white or pale eyebrows (they are thick and dark)", while this sheet draws them PALE GREY-WHITE at every magnification. The sheet is the reference and this block transcribes it; the shot prompt is the thing that disagrees, and which way it settles is Brandt's call. VERIFIED 2026-09-06 by a second agent against the sheet: 141 claims checked, 14 corrected.

young or middle-aged, tall, slim, muscular or athletic, a beard, goatee, stubble, mutton chops or sideburns of any kind, no moustache at all or a thin pencil moustache in place of the...

NEVER - what breaks it

young or middle-aged, tall, slim, muscular or athletic, a beard, goatee, stubble, mutton chops or sideburns of any kind, no moustache at all or a thin pencil moustache in place of the thick white one, brown, black, ginger, blond or grey-streaked hair, bald, a bald crown, a comb-over, long hair, a bun or a ponytail, a chef's toque, baker's hat, cap, beret, kerchief, bandana, hairnet or anything else on his head, glasses, an eyepatch, an earring, a pipe or a cigarette, a WHITE apron, a black, blue, striped, checked or embroidered apron, a leather smith's apron, a clean apron with no flour on it at all, a waist-only apron with no bib, an apron tied in a bow at the FRONT, crossed butcher's straps over the back, a blue, green, red, black or white shirt in place of the brown one, a sleeveless shirt, bare shoulders, sleeves worn long to the wrist or unrolled, a waistcoat, jacket, coat, cloak, scarf or tie, armour, a uniform, a belt with a large buckle, glowing pauldrons of any colour (those are JP's), lace-up boots, sandals, bare feet, black shoes, clogs with laces, buckles or straps, blue jeans, breeches with stockings, a bright or saturated palette in place of brown, cream-tan, grey-taupe and warm peach, anything held in either hand on the sheet - bread, a loaf, a parcel, a peel, a rolling pin, a tray, a bowl, a knife, a coin, a lantern or a broom, any second figure on the plate - Holly Jo, Darren, Vess, Petra, Momma Jo, a child or a townsperson, a counter, an oven, a till, a doorway, a shop front, a lane, a street, a wall, a floor, a horizon, a sky or any Solmara scenery behind him, the game's neon rim light on him, cyan, magenta or red glow anywhere on his person or his edges, grey or desaturated Ossie made by draining this sheet (harvest grey is DRAWN, from `the-grey`), a photoreal, glossy, CGI or 3D-rendered finish, plastic, clay or doll rendering, a scale-model, diorama, plinth or turntable look, readable text, letters, numerals, a shop name, a label, a watermark or a signature anywhere on the plate, a drawn panel border, frame, letterbox or vignette edge, an open shouting or laughing mouth with teeth on the sheet itself, and any view count or arrangement other than the three that are here - front, profile facing SCREEN LEFT, and back

Approved/ossie/ossie_1.png
ref 299dc3a1

LOCKED

OSSIE'S BAKERY, INSIDE - the oven is the only light

SHEET: Approved/bakery-interior/bakeryint1.png (registry slug bakery-interior) TRANSCRIBED FROM THE SHEET 2026-09-02, by opening it. Registered as the PRE-ATTACK CLEAN STATE of the...

the full canon wording

SHEET: `Approved/bakery-interior/bakery_int_1.png` (registry slug `bakery-interior`) TRANSCRIBED FROM THE SHEET 2026-09-02, by opening it. Registered as the PRE-ATTACK CLEAN STATE of the work room behind Ossie's shop front, on the lane one terrace BELOW the market square (SOLMARA-GEOGRAPHY). It keeps the town's palette exactly - "TEAL-GREEN STONE", here in big rough weathered blocks on every wall. All timber in the room - ceiling beams, racks, table, counter, window frames - is a cool VIOLET-BROWN, never warm oak. The floor is large irregular flagstones in cool teal-grey, dusted with spilled flour. The ceiling is DARK TIMBER BEAMS: one heavy beam crossing the front of frame, a second running back to the oven wall. This is the EMERALD NIGHT half of the two-state law. The CREAM DAY half is its OWN approved sheet, `bakery_int_day_1.png` (registry slug `bakery-interior-day`, Brandt 2026-09-06, card `v2:bakery-day` - see the block that follows this one). A day scene attaches THAT sheet; nobody relights this one in a prompt, because that is how a blend happens. Before 2026-09-06 this sentence read "there is no day version of this room and none may be improvised" - it was an anti-improvisation guard from when this was the only picture, and the v2 film's 1-04/1-05 were built through it before the day sheet existed. TWO LIGHTS, AT OPPOSITE TEMPERATURES, AND THIS IS THE LOAD-BEARING THING. The only light source INSIDE the room is the OVEN FIRE: warm ORANGE that rims the oven arch, burns through the door slots, and lays one soft orange pool on the flagstones in front of the mouth which dies out about a table's length away. Everything else is COLD BLUE-VIOLET NIGHT coming in the two windows, falling as a hard blue shaft across the right-hand wall and counter. No lantern, no candle, no lamp is in the room at all. THE OVEN WALL (back of frame): one masonry hearth mass in the same teal-green stone - a low DOMED ARCH with a squared chimney breast rising into the beams. Its mouth is a single ARCHED CAST-IRON DOOR, SHUT, with FOUR VERTICAL SLOTS glowing orange, a latch handle at the left and two hinges at the right, set in a ring of pale voussoir stones that the firelight rims. Beneath the hearth shelf, a SECOND LOWER ARCH holds split firewood. A long-handled wooden PEEL leans against the wall right of the mouth with a thinner tool beside it; a second peel lies flat on the floor angled toward camera. LEFT of the oven, against the back wall, TWO WOODEN RACKS: a tall one of five open tiers with its TOP TIER EMPTY and the four below crowded shoulder to shoulder with pale golden-brown ROUND LOAVES, and a shorter one carrying three loaves on its top tier only, bare beneath, a folded grey cloth sack sitting on its top rail. The loaf count per shelf is NOT load-bearing; the FULLNESS is - the night's bake is done and cooling. THE SIDES. Left wall: a SMALL DEEP-SET WINDOW with dark timber mullions, a long timber ledge under it carrying THREE finished loaves, and on the floor below TWO SACKS OF FLOUR - the near one open with a scoop standing upright in it, the far one folded shut - plus a second scoop lying spilled on the flagstones. Right wall: a LARGER THREE-PANE WINDOW and, beneath it, a plank-topped COUNTER-DRESSER with a cupboard door and round knob, open shelving at one end stacked with bowls, a hooped wooden BARREL behind it, a two-pan BALANCE SCALE in pale brass on a squat plinth, and a stack of plain pale WRAPPING PAPER. Centre of the room: a heavy TRESTLE WORK TABLE, thick plank top on four square legs, a low stretcher shelf under it holding a wooden crate. On the table, left to right: a wooden PROOFING TROUGH lined with floured cloth, a floured ROUND OF DOUGH, and a mound under a CREAM CLOTH. WHAT IT IS FOR, because that is what stops a model redecorating it: the table shapes, the trough proofs, the peels load and draw the oven, the racks cool the bake before it reaches the shop front, and the SCALE and WRAPPING PAPER are the selling end. This is the room that makes "two of Ossie's, still hot". The oven is BANKED, never cold - that is why there is fire in it at night at all. PROMPTING. OSSIE IS NOT ON THIS SHEET - compose him in from Approved\ossie\ossie_1.png (asset isolation). Beyond the windows it is dark: a faint low treeline against blue-violet night, no lit town, no Ring, no lantern strings. No shop door or street doorway is in frame - the camera faces the oven wall. The EXTERIOR bakery is a different picture (world-suite\bakery_v2.png, unregistered) and this sheet must never stand in for it. THE CH5 BLAST SCAR IS EXTERIOR: it belongs on the lane wall in shot prompts, never on these walls - this sheet is the clean state.

tan, beige or brown stone, white plaster or painted walls, a stone-vaulted ceiling (that is the undercroft), any pitched or tiled roof structure, yellow or amber lamplight, any...

NEVER - what breaks it

tan, beige or brown stone, white plaster or painted walls, a stone-vaulted ceiling (that is the undercroft), any pitched or tiled roof structure, yellow or amber lamplight, any lantern, candle, lamp or lantern string inside the room (the pink strings are exterior only), a third palette state - no dusk, and no cream-day tint on THIS sheet (the day state is `bakery_int_day_1`, attached in its own right, never painted onto this one), cyan or magenta rim light leaking in from the game's neon identity, warm orange filling the whole room (the oven pool dies within a table's length and the windows stay cold), a second oven or a bank of ovens, an open glowing oven arch with visible flames instead of the shut cast-iron door, any slot count other than four in that door, an open hearth with logs burning in the room, a metal range, stovetop, iron extractor hood, electric bulb or any modern fitting (the farm-kitchen defect), a shop till, cash drawer or glazed display case, readable text or lettering anywhere - no price labels, no chalkboard, no lettering on the sacks or the wrapping paper, baguettes, braided loaves, dark rye, cakes or pastries (round golden boules only), a dial or spring scale in place of the two-pan balance, a visible shop door or street doorway in frame, the Ring, the sea, the mountain, the market square or a lit town seen through the windows, cherry blossom indoors, the CH5 blast scar, a crater, a cracked shutter, dust, rubble or damage of any kind, Ossie or any other figure drawn onto the sheet itself.

You said: ALIAS of bakery-interior - the slug the v2 film's shot list uses for 1-04/1-05.

Approved/bakery-interior/bakery_int_1.png
ref e70e5865

LOCKED

OSSIE'S BAKERY, OUTSIDE - the lane at emerald night

SHEET: Approved/world-suite/bakeryv2.png TRANSCRIBED FROM THE SHEET 2026-09-03, by opening it. This closes the gap CHARACTER-CANON itself names one screen up, where the bakery-interior...

the full canon wording

SHEET: `Approved/world-suite/bakery_v2.png` TRANSCRIBED FROM THE SHEET 2026-09-03, by opening it. This closes the gap CHARACTER-CANON itself names one screen up, where the bakery-interior block records that "the EXTERIOR bakery is a different picture (world-suite\bakery_v2.png, unregistered) and this sheet must never stand in for it." That sentence has been true and unenforceable, because the exterior had a picture and no words. Provenance from the verdict ledger: this plate is WAVE 14, "THE RING SET RIGHT, EVERYWHERE (your profile_2 ruling, executed)", and it retired its predecessor - "Retired by approved successor bakery_v2 (profile_2 skyline)". So the Ring and the skyline in this plate are the profile_2 ones and are not to be re-derived. STATE: EMERALD NIGHT, the first half of the two-state law - EMERALD NIGHT or CREAM DAY, never a blend, never a third. Deep blue-violet night sky with scattered stars, far hills sitting blue-purple on the right horizon. Everything cool teal and violet, warmed only by window light and the lantern strings. THE CAMERA AND THE GROUND. A low three-quarter looking down a cobbled lane that runs along a terrace EDGE. The bakery is the foreground-LEFT building, filling the left third of frame. The lane falls away down-frame in pale warm-grey cobbles and is closed on the right by a LOW STONE PARAPET, beyond which the terraced town drops away. Mid-ground left, a small bare dark shrub and a low wooden gate against a retaining wall. The mesa and the Ring crown the background, centre-left. This is a LANE, not a square and not the market - the town is seen over a wall, from above. THE BAKERY. Big rough weathered blocks of the town's TEAL-GREEN STONE. A wooden SIGN hangs on a wrought-iron bracket at upper left, painted with a single golden-brown LOAF and nothing else - no letters. That loaf is not decoration: the audit names it as the show's signage language, "a pictogram in the signage language the show already uses (the bakery's loaf). No letterforms anywhere in Solmara." Below it, the shop's large MULTI-PANE WINDOW glowing warm amber, with pale round LOAVES piled on the sill inside; right of it a narrower lit pane, then a plain dark timber DOOR. Upstairs, TWO small deep-set windows - the left one lit amber, the right one dark. The counts that matter here are the one sign, the one loaf on it, and the lit/dark pair upstairs; loaf counts on the sill are not load-bearing. THE BLANK STONE PIER between the shop window and the door is load-bearing for later chapters. The audit's ruling on CH5-07 moves the scout's bolt off the shuttered window and onto "the blank stone pier between the shuttered window and the bakery door", and CH6-02's payoff "depends on that scar existing the next morning". This plate is the CLEAN state - the scar is added per shot, on that pier, and never baked in here. THE TOWN AND THE LANTERNS. Teal-green stone houses stacked densely in terraces down the right of frame, small deep-set windows lit warm amber from within, stone stairs zigzagging between the levels. PINK PAPER LANTERN STRINGS in long swooping catenaries - one big-lantern strand crossing the sky from upper right, deeper strands stepping down the terraces mixing large pink lanterns with smaller round bulbs, one strand following the stair. They are the town's signature light and they are PINK, never yellow, and in this state they are LIT. THE MESA AND THE RING. A wide FLAT bare-rock crown running most of the frame's width, with the switchback CROWN STAIR glowing CYAN down its face - that glow is canon and is never corrected away ("THE CROWN STAIR GLOWS - THE LAW WAS WRONG, NOT THE ART", Brandt 2026-08-29; the audit entry that calls it a defect is the thing that is wrong). Standing straight on the bare rock, the RING: a dark stone hoop, carved voussoir blocks, MOUTH EMPTY with stars visible through it, and EXACTLY ONE small CYAN GLYPH alight on the inner rim at lower left, throwing a soft cyan bloom. This is the at-rest card. The Ring is the HIGHEST silhouette in the frame - the CREST RULE holds here, nothing crosses above it. WHAT IT IS FOR. Three chapters name this file. CH1 shot 2c, the bakery stop on Holly Jo's round - "bread bundles into the satchel", with Ossie and the bread package composed in. CH2-02, "1b - bakery lane waking". CH3 beat 1, "bakery lane carry", with Darren carrying flour for Ossie. The same lane carries CH5's siege beat and CH6-02's morning-after scar. PROMPTING. NOBODY IS ON THIS SHEET, and that is correct - it is the clean reusable location. Ossie composes in from `Approved\ossie\ossie_1.png`, Holly Jo from `hj_p2.png`, Darren from `darren_p1.png`, per asset isolation. Do not let this plate and `Approved\bakery-interior\bakery_int_1.png` stand in for each other in either direction: that sheet is the oven room behind the shop front and faces the oven wall, with no street door in frame. TWO WARNINGS BEFORE ANYONE ATTACHES THIS. FIRST, IT IS THE NIGHT CARD AND TWO OF ITS THREE CHAPTERS ASK FOR MORNING. The audit convicts the whole CH1 round it sits inside - Beat 2, CH1-04 through CH1-11b - for playing "first light", "every morning", "before the kettle finished boiling" over the emerald night state, and orders the remedy plainly: "Re-render the entire round in the CREAM STATE per the palette law: warm cream-gold stone, gold-rose dawn sky, lanterns hanging MATTE AND UNLIT... Keep the emerald night state for CH1-01/02/03 and everything from CH1-12 onward." CH2-02's line, "By the time the bread was warm", is the same dawn problem. So a morning bakery beat takes the cream-day plate, never this one warmed up or tinted - and note that the morning-suite plates carry their own recorded defect, drawing the lantern strings LIT in a cream state, which is neither legal state. SECOND, THE ROOFS IN THIS PLATE BREAK THE TOWN MASTER. Zooming the right-hand terraces shows pitched and gabled roofs with ridge lines and eaves throughout, and one large TILED roof drawn in courses in the lower-right corner, against Solmara's "Cubic flat-roofed houses" and its NEVER on "pitched, gabled or tiled roofs (the town is cubic and flat-roofed)". It also collides with Darren's own block, which forbids "pitched or tiled roofs" in any scene he is composed into - which is exactly what CH3's bakery lane carry does. This has never been convicted against this filename and I am not treating an approved plate as denied on my own authority; it needs Brandt's ruling, and until it comes, shots should favour the lane and the bakery wall over the deep right-hand rooftops. RECORDED DEFECT: TWO, and only the first is recorded. (1) RECORDED, ANIMATION-AUDIT-2026-08-24 CH1-04/CH1-11b: this is the EMERALD NIGHT card and the CH1 round it serves plays "first light" / "every morning" narration over it - the audit orders the entire Beat 2 round re-rendered in the CREAM STATE with "lanterns hanging MATTE AND UNLIT", keeping emerald night only for CH1-01/02/03 and CH1-12 onward. CH2-02 ("By the time the bread was warm") has the same dawn problem. Canon does not bless this plate for a morning beat: use the cream-day plate, never this one tinted - and the morning-suite alternative carries its own recorded defect, drawing the lantern strings LIT in a cream state, which is neither legal palette state. (2) OBSERVED ON INSPECTION 2026-09-03, NOT PREVIOUSLY RECORDED AGAINST THIS FILE: the terraced town on the right is drawn with pitched, gabled, ridged roofs plus one large tiled roof in courses at lower right, against the Solmara master's "Cubic flat-roofed houses" and its NEVER on "pitched, gabled or tiled roofs (the town is cubic and flat-roofed)". It also violates Darren's block, which forbids "pitched or tiled roofs" in any scene he is composed into - exactly CH3's bakery lane carry. The audit treats this class as a real world-plate failure elsewhere (CH9, "a pitched-roof timber village"), but has never convicted this filename. Flagged, not deemed denied - this is an approved plate and the call is Brandt's. Until he rules, stage on the lane and the bakery wall rather than the deep right-hand rooftops. --- from series_graph.py (locked wording) --- Warm window on a teal lane; flour in the light; a package on the sill before the dust settles.

tan, beige, brown, sandstone or grey-blue stone in place of the weathered teal-green, yellow, amber, gold or white lantern strings, the strings drawn matte and unlit (that is the...

NEVER - what breaks it

tan, beige, brown, sandstone or grey-blue stone in place of the weathered teal-green, yellow, amber, gold or white lantern strings, the strings drawn matte and unlit (that is the cream-day state, not this one), a cream, dawn, first-light, golden-hour, dusk or daylight version of this plate or any blend of states, more than one lit glyph on the Ring, a ring of burning glyphs, the waking inner-rim band, or a lit, filled, plasma or portal mouth instead of empty night sky and stars, the Ring's single glyph drawn amber, gold, white, green, magenta, violet or red, or moved to the top of the rim, anything in frame cresting above the Ring - a peak, crag, roofline, mast, lantern string or cloud, a second Ring, a companion arch or a partial ring at the edge of frame, the crown stair repainted unlit, grey, plain or broken - its cyan glow is canon and is never corrected away, the mesa narrowed to a crag, pinnacle, ledge or knuckle instead of the wide flat crown, letterforms, numerals, a shop name or any readable text on the bakery sign or anywhere else in frame - the loaf pictogram is the whole sign, red light of any kind (red is the Swarm's) or the game's neon cyan-and-magenta rim light on the stone or cobbles, windows lit cool white or blue rather than warm amber from within, streetlamps, torches, braziers, a moon or a lighthouse, the CH5 blast scar, craters, cracks, scorch, dust or any battle damage baked into the plate - this is the clean state and the scar belongs on the blank stone pier between window and door, per shot, any figure baked in - Ossie, Holly Jo, Darren, Momma Jo, the children or townsfolk - they compose in from their own sheets, the bakery-interior oven room standing in for this exterior or this plate standing in for it, and a photoreal, 3D-render, model or diorama finish in place of the flat cel language with its black ink outline

You said: Ossie's bakery shop front from the lane, EMERALD NIGHT, empty. Approved WAVE 14 (ledger 2026-08-25; retired its predecessor, profile_2 skyline). ATTACH WITH WARNINGS: night card only - never for a morning/first-light beat (CH1 Beat 2 re-rendered CREAM, CH2-02 same fault); right-hand town has pitched/gabled/tiled roofs (flagged, unruled) - stage on the lane and bakery wall, never a roof reference; nobody in it, compose Ossie/Holly Jo/Darren in; sign is a loaf pictogram, no lettering; clean pre-siege state, CH5 scar goes in per shot. Registered 2026-09-06 (was transcribed but unregistered).

Approved/world-suite/bakery_v2.png
ref 1b3b2f87

LOCKED

PAT - the small hooded alien pilot

SHEET: Approved/pat/patdhoodset1.png (registry slug pat) APPROVED 2026-08-25 in WAVE 9 - SERIES PAT (Darren's style): ledger row patdhoodset1.png = APPROVE, entity row pat = TURNAROUND...

the full canon wording

SHEET: `Approved/pat/patd_hoodset_1.png` (registry slug `pat`) APPROVED 2026-08-25 in WAVE 9 - SERIES PAT (Darren's style): ledger row `patd_hoodset_1.png` = APPROVE, entity row `pat` = TURNAROUND APPROVED. The sibling roll `patd_hoodset_2.png` was DENIED the same day and is not in `Approved/`; do not revive it. He is registered in `ref-media-ids.json`, so this sheet can be ATTACHED and not merely described. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at native crops of the head, both earcups, the chest module, the back plate, both front hands, the side hand and the feet - not from memory. Until now he had a picture and one sentence of graph wording and no NEVER list at all. WHAT IT IS. A THREE-VIEW TURNAROUND on one plate: left to right, FRONT, a RIGHT-SIDE PROFILE facing frame right, and BACK. The same figure at the same size in all three, no height chart, no callouts, no labels, no numbers, no text anywhere on the sheet. HE IS SMALL. About three heads tall on the plate, short-limbed and softly built, the hooded head roughly a third of his total height. There is no scale object beside him, so the sheet fixes his PROPORTIONS and not his height in the world. THE HEAD AND FACE. A broad oval skull tapering to a small rounded chin. Skin is PALE SAGE GREEN with a cool blue-grey cast, lighter across the brow, the cheeks and the top of the skull, deeper green in the shadow under the jaw. HUGE ROUND EYES set wide apart at about the MID-LINE of the visible face, each iris warm AMBER-ORANGE ringed with a darker amber-brown around a LARGE near-black brown pupil that sits high and fills most of the eye, the brightest amber left as a crescent below it. The white specular highlights sit at the UPPER RIGHT, with the key: one large oval and a small dot just below and right of it, and on his RIGHT eye (our left) ONLY a third small highlight low on the amber - the two eyes are NOT mirror images. No eyebrows, no eyelashes, no visible whites. A SMALL LOW NOSE with two dark nostril slits, a SMALL CLOSED SMILING MOUTH with the corners turned up, and nothing else on the face. NO HAIR, no external ears, no antennae, no markings. THE HOOD IS UP IN ALL THREE VIEWS. A warm mid-BROWN hood of coarse woven cloth with a visible grid weave, its opening framing the face in the front and profile views, its darker brown lining showing along the edge. From the back the hood is a plain rounded cowl with ONE VERTICAL SEAM running down its centre. THE HEADSET IS WORN OVER THE HOOD, never under it. Chunky over-ear headphones in near BLACK and dark grey: a thick padded headband arcing across the top of the hood, on each side a paler grey SLIDER BAR, plain and unslotted, dropping into a dark grey yoke, and a large rounded EARCUP outside the cloth. The outer face of each cup carries ONE BRIGHT GREEN GLOWING RING, a full circle inset just inside the rim around a plain black centre disc - read straight on in the profile view, and read as a green bar along the cup's edge in the front and back views. TWO CUPS, TWO RINGS. Inboard of the ring, on the flank of the cup nearest the hood, sits a RIBBED PANEL OF PALE GREY SLOTS - it reads on the lit right-hand cup in BOTH the front and the back views and is lost in shadow on the left. No microphone, no boom, no cable. THE ROBE. A warm mid-BROWN coarse-woven robe, the same cloth as the hood, with a faint grid weave and soft violet-brown fold shadows. WIDE BELL SLEEVES with a TURNED CUFF, long enough that the cuff meets the wrist - only the hands are bare and no forearm shows. The body flares from the waist into a skirt with one horizontal SEAM BAND running parallel to the hem a short way above it, and the HEM STOPS ABOVE THE ANKLES - his lower legs are bare. THE CHEST HARNESS. Over the robe, a black rig built from a flat FRONT PLATE and a flat BACK PLATE in dark charcoal grey, joined by two shoulder straps and one horizontal waist strap, with a boxy black BUCKLE at each side where the waist strap meets the plate. A continuous BRIGHT GREEN GLOWING LINE is piped around ALL FOUR SIDES of BOTH plates - top, both outer edges and bottom. It does NOT run onto the shoulder straps, which stay plain dark grey above the plate. THE BACK PLATE IS BLANK: no emblem, no number, no lettering, only SIX small round studs - two at each shoulder tab and one at each lower corner. THE CHEST MODULE, front view. Centred on the front plate, a mid-grey gunmetal radio unit. Its left half is a plain flat panel the same height as the radio body, carrying ONE bright green horizontal light bar near its top, with a small bracket at its foot. Its right half is the radio body: a DARK RECTANGULAR SCREEN, blank and unlit with nothing written on it, a small PALE GREY button on the right edge, a SHORT BLACK ANTENNA rising from the top, and below the screen one small RED round lamp beside one larger round GREEN dome light with a pale centre. HANDS AND FEET ARE BARE GREEN. The hands hang open at his sides, the same pale sage green as the face. THE FEET ARE BARE, blunt and broad, TWO THICK TOES on each foot - a large inner toe and one outer toe, cleft between them. No shoes, no sandals, no socks, no gloves. PALETTE AND LIGHT. Brown cloth, black and charcoal gear, pale sage-green skin, amber eyes, and one glowing accent colour on the equipment: GREEN. Nothing on him is cyan; nothing on him is red except the one small indicator lamp on the module; and the only warm metal is the pair of pale-gold glints on the two studs the PROFILE view puts on the module. The key light is high and to the RIGHT: each figure carries a soft grey-violet cast shadow pooling at its feet and stretching down and to the LEFT. BACKGROUND: none. A plain flat pale warm-grey studio plate, no horizon, no ground line, no plinth, no table, no props, no second figure. RENDERING STYLE: PAINTED, with a chunky dark brown-black outline around the figure and around each hard part, soft blended value modelling inside it, and a visible cloth weave. It is the roster's studio-presentation look, not the film's flat cel background art. WHAT IT IS FOR. Pat is one of the NINE GAME PILOTS carried into the series. In the game his ability is TORNADO - a funnel that drags enemies (ASSET-MAP row 8, from ADFKGameState). In the series he is FUTURE CREW: he is not in the story yet, and ASSET-MAP still lists "Look + personality" as owed by Brandt, of which the LOOK is what this sheet settles. His ship is the EMERALD WASP, the emerald-green game render registered as its own asset (CHARACTER-CANON: "EMERALD WASP is PAT's ship. Registered.") - it is a separate picture and is not on this sheet. The design is a DELIBERATE DEPARTURE from his game portrait on a likeness/IP ruling (Brandt, 2026-08-20), which is why this sheet, and not the portrait, is the series Pat. It was built under the character-sheet style law - "Can you use the style like Darren? I feel like the art look different" (Brandt, 2026-08-20) - so every turnaround passes an approved Darren-lineage sheet as the style anchor and the roster reads as one painter's hand; the ledger label "WAVE 9 - SERIES PAT (Darren's style)" and the sheet's own filename record that. PROMPTING. ATTACH THIS SHEET. The series skill records that word-only character prompts drift soft and plush and that the Pat round-4 set drifted exactly that way and was withdrawn, so his identity travels as the attached reference and never as prose alone. ASSET ISOLATION - NOTHING ELSE IS ON THIS PLATE, and each of these composes in from its own sheet: the EMERALD WASP (his ship), any cockpit, canopy or controls, any other crew member, any prop, any location, any weather, any ground. His TORNADO funnel is a game ability and is not drawn anywhere on the sheet. The pale grey plate and its upper-right key are a presentation ground, NOT a location and NOT a lighting reference: take the light from the shot's own state lock in `film/LOOK-LOCK.md` - EMERALD NIGHT or CREAM DAY - never from this sheet. Per LOOK-LOCK's "QUOTE THE NEVER LIST, DO NOT SUMMARISE IT", copy the counts below into the shot's MUST NOT list in as many words: TWO earcup rings, TWO toes per foot, ONE chest module, ONE antenna, SIX studs on the back plate, ONE seam down the back of the hood, and the hood UP in every frame. RECORDED DEFECTS, so nobody "fixes" them into a new picture. (1) THE DIGIT COUNT IS NOT SETTLED BY THE SHEET. In the profile view his hand reads as three thick fingers plus a thumb; in both front views the hands are drawn as blunt mitten paws - a thumb split off a single fused finger mass with one faint dividing line and no countable fingers. The same hand, two different answers, two views apart. (2) THE CHEST MODULE CHANGES BETWEEN VIEWS. The front view's module is a mid-grey unit with a dark screen, a short black antenna, a red lamp and a green dome light. The profile view puts a plain BLACK slab there with two round pale-gold studs and one short green light strip, and NO ANTENNA anywhere. (3) The back view's earcups show the green as a bar rather than the full ring the profile view establishes, which is consistent with the viewing angle but gives a prompt two different pictures of the same part. None of the three is load-bearing, and none has been ruled on. RECORDED CONFLICT, stated and not resolved here. (a) `CANON-DRAFT-CHARACTERS.md` line 63 describes this same sheet as a "BROWN COARSE-WOVEN HOODED ROBE, floor length" with "BARE green three-fingered hands"; the sheet shows a robe whose hem stops ABOVE THE ANKLES with the lower legs and bare two-toed feet fully visible, and hands whose finger count differs between views. That file marks itself NOT CANON and awaiting Brandt's verdict, so it is recorded here rather than corrected. (b) ASSET-MAP states that the nine extracted game portraits "are the mandatory reference for every pilot sheet", while the graph's locked wording for Pat says his series design is "deliberately distinct from the game portrait (likeness/IP ruling)" - both cannot govern this asset and Brandt has not been asked which one does. (c) The series skill (`.claude/skills/deflekt-episode/SKILL.md`) still says Pat's identity ref is BLOCKED and that only his style anchor may be attached; he now has a media id in `ref-media-ids.json`, whose own header states that an entry there means APPROVED AND ATTACHABLE. The registry is the newer record; the skill line has not been updated and is flagged, not rewritten. VERIFIED 2026-09-06 by a second agent against the sheet: 156 claims checked, 13 corrected. --- from series_graph.py (locked wording) --- Future crew. Game pilot (Tornado: a funnel that drags enemies). SERIES DESIGN (Brandt 2026-08-20): a small green alien pilot, hood always up, chunky black radio headset with glowing green rings worn OVER the hood, huge amber eyes, green-piped chest harness. Deliberately distinct from the game portrait (likeness/IP ruling).

a human, an adult-proportioned or tall figure, a lanky teenager or anything but a small short-limbed alien about three heads tall, his game portrait's likeness reused as the series...

NEVER - what breaks it

a human, an adult-proportioned or tall figure, a lanky teenager or anything but a small short-limbed alien about three heads tall, his game portrait's likeness reused as the series design (the departure is a ruling, not a drift), the hood down, pushed back, hanging on his shoulders or replaced by a hat, a cap, a helmet, a headwrap or a visor, the headset worn UNDER the hood, slung round his neck, removed, or reduced to a single-ear earpiece, a boom mic, a headband with no cups or a wired handset, any count of glowing earcup rings but TWO, those rings in cyan, blue, magenta, pink, red, amber, white or orange, the rings unlit, dead or drawn as flat painted stripes instead of a lit ring inset inside the cup rim, cyan anywhere on him or on his gear (cyan is the Ring, the crown stair, Holly Jo's shield and friendly drive-glow), red light anywhere on him beyond the one small indicator lamp on the module (red is the Swarm's), skin in grey, blue, brown, tan, pink, yellow or a bright saturated green instead of pale sage green with a cool cast, eyes in green, blue, red, black or white, glowing eyes, slit or cat pupils, mirrored lenses, goggles, a visor or any eyewear over them, eyes closed or hidden, eyes with no specular highlight at all, or highlights rendered as a hard white glare, hair, eyebrows, lashes, whiskers, external ears, horns, antennae or facial markings, no nose at all or a long protruding one in place of the small low nose with two slits, an open mouth, teeth, fangs, a tongue or a snarl in place of the small closed smile, a floor-length robe that covers the feet, a hooded jacket, a cloak, a cape, a scarf or a poncho in place of the coarse-woven brown robe, that robe in black, grey, white, green, blue or any colour but warm mid-brown, or drawn as smooth satin, leather, plastic or plate, boots, shoes, sandals, socks or gloves - his hands and feet are BARE, any toe count but TWO per foot, harness piping in cyan, blue, white, orange or red, the piping unlit, the harness made of brown leather, rope or fabric webbing instead of black and charcoal plate, any emblem, number, patch, logo, name tag, subtitle, caption or readable text anywhere on the sheet, on the back plate (it is blank) or written on the module's screen, more than one chest module, the module moved off centre or onto the back plate, more than one antenna or a long whip antenna, a courier satchel (Holly Jo's), a round shield on his back (Darren's), black rectangular glasses or holo panels (Ki's), a hard hat (Josh's), a named helmet (May-Day's), live bees (Ant Bee's), hooks or lures (Kitty's), a gun, blade, staff or any weapon in his hands, making or holding a cyan deflect disc (that power is Holly Jo's and there is exactly one shield per frame), a tornado, funnel, vortex or any ability effect drawn onto the sheet, the Emerald Wasp, any other ship, a cockpit, a canopy, a control stick or a hangar on the sheet, any second figure, prop, background, floor, horizon, plinth, table, studio backdrop, panel border, frame, letterboxing or vignette drawn onto the sheet, this sheet's pale grey plate or its upper-right key light used as a shot's location or lighting, the game's neon rim light on him (that is the game's look, not the series'), and a photoreal, glossy 3D-render, CGI, clay, plush, toy or figurine finish, or the soft plush drift that got the round-4 Pat set withdrawn.

Approved/pat/patd_hoodset_1.png
ref 3389eb80

LOCKEDNO "NEVER" LIST

PATCHED MANTA

You said: The Manta's PATCHED DESIGN STATE. Exactly THREE patches in fixed places: left wing, right wing, spine behind the canopy. Attach this for every frame from CH13 on - the clean manta sheet does not contain this state, which is why the patches drifted image to image.

Approved/patched-manta/manta_patched_1.png
ref 56e6b404

LOCKED

PETRA - the balcony neighbour who scores Holly Jo's tricks

SHEET: Approved/petra/petra3.png (registry slug petra) APPROVED 2026-08-29 in the rework wave, registry status TURNAROUND APPROVED, registered slug petra. It replaced petra2.png, which...

the full canon wording

SHEET: `Approved/petra/petra_3.png` (registry slug `petra`) APPROVED 2026-08-29 in the rework wave, registry status TURNAROUND APPROVED, registered slug `petra`. It replaced `petra_2.png`, which Brandt refused in his own words - "Needs to look more like what the towns people would wear" - and which now sits in `Series/Denied/2026-08-29/`. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it, and at native crops of the head, the rollers, the cardigan front, the apron, the rear neck, the apron tie and the feet - not from memory and not from the filename. Until now she had pictures, a ledger row and one sentence of registry wording, and no canon words anywhere. WHAT IT IS. A THREE-VIEW CHARACTER TURNAROUND on a plain pale grey-white plate: FRONT at left, a full LEFT-FACING PROFILE in the middle, REAR at right. All three stand straight and still, arms hanging, HANDS EMPTY, and each casts a soft grey-violet shadow down and to the LEFT from one flat studio key up and to the right. There is no background, no ground, no object and no second figure. She is ELDERLY, SHORT AND STOUT: a heavy round body, wide hips, a full bosom, thick forearms and a soft double chin. Warm ruddy skin, deep laugh-lines around the eyes and the mouth, brown eyes under grey brows, a broad rounded nose with a pink tip, and a closed-mouth smile in both the front and the profile view. NO SPECTACLES anywhere on this sheet - not on her face, not pushed up, not on a neck chain. THE HEAD. Grey hair wound on CURLERS: fat cylinders of pale grey hair, each ringed at its open end with a TAN-BRASS band around a dark hollow centre, standing off the scalp in a horseshoe band from temple to temple over the crown. About TEN read in the front view; in the rear view they show only as a SCALLOPED RIM of grey cylinders about eight wide around the top and side edges of the cloth. The FULL HEAD of them is the design; the exact number is not. Over them a HEADSCARF of muted SAGE-OLIVE cloth with brown mottling and no pattern, covering the back and the sides of the head and leaving the front band of rollers bare. In the front and profile views its two ends are knotted UNDER THE CHIN, the knot at the throat and two pointed ends spread on the chest (the profile carries a SECOND knot at the nape as well, and what the rear view does instead is under RECORDED DEFECTS). THE CLOTHES. A MUSTARD-OLIVE CABLE-KNIT CARDIGAN: button-front, deep V neck with a ribbed placket, ribbed cuffs, ribbed hem at the hip. THREE round horn buttons read down the front, the lowest sitting at the apron band. The wool is TWO-TONED - paler SAGE-GREEN panels across the shoulders, the mid-back and parts of the sleeves, against the mustard-olive of the rest. A square patch hand-sewn with long dark dashed stitches sits on EACH ELBOW, both of them visible in the rear view. In the V a pale cream blouse shows, COLLARLESS - a plain neckline over a button placket carrying two small dark buttons. At the waist an OATMEAL LINEN WAIST APRON with NO BIB, falling to the upper calf, tied OVER the cardigan by a flat tape that crosses the small of the back and finishes in a BOW with two long hanging tails. Its front carries TWO PATCH POCKETS - the left one a mismatched mustard-tan cloth, the right one pale grey-cream - and THREE MENDED PATCHES: a large mid-brown five-sided patch centre-right, lapping the lower corner of the right pocket; a pale BLUE-GREY square low on the left; and a smaller grey-brown square overlapping that one at its corner. Rust-brown stains wash down the middle of the apron and a dashed running stitch runs along its curved hem. Below it a long OLIVE-BROWN SKIRT to MID-CALF - it stops well ABOVE the ankle and a clear span of bare ribbed stocking shows between its hem and the shoe - with a second panel showing under that hem. Thick ribbed knitted STOCKINGS in olive-tan, slouched at the ankle. BROWN LEATHER LACE-UP SHOES, ankle-low with a rounded toe cap, three eyelets of lacing and a low stacked heel, scuffed at the toes. PALETTE AND FINISH. Entirely muted earth: mustard, olive, sage-green, oatmeal, brown leather, grey hair and tan-brass rings. Nothing saturated is on her, no cyan, no magenta, no glow, no rim light. PAINTED - a dark brown ink outline around every shape, flat cel shading with brushed texture inside, soft round forms. Not photoreal, not a 3D render. WHAT IT IS FOR. The registry wording, kept verbatim from the graph: "Balcony neighbor in hair curlers who scores Holly's tricks out her window." The graph gives her exactly two edges - she SCORES FROM `balcony-lane`, and `balcony-lane` is her HOME - and `ASSET-MAP.md` lists her as "Balcony neighbor, curlers, scores tricks". She is the town's scorer, and the scoring beat is E1's: `E1-CH1-MANIFEST` shot 2f attaches THIS FILE by name alongside `world-suite\balcony_v2.png` and `holly-jo\hj_p2.png` for the balcony jump, `FESTIVAL-PRODUCTION.md` 2f writes it as "Petra leans over the balcony rail above, hands cupped, shouting her score down with a grin" with "No text or numbers... anywhere in frame", and `E1-INTRO-5MIN.md` carries the exchange "Eight and a half! / Nine, Missus Petra!". `ANIMATION-AUDIT-2026-08-24.md` fixes the shot to a GESTURE - she "leans hard over her flower box tracking the arc and holds up EIGHT fingers, then bends a ninth thumb halfway - the score read as a gesture, so no baked-in numerals". Beyond E1 the docs give her two more beats and only these: in CH20 she takes the chalk and Vess's tally column stops counting raids and starts counting days John has been standing (`CHARACTER-CANON.md`), and in the Volume One break a grey girl on the balcony lane holds a chalked TEN overhead, "the first ten Petra has ever" given (`E5-E7-VOLUME-ONE-BREAK.md`). Nothing else about her is written down; do not invent a household, a family or a history for her. PROMPTING. ASSET ISOLATION - this sheet is HER AND NOTHING ELSE. The balcony she leans over is not on it: the corbelled slab, timber rail, slat-back chair, planked awning, warm doorway and the THREE coral-pink planters are all in `Approved\world-suite\balcony_v2.png` and are composed in from there. Holly Jo, the hoverboard, the lane, the lanterns, the laundry lines and any townsfolk each come from their own registered sheets. She holds nothing here, and by Brandt's ruling of 2026-08-19 she holds nothing in E1 either - see RECORDED CONFLICT (1). Her flat neutral studio light belongs to NO Solmara state: relight her into EMERALD NIGHT or CREAM DAY in the shot, never a blend and never a third state. Because her front, profile and rear are the only reference, state the facing you want. When she is attached to a shot, copy the clauses of her NEVER line that carry COUNTS straight into the prompt's MUST NOT list - three apron patches, two pockets, two elbow patches, three buttons - per the LOOK-LOCK rule that a number not written into the prompt is a number the model will choose for itself. The retired `petra_2.png` dressing-gown sheet must never be attached, and `CANON-DRAFT-CHARACTERS.md` still describes THAT picture, not this one - it is not a source for her look. RECORDED DEFECTS. (1) THE SCARF IS KNOTTED IN TWO DIFFERENT PLACES ON ONE SHEET. Front and profile knot it under the chin, at the throat, with two points on the chest - but the PROFILE ALSO draws a second knot at the NAPE, with a pointed end hanging down the back, so that one view contradicts itself without any help from the others. The REAR view draws a round knot at the NAPE with two pointed ends fanned across the upper back and the cloth's triangular corner hanging to a point between the shoulder blades. One scarf cannot be tied in both places, so a rear or three-quarter-rear shot cannot be built from this sheet without choosing one; the front reading is the one the existing appended NEVER line in `CHARACTER-CANON.md` names. This needs Brandt's ruling before a rear shot is generated, and until then it must not be quietly resolved in a prompt. (2) The plate is a pale NEUTRAL GREY-WHITE - sampled it reads about 220,219,215, a hair WARM if anything, not cool - and each figure casts a soft shadow onto an implied floor - a studio artifact of the turnaround, never a location, and it must not be used as the palette, backdrop or light reference for any shot. (3) The sheet carries no readable text, numerals or watermark, and no pitched roof or scenery of any kind, so it breaks none of the LOOK-LOCK's frame laws. RECORDED CONFLICT (1) - WHETHER SHE HOLDS A SLATE. `ASSET-MAP.md` records: "THE SLATE: CUT BY BRANDT 2026-08-19 ('I don't think you need this in the story') - Petra shouts her scores, no prop. Never regenerate," the `deflekt-episode` skill repeats "THE SLATE IS CUT from the story (his call, same day) - never regenerate it; Petra shouts her scores," and `verdict_ledger.csv` denies both slate variants (`slate_1.png`, `slate_2.png`, DENY 2026-08-25). Against that, `E1-CH1-MANIFEST.md` shot 2f specifies "Petra above holding a chalked 8.5", `film/SCRIPT-V2.md` has "Petra's balcony: an eight and a half held up", and `film/editor_notes.md` A2-08 writes "Petra leans out and pushes her slate arm higher". Both readings are live in the docs. Stated, not resolved. RECORDED CONFLICT (2) - WHERE THE ROLLERS SIT. The registry note in `_graph_only_assets.json` reads "Townsfolk dress, curlers under a headscarf". On the sheet the curlers are NOT under the scarf: the scarf covers the back and sides of the head and the front band of rollers is fully exposed, and in the rear view they break the scarf's edge as a scalloped rim. The appended NEVER line in `CHARACTER-CANON.md` agrees with the picture ("curlers hidden entirely under the scarf" is forbidden). Stated, not resolved. RECORDED CONFLICT (3) - THE GRAPH STILL POINTS AT THE RETIRED SHEET. `C:/Deflekt/Tools/series_graph.py` line 82 gives `petra` the sheet `AssetSheets\wave2\petra_2.png`, which is the denied dressing-gown picture now in `Series/Denied/2026-08-29/`, while the rework-wave registration in `CHARACTER-CANON.md` and `_graph_only_assets.json` both give `Approved/petra/petra_3.png`. `verdict_ledger.csv` has no `petra_3.png` row at all - its only variant row is `petra_2.png ... APPROVE 2026-08-25` - so her current approval lives in the rework-wave list, not in the ledger. Stated, not resolved. RECORDED CONFLICT (4) - BOOTS OR SHOES. The appended NEVER line in `CHARACTER-CANON.md` calls her footwear "scuffed brown leather lace-up work boots". The sheet draws ANKLE-LOW lace-up shoes with a rounded toe cap, three eyelets and a low stacked heel, cut below the ankle bone, with the ribbed stocking slouched above them. Stated, not resolved. VERIFIED 2026-09-06 by a second agent against the sheet: 143 claims checked, 7 corrected.

a modern quilted diamond-stitch dressing gown, housecoat or bathrobe over a pale lilac nightdress with a small white rounded collar, bedroom slippers, mules or bare feet in place of...

NEVER - what breaks it

a modern quilted diamond-stitch dressing gown, housecoat or bathrobe over a pale lilac nightdress with a small white rounded collar, bedroom slippers, mules or bare feet in place of the brown leather ankle-low lace-up shoes, a lavender, lilac, pink or pastel bedroom palette instead of the mustard-olive cable-knit wool and oatmeal linen, reading glasses on her face, pushed up on her head or hanging on a neck chain - there are no spectacles anywhere on this sheet, a bare head, a bonnet, mob cap, hood, straw hat or a plain unmottled scarf in place of the sage-olive mottled headscarf, curlers hidden entirely under the scarf, hair loose, brushed out, permed or pinned in a bun with no rollers showing, a token two or three rollers in place of the full head of them, bright pink or coloured plastic curlers instead of grey hair wound on rollers ringed tan-brass at the open end, a knot at the nape in a front or three-quarter shot, a pullover, shawl-collared wrap or a coat in place of the button-front cable-knit cardigan with its ribbed placket, cuffs and hem, one solid colour of wool with no paler sage-green panels, any count of cardigan buttons reading down the front but THREE, any count of elbow patches but TWO (one on each elbow), a bib apron, a full-length pinafore, a white apron, a bright or clean crisp unpatched unstained apron, or an apron tied in a bow at the FRONT instead of over the cardigan at the small of the back, any count of apron pockets but TWO (left mustard-tan, right pale grey-cream), any count of stitched apron patches but THREE (large mid-brown, pale blue-grey, small grey-brown), machine-neat topstitching in place of the long dark hand-sewn dashed stitches, a short skirt, trousers or bare legs in place of the mid-calf-length olive-brown skirt and thick ribbed olive-tan stockings, a slim, tall, young or straight-backed woman - she is short, stout and elderly with deep laugh-lines and a closed-mouth smile, a fringed crossed shawl, low grey bun, gnarled walking stick or black lace-up boots - that is the townsfolk-workers ELDER WOMAN, who exists precisely so Petra is not dragged into shots she is not in, her drawn out of the four-figure townsfolk plate or named as one of them, armour, weapons, uniforms, jewellery, a watch or modern dress on her, cyan or magenta rim-light, the game's neon palette or any glow on her, the drained colourless GREY harvested state, a slate, chalkboard, chalk, card, paddle, flag or any scored numeral in her hands on THIS sheet - she is empty-handed here and the prop question is an open conflict, a balcony, rail, chair, awning, planter, doorway, lane, lantern, laundry line, town or any scenery drawn behind her - the setting is composed in the PROMPT, a second figure, a child, Holly Jo, the hoverboard or any prop sharing her sheet, her holding, riding, touching or standing on the hoverboard, this sheet's neutral grey-white studio plate, cast shadows or flat key used as the palette, backdrop or lighting reference for any shot, a dusk, dawn, golden-hour or any third palette state in a frame she appears in, and in any scene built around her: pitched, gabled or tiled roofs, tan, beige or brown stone, yellow or amber lantern strings, readable text, lettering, numerals or a watermark anywhere in frame, and a photoreal, 3D-render, cel-vector or flat-fill finish in place of the painted dark-brown-ink-outlined style of this sheet

You said: Townsfolk dress, curlers under a headscarf. The old petra_2 dressing-gown sheet is retired to Denied/2026-08-29/.

Approved/petra/petra_3.png
ref 01bd05b7

LOCKEDNO "NEVER" LIST

PORCH KIT

You said: The wash line prop - two timber posts, one rope line, FOUR hung garments, on a cream plate. Approved 2026-08-25 in WAVE 8 - WASH LINE (prop). This is a CREAM DAY sheet and the only thing in the slug: no porch, no deck, no building, no figure, so the porch itself comes from farm_v2.png and everything else is composed in. The four items hang on MIXED hardware - two on metal wire S-hooks, two on wooden pegs - which is the sheet as approved. Registered 2026-09-07 (approved but never registered).

Approved/porch-kit/washline_2.png
ref 553b4781

LOCKEDNO "NEVER" LIST

RING ALPHABET

You said: THE RING'S ALPHABET - Brandt 2026-09-05, rw2:alphabet-refined: ADOPT THE RINGS. Four rotationally symmetric ring-and-tick glyphs, lit and unlit rows. Attach to every shot where the Ring's rim is legible; the four old plates are being reissued with it.

Approved/fx-glyphs/ring_alphabet.png
ref 2823315d

LOCKEDNO "NEVER" LIST

ROOFTOP ROUTE

You said: Holly's shortcut across the flat roof terraces, emerald night. Use THIS for any roof geometry - the older terrace plates draw PITCHED tile roofs, which is an explicit Solmara NEVER.

Approved/rooftop-route/roofs_1.png
ref 5a5e0f5f

LOCKED

SOLMARA - the town

TRANSCRIBED FROM THE MASTER 2026-08-25. It had no block here until now, which is why dfkcanon carried "tan stone houses" unchallenged - the same wrong colour that got the first...

the full canon wording

TRANSCRIBED FROM THE MASTER 2026-08-25. It had no block here until now, which is why `dfk_canon` carried "tan stone houses" unchallenged - the same wrong colour that got the first Vellamar sheet denied. Solmara is NOT tan, NOT beige, NOT brown. TEAL-GREEN STONE. Cubic flat-roofed houses in weathered teal-green stone, stacked densely in TERRACES up ONE steep mountain on an island, small deep-set windows lit warm from within. Between and across the terraces hang the PINK PAPER LANTERN STRINGS (lantern-strings sheet) in long swooping catenaries - they are the town's signature light and they are PINK, never yellow. Stone stairs zigzag between the levels. Below the town, an ORCHARD of PURPLE-PINK CHERRY BLOSSOM TREES in loose rows on terraced ground. Beyond, the sea. The sky is a deep BLUE-VIOLET night with stars; far hills sit blue-purple on the horizon. The whole palette is cool teal, violet and pink, warmed only by window light and the lanterns. THE RING crowns the flat bare-rock summit above the highest houses and is the HIGHEST silhouette in any frame it appears in (the CREST RULE). ring, a town without the blossom orchard below it. --- from series_graph.py (locked wording) --- Holly Jo's world: a blossom-orchard hill town of teal-green stone terraces, orchard canals, lantern strings - the Ring crowning the town's own peak (canon geography ruling). The last untouched world.

tan/beige/brown stone, yellow lantern strings, pitched tile roofs, a second

You said: close to meta

Approved/solmara/townring_3.png
ref 1991e275

LOCKEDNO "NEVER" LIST

SOLMARA ISLAND

You said: THE ISLAND WORLD PLATE and the COLD OPEN. Brandt, 2026-08-29: 'this is the cold open' and 'This is essentially what the island should be. Can be meta.' Distinct from 'solmara' (townring_3), which is the town ring seen close. The crown stair GLOWS cyan here and that glow is canon.

Approved/solmara/profile_2.png
ref 5cc47c8d

LOCKEDNO "NEVER" LIST

SOLMARA MARKET PLATE

You said: The wide market/town plate. FLAT roofs throughout - the old market_v3 broke the no-pitched-roofs NEVER. Distinct from 'market-square' (the isolated fountain).

Approved/world-suite/market_v5.png
ref 4bac1c88

NEVER - what breaks it

a cyan, green, white or blue flame in the shelter lantern - it is WARM AMBER and it is the only warm light in the frame, a second lantern or brazier or torch or campfire on the ledge, pink lantern strings hung on the hut or anywhere on the Crown - the strings belong to the town below, a window or shutter or chimney or chimney pot or roof smoke on the shelter, or the door standing open with interior light spilling out, tan or beige or brown stone that stays warm outside the lantern's reach - the stone is blue-grey and the warmth is the lamp, a bench or table or map or stool treated as already on the sheet rather than composed in, yellow or amber or white lantern strings in the town, or matte unlit ones (unlit paper belongs to the cream day master), the town's warm windows drawn dark, pitched or gabled or tiled roofs on Solmara's houses - they are cubic and flat-roofed with the roofs in use as working terraces, and this plate's gables are a recorded defect to repaint, never to copy, a dusk or golden-hour or first-light blend or any third palette state - this plate is EMERALD NIGHT and has no day version, the Ring's mouth lit or filled or veiled or showing anything but night sky and stars, more than one lit glyph, a band alight around the inner rim, or the glyph drawn as a letter or numeral or rune or blocky sigil instead of the small hooked key-spiral, that glyph in amber, gold, white, green, magenta or violet instead of cyan, a second Ring, a companion arch, standing stones or any masonry plinth under it - it stands straight on bare rock, the game's neon cyan-magenta rim-light on stone, timber or water, red light anywhere as ambience or falling on the shelter - red is the Swarm's and belongs only on the horizon where a script beat puts the seam, Vess or Darren or Holly Jo or townsfolk or the hoverboard or any ship baked into the plate - this is the clean reusable location and every figure is composed in, a harbour or quay or pier or moored boats below - Solmara's harbour is round the far side of the island, and readable text, lettering, numerals, signage or a watermark anywhere, or a photoreal, 3D-render, model or diorama finish

You said: Keeper's shelter hut on the Crown ledge at night, town below, empty. Approved WAVE 15, 2026-08-25 (ledger; block: approved, not clean). ATTACH WITH WARNINGS: Ring shows TWO letterform glyphs X/6 - repaint to ONE hooked key-spiral at rest brightness; CREST RULE broken (Ring cropped by top edge, right-hand rock rises above it) - recompose lower and wider, full circle clear of top, rock reduced to a shoulder; town below has pitched gabled roofs - repaint flat; no bench or table on the sheet, compose them in; nobody in it; shelter lantern is WARM AMBER, only warm source. Registered 2026-09-06 (was transcribed but unregistered).

Approved/keepers-shelter/shelter_v2b.png
ref 5696fb58

LOCKED

THE KEEPER'S STAIR - the switchback up the town's own mountain

SHEET: Approved/world-suite/stairv5.png (registry slug the-keeper-s-stair; alias keepers-stair, the slug the film's shot list and the series graph use) APPROVED in WAVE 18C, "BOTH...

the full canon wording

SHEET: `Approved/world-suite/stair_v5.png` (registry slug `the-keeper-s-stair`; alias `keepers-stair`, the slug the film's shot list and the series graph use) APPROVED in WAVE 18C, "BOTH DENIES DIAGNOSED AND REDONE" (ledger 2026-08-25), after stair_v2a (WAVE 13) and stair_1 (WAVE 3) were DENIED. Registered 2026-09-06: it had sat approved and unregistered for twelve days while the graph pointed at the denied v2a, so every audit reported the stair as having no art. TRANSCRIBED FROM THE SHEET 2026-09-06 by opening it at full size - not from memory. This is the plate the re-concept ruling asked for ("a carved climb up the town's OWN mountain - the Ring stays on the town peak; the ocean-pillar version is non-canon"). WHAT IT IS. EMERALD NIGHT. A wide, level, slightly-below view of the whole crown of Solmara: the flat-topped MESA rising out of the town, drawn as a stack of two rock terraces - a broad lower shoulder and a narrower upper cap - in violet-grey stone with dark ink contour lines, the cap's rim a pale flat plateau. THE RING stands dead centre on top of the cap, a thick plain stone ring in grey-brown voussoir blocks with an inner dark band, its mouth EMPTY (the night sky reads straight through it), and EXACTLY ONE small CYAN GLYPH burning low on its LEFT inner rim - the at-rest state per RING_LAW. Nothing crests above the Ring; it is the highest thing in frame (CREST RULE holds). THE STAIR: on the RIGHT flank of the mesa a carved SWITCHBACK STAIR zigzags up the rock in four or five short flights with low parapets, from the top of the town to the ledge below the cap; it is cut INTO the mountain, not built against it, and it is UNLIT on this plate (see the defect). THE SHELTER: on that ledge, right of centre below the cap, a small square stone HUT with a pitched dark roof and one warm-lit doorway - the Keeper's shelter seen from far below (`keepers-shelter\shelter_v2b.png` is the same hut close). THE TOWN fills the bottom third: cubic teal-green houses stacked up the mesa's skirt on every side, warm amber windows, PINK LANTERN STRINGS looped across the lower slopes. THE SKY is a deep teal-green night full of small white stars, lighter than the mesa, so the crown reads as a dark mass against it. WHAT IT IS FOR. The geography of the climb: where the stair is (right flank), where it lands (the ledge with the shelter), and that the Ring sits on the cap above it all. Vess's nine hundred steps are THIS stair. Any shot of the Keeper climbing, of the shelter from below, or of the crown from the town attaches this plate for LAYOUT. For the Ring itself at rest attach `the-ring-night`; lit, `the-ring`. RECORDED DEFECTS, three, so the plate is attached with its warnings and never "corrected" into a new picture without a card: (1) THE STAIR IS UNLIT. Brandt ruled 2026-08-29 that the crown stair GLOWS ("The law was wrong, not the art") and the island master `profile_2` shows the glow; this plate predates that. Take the stair's GLOW from `solmara-island`, take its PATH from here. (2) THE TOWN'S ROOFS ARE PITCHED - dozens of gables along the skirt - against the flat-roof law; the gate's ROOF OVERRIDE applies (roofs come from `rooftop-route` and `town-master-day`, never from this plate), and the hut's own pitched roof is part of the same defect. (3) THE SKY IS TEAL-GREEN, not the deep blue-violet the night law asks for; the crown is correctly darker than the sky, but the hue is off. Take night VALUES from `the-ring-night` or the film's Act 2 anchor, not from this plate. PROMPTING. Nobody is on the plate: Vess composes in from `keeper-vess\vess_1.png`, the lantern-staff from its own sheet. Say "the stair is a carved switchback on the RIGHT flank of the mesa, lit cyan, landing at the shelter ledge" and let the plate supply the shape. State the state: EMERALD NIGHT here; for a day view of the crown the parent is `town-master-day`. --- from series_graph.py (locked wording) --- Nine hundred steps to the gate. REDESIGN RULING: a carved climb up the town's OWN mountain (the ocean-pillar version is non-canon).

the ocean-pillar stair or any stair that leaves the mountain (non-canon by ruling), a stair on the LEFT flank or a straight ramp instead of a switchback, a lit or filled Ring mouth,...

NEVER - what breaks it

the ocean-pillar stair or any stair that leaves the mountain (non-canon by ruling), a stair on the LEFT flank or a straight ramp instead of a switchback, a lit or filled Ring mouth, more than the one cyan rim glyph, or that glyph in any colour but cyan, letterforms or runes on the rim, anything cresting above the Ring, this plate's pitched roofs or teal sky propagated as canon, the stair copied UNLIT into a shot where it is seen (it glows), a second mesa or a second Ring, the sea, the harbour or the seam visible in this framing, snow, rain or fog, a photoreal or 3D finish, text, captions or a border.

You said: The Keeper's Stair: carved switchback up the mesa's RIGHT flank to the shelter ledge, Ring on the cap, EMERALD NIGHT, empty. Approved WAVE 18C (2026-08-25). ATTACH WITH WARNINGS: stair UNLIT (glow is canon - take it from solmara-island); town roofs PITCHED (roof override applies); sky teal not blue-violet. Registered 2026-09-06 (approved but never registered; the graph pointed at the denied v2a).

Approved/world-suite/stair_v5.png
ref c4e198c3

LOCKED

THE NIGHT WORLD PLATE - Solmara whole, from above

SHEET: Approved/world-plate/platenight.png WHAT IT IS FOR. This is RUNG 0 of the ZOOM LADDER and the EMERALD NIGHT half of the two-state palette law; plateday.png is its cream sibling....

the full canon wording

SHEET: `Approved/world-plate/plate_night.png` WHAT IT IS FOR. This is RUNG 0 of the ZOOM LADDER and the EMERALD NIGHT half of the two-state palette law; `plate_day.png` is its cream sibling. Per THE WORLD PLATE METHOD it is the source of geographic truth - where every district sits relative to every other - and "every location view is a ZOOM into the plate", riding as a reference together with the crop of the district in question. It is NOT interchangeable with the other two Solmara masters and must never be swapped for either: `solmara-island` (`profile_2.png`) is the sea-level profile with sky and stars and is THE COLD OPEN, and `solmara` (`townring_3.png`) is the town ring seen close. Its siblings in this same folder are STATE cards, not alternates - `seam_torn.png` is the crashed-Manta shore that CH9 and CH11 lean on, `seam_bright.png` the lit state CH4-15/16 hold on. This card is the clean, unoccupied island. THE PICTURE. A HIGH AERIAL looking down at roughly forty degrees. THE OCEAN FILLS THE ENTIRE FRAME, edge to edge, and there is NO SKY, NO HORIZON LINE AND NO STARS anywhere in it - the water reads mid teal-green at the top edge, darkening to near-black blue-violet in the bottom foreground, brushed with pale cyan ripple strokes. Solmara sits alone and centred: ONE conical island, ONE mountain, ONE Ring, and no second landmass, rock stack or high point anywhere on the water. The mountain rises to a FLAT MESA CROWN of bare violet-grey rock banded by a stepped cliff, and THE RING stands alone and centred on it as the highest silhouette in frame (the CREST RULE). The Ring is a weathered dark-stone torus, upright, standing straight on bare rock with no plinth, dais or steps under it; its rim reads green-bronze and verdigris with visible voussoir seams and small radial tick marks, and ITS MOUTH IS EMPTY - the teal water beyond and the crown's own far edge show straight through it. EXACTLY ONE small cyan hooked key-spiral GLYPH is lit, low on the LEFT INNER rim. Nothing else on the Ring, and nothing else on the mountain, emits light. THE TOWN AND THE DISTRICTS. The town skirts the lower slopes on every side in dense stacked TERRACES of weathered TEAL-GREEN stone, small deep-set windows lit warm peach-amber from within, pale grey-teal stone stairs zigzagging between the levels. THE PINK PAPER LANTERN STRINGS are the town's signature light and the brightest thing in the plate: long swooping catenaries on dark cords, coral-pink spheres throwing a distinct MAGENTA-ROSE wash across the stone beneath them and laying a broad pink reflection field on the water off the southern shore, tangled with cyan. At the centre, on the widest terrace, MARKET SQUARE - an open plaza with a round basin FOUNTAIN and a central stone spout pillar; that fountain is its defining landmark and the audit already convicted one shot for losing it. Below the town on the southwest base, THE ORCHARD: mauve-purple blossom trees with near-black trunks in loose rows on stepped terraces of raked violet-grey earth held by low teal retaining walls. THE CANAL steps down the south face and runs out to the sea at the lower left, crossed by ONE arched stone footbridge, a lantern string running its wall and repeating in the channel. On the east flank the houses run right down to the waterline with no orchard between them and the sea. THE KEEPER'S STAIR climbs the bare east flank as pale UNLIT stone switchbacks with hatched treads - three visible flights broken by two hairpin turns - passing out of sight behind the rock shoulder rather than visibly reaching the summit. TWO DEVIATIONS ON THE RECORD. Neither is grounds for re-rolling an approved plate, and neither is permission to carry the deviation into a shot. FIRST, THE CROWN STAIR IS UNLIT HERE AND CURRENT CANON SAYS IT GLOWS. Brandt ruled 2026-08-29 that the GLOWING CYAN steps on `profile_2.png` are CORRECT - "This is essentially what the island should be. Can be meta." - and that the audit entry calling them a defect "IS THE THING THAT IS WRONG. Do not 'fix' the stair." The cream day master repeats it ("The switchback stair up the bare crown still glows cyan; that is CORRECT and is not to be 'fixed'") and lists "a dark or unglowing crown stair" among its NEVERs. `ANIMATION-AUDIT-2026-08-24.md` (CH3-06 @1:03, with c317 and the reused c213) cites "the approved geography master (profile_2) and the approved world plate (plate_night)" as both drawing the stair unlit: the profile_2 half of that claim is overruled, the plate_night half is accurate. So THIS PLATE is the one now out of step with the ruling. Do not propagate its dark stair down the ladder, and do not "correct" a lit stair in a derived shot on the strength of this plate. What the audit actually convicts is narrower and still stands: a CONTINUOUS glowing ribbon with bloom running out of the Ring down into the town, which reads as the Ring being active months early. Discrete lit steps confined to the bare crown are the approved look; a lit power-line into the town is not. SECOND, THE ROOFS ARE PITCHED AND GABLED. The SOLMARA block is "Cubic flat-roofed houses" and lists "pitched tile roofs" as a NEVER; the day master demands "Every roof is FLAT and in use as a working terrace" and forbids "pitched or tiled roofs, gables" outright - and notes that describing roofs as USED TERRACES rather than "flat, not pitched" is what finally stopped the model drawing gables, after four attempts. This plate draws the large majority of the town in shallow pitched and hipped dark blue-teal roofs with clear ridge lines and eaves, only a minority flat-topped. This is the same class of break already written down for the harbour plate, and the same consequence follows: any sequence cutting between this plate and a flat-roof Solmara asset will visibly change the town's architecture mid-scene. At RUNG 0 the roofs are small enough that the plate still does its job as establishing geography - use it for WHERE THINGS ARE. Do not carry the gables down to a district wide or a street master, where they will read as a different town. RECORDED DEFECT: TWO DEVIATIONS, both verified by opening the sheet. (1) THE CROWN STAIR IS DRAWN UNLIT. Brandt ruled 2026-08-29 that the glowing cyan crown stair is CORRECT and "Do not 'fix' the stair"; the cream day master lists "a dark or unglowing crown stair" as a NEVER. ANIMATION-AUDIT-2026-08-24.md (CH3-06 @1:03, plus c317 and the reused c213) cites plate_night as authority for an unlit stair - that citation is accurate about this file, but the ruling has since overruled the law behind it, so this plate is the artifact now out of step. Do not propagate its dark stair, and do not "correct" a lit stair in a derived shot on its authority. The audit's actual surviving conviction is narrower: a CONTINUOUS lit ribbon with bloom running out of the Ring into the town. (2) THE ROOFS ARE PITCHED AND GABLED across most of the town, where the SOLMARA block requires "Cubic flat-roofed houses" and forbids "pitched tile roofs", and the day master requires every roof FLAT and in use as a working terrace. Same class of break as the harbour plate, same consequence: cutting between this plate and any flat-roof Solmara asset changes the town's architecture on screen. Usable at RUNG 0 for WHERE THINGS ARE; the gables must not descend the ladder into a district wide or a street master.

a sky, a horizon line, stars, a moon, a sun disc or clouds anywhere in frame (the ocean fills it edge to edge), a second island, landmass, rock stack or any second high point, a second...

NEVER - what breaks it

a sky, a horizon line, stars, a moon, a sun disc or clouds anywhere in frame (the ocean fills it edge to edge), a second island, landmass, rock stack or any second high point, a second Ring, more than one lit glyph or a ring of burning glyphs around the rim, a lit or filled Ring mouth, a plinth, dais, steps or masonry base under the Ring, the Ring perched on a side crag or at the frame's edge, or any crag, roofline or slope crossing above its top edge, the crown stair redrawn as a continuous glowing cyan ribbon with bloom running out of the Ring down into the town, tan, beige, brown or grey-blue stone, yellow or amber lantern strings or lanterns matte and unlit (unlit belongs to the day plate), warm gold or cream daylight, a sunset, a dawn or dusk blend or any third palette state, red light of any kind (red is the Swarm's) or the game's neon cyan-magenta rim-light, a harbour, quay or moored boats on this face (the harbour is round the far side), an encircling curtain wall, a well or a cistern, cropland or any new district, landmark or building not already on this plate, an orchard without blossom, green apple trees or warm brown orchard soil, any figure, ship or vehicle baked in - Holly Jo, Vess, Darren, a hoverboard, or the Manta clean, patched or crashed (seam_torn is the crashed state, this is the clean reusable plate), and readable text, lettering, a watermark or a photoreal, 3D-render or diorama finish

You said: Whole island from above, EMERALD NIGHT, zoom-ladder RUNG 0. Approved WAVE 17, 2026-08-25. ATTACH WITH WARNINGS: use for WHERE THINGS ARE only; crown stair drawn UNLIT - the glowing cyan stair is canon (Brandt 2026-08-29), do not propagate the dark stair or 'correct' a lit one on this authority; roofs pitched/gabled across most of the town - gables must not descend the ladder into a district wide or street master; not interchangeable with profile_2 (cold open) or townring_3. Registered 2026-09-06 (was transcribed but unregistered).

Approved/world-plate/plate_night.png
ref 0233c505

LOCKED

THE RING

Not a character, but the same failure mode keeps happening, so: DARK STONE ring standing on the flat mountain crown. Its MOUTH IS EMPTY - you see sky through it. The ONLY lit thing at...

the full canon wording

Not a character, but the same failure mode keeps happening, so: DARK STONE ring standing on the flat mountain crown. Its MOUTH IS EMPTY - you see sky through it. The ONLY lit thing at rest is one small CYAN GLYPH on the rim. It is the HIGHEST silhouette in any frame it appears in (the CREST RULE). Lit / waking states exist as separate approved cards and are used only where the script calls for them. ### THE RING'S ALPHABET IS RINGS (Brandt, 2026-09-05, rw2:alphabet-refined) Sheet: `Approved\fx-glyphs\ring_alphabet.png` (four glyphs, lit and unlit rows). Every mark on the Ring's rim is built from thin INCISED CIRCLES and ARCS with short radial TICKS, arranged in THREES and FIVES, so a glyph reads the same however you turn it. The four on the sheet: a circle with three outward ticks; a broken circle of five arcs; a circle with five inward ticks; two concentric circles crossed by three ticks. The rim carries these four repeated in sequence, incised into plain pitted stone, constant stroke width, square-cut channels, the light rising out of the channel when lit. WHY: every straight-stroke design tried (keys, then crosses, then F/E letterforms) landed on a character of some real alphabet, because a few straight strokes in a square IS what an alphabet is; no alphabet has a rotationally symmetric character. It also fits the subject - the Ring is a circle, so its notation is arcs and graduations, like marks cut round a dial. STATES: at rest ONE glyph lit (the first, the circle with three ticks, on the left inner rim); awake, all forty burn. SUPERSEDED by this ruling: the 'hooked key-spiral' single glyph named in older blocks, the 'keys' option B, and the Roman/rune marks on `ringc_lit`, `ringc_night_v2`, `dome_1` and `fx-glyphs/glyph_2` - those four plates were reissued with this alphabet and APPROVED by Brandt 2026-09-05 (rw3 cards); the reissues now sit under the old filenames in Approved/, the outgoing plates are in Superseded/2026-09-05/, and the registry points at the new pictures. Known residuals on the reissues, on the record: the awake plate carries 31 glyphs rather than forty (drawn at full band width); the dome plate ~17 at twice the old size with one off-alphabet mark at the left. NEVER: letters, numerals or runes of any alphabet on the rim; a glyph with a definite 'up'; the old keys; straight-stroke sigils. ### THE TURNAROUND IS THE SINGLE SOURCE (Brandt approved 2026-08-24) `Approved\interceptor\interceptor_turnaround.png` - four views (side, front, top, three-quarter) on a plain backdrop. EVERY Interceptor frame from now on passes THIS SHEET as a reference, never a scene frame. **Why this sheet had to exist:** across CH11's eighteen shots the Interceptor was drawn eleven times and looked different nearly every time - the body went from a rounded pod to an angular fuselage to a needle, the wings swept forward in some and back in others, and the core moved. Brandt caught it: "the new enemy ship looking different each time... if it looks inconsistent people will notice." ROOT CAUSE: there was no approved isolated asset sheet, so every prompt rebuilt the ship from a SCENE FRAME plus words - exactly the cross-contamination LAW ZERO-B warns about. The wave-29 sheet that was denied was this gap, and it went unreplaced for a chapter. **KNOWN CONFLICT, flagged rather than hidden:** the approved turnaround has FORWARD-RAKING needle wings and ONE dorsal core. The already-shipped and approved `c1016` (CH10-16) shows a ROUNDED POD with TWO eye-lights and back-swept wings. Both carry Brandt's approval and they are not the same ship. The turnaround wins as the reference because (a) it is an isolated sheet rather than a scene frame, and (b) it matches c1015 and c1017, so only one shipped frame is the outlier. If Brandt would rather the pod-with-eyes be the ship, the turnaround gets redone and this note reverses - but ONE of them has to go. --- from series_graph.py (locked wording) --- Colossal pale-stone ring crowning the town's peak; inner face of dark metal crowded with dead glyphs that wake one by one. Darren's door into the story.

tan, beige, brown, sandstone, terracotta or grey-blue stone houses, pitched, gabled or tiled roofs (the town is cubic and flat-roofed), yellow or amber lantern strings, lantern strings...

NEVER - what breaks it

tan, beige, brown, sandstone, terracotta or grey-blue stone houses, pitched, gabled or tiled roofs (the town is cubic and flat-roofed), yellow or amber lantern strings, lantern strings drawn matte and unlit, an unlit, plain or grey crown stair - the cyan glow on those switchback steps is canon and is never corrected away, an encircling curtain wall, rampart, battlements or gatehouse around the town, a castle, keep, temple, tower or spire standing on the bare crown beside the Ring, anything in frame taller than the Ring - a peak, crag, mast, cloud or arch cresting it, a second ring, a companion arch or a partial ring at the edge of frame, a lit, blazing or portal-filled Ring mouth, more than the one small cyan glyph on the Ring's rim, the shield dome, canopy or bubble over the island (that is a separate plate), quays, docks, piers, net sheds or moored boats on this face of the island, a sandy beach, marina or seawall in place of the pebble tideline and its single jetty stub, a moon, a lighthouse or a sunset in the sky, dusk, golden hour, daylight or any blend of palette states, windows lit cool white or blue rather than warm from within, streetlamps, torches or braziers along the terraces, a second mountain, a chain of islets or a mainland coast behind the island, no blossom orchard below the town, or pines, palms or dark evergreens in place of the purple-pink blossom, magenta or cyan game-neon rim-light on the stone, roofs or water, a diorama, model, plinth, table, floor or studio backdrop under the island, ships, Interceptors, the Swarm, impact cracks or storm weather baked into the plate, readable figures, crowds, text, lettering or signage anywhere

Approved/the-ring/ringc_lit.png
ref 391279d4

NEVER - what breaks it

Copying this plate's pitched slate gables into any shot - Solmara is cubic and flat-roofed with solid low stone parapets and roof geometry comes from Approved/rooftop-route/roofs_1.png, carrying its lit lantern strings down the ladder - the cream-day state hangs them matte and unlit and only the emerald-night state lights them and then they are PINK, windows blazing warm through a day shot rather than only just going out at dawn, hardening the sunlit cream-gold faces into tan or beige or brown or sandstone or terracotta stone - it is the town's teal-green stone under a low warm sun and the shadow faces keep the cool, a second mountain or a second high point or a second Ring, more than the one lit cyan glyph, a ring of burning glyphs, or that glyph moved off the low near-left inner rim or drawn amber or gold or violet or red, a lit or filled or portal-blazing Ring mouth - sky and the far mesa lip read straight through it, a plinth or dais or steps or masonry base under the Ring, or the Ring tilted or leaning or perched on a side crag or at the frame's edge, any crag or roofline or cloud or mast cresting above the Ring's top edge, the Ring set down onto rooftops with no bare-rock Crown band between it and the highest houses, a quay or pier or mole or net sheds or moored boats or any harbour on this face of the island, a second canal or a second bridge or a well or cistern or waterwheel in place of the one stone-walled channel and its one low arched footbridge, a chain of islets or a mainland coast or a second island beyond the few small dark rocks at the waterline, green or autumn or bare or flowerless orchard trees in place of the purple-pink blossom, or the orchard moved above the town, dusk or golden hour or sunset or a night sky or any blend or third palette state, relighting this plate into emerald night instead of using plate_night, the game's neon cyan-magenta rim-light or red light of any kind since red is the Swarm's, figures or ships or the Manta or an Interceptor or the Swarm or smoke or blast damage or storm weather baked into it since this is the clean pre-attack state and every damaged frame is a shot made FROM it, readable text or lettering or numerals or a watermark anywhere, and a diorama or model or plinth or table or studio backdrop under the island

You said: Whole island from the air, CREAM DAY, zoom-ladder RUNG 0. Approved WAVE 17, 2026-08-25. ATTACH WITH WARNINGS: GEOGRAPHY ONLY - island shape, mount, crown, Ring position, districts, canal, bridge, orchard, coastline; every roof is PITCHED - take roofs from roofs_1; lantern strings drawn LIT and windows blazing in the cream state - day is matte unlit; crown stair unlit here - the cyan glow is canon, take it from profile_2; stone colour from the town masters. Registered 2026-09-06 (was transcribed but unregistered).

Approved/world-plate/plate_day.png
ref 97eea78d

LOCKEDNO "NEVER" LIST

TOWN MASTER DAY

You said: THE CREAM DAY TOWN MASTER - the PARENT plate every day-state shot inherits its light from. Lanterns MATTE AND UNLIT, which is the whole reason it exists; the old morning-suite plates draw them LIT in daylight, which is neither legal state. Pair of 'solmara' (emerald night). Took four attempts: the model repeatedly drew pitched roofs until the prompt described the roofs as USED TERRACES rather than forbidding the shape.

Approved/town-master-day/master_day_1.png
ref 6cf6a03a

LOCKED

TOWNSFOLK - the four-figure guard plate, and every one of them is an ADULT

SHEET: Approved/townsfolk/townsfolk1.png (registry slug townsfolk) TRANSCRIBED FROM THE SHEET 2026-09-04, by opening it - not from the filename, not from the registry note, and not...

the full canon wording

SHEET: `Approved/townsfolk/townsfolk_1.png` (registry slug `townsfolk`) TRANSCRIBED FROM THE SHEET 2026-09-04, by opening it - not from the filename, not from the registry note, and not from the three-line stub that has stood in for this block since the beginning. That stub's wardrobe sentence is UNCHANGED and is reproduced verbatim below, because `children`, `townsfolk-workers` and `the-grey` all quote it word for word and a reworded copy would silently fork the wardrobe law across four blocks. WHAT IT IS. FOUR full-length figures in one row on a plain warm PALE-GREY studio plate, evenly spaced, all four standing square and near-frontal, all four looking at camera with a level, unremarkable, closed-mouth expression. Nothing else is in the picture - no ground plane, no horizon, no location, no prop but the three named below. One soft key from the UPPER RIGHT lays a grey cast shadow forward and to the LEFT of each pair of feet. The rendering is the series' PAINTED HEAVY-INK style: a dark drawn outline around every figure and fold, soft value-modelled shading inside it, visible knit and weave texture. TWO WOMEN AND TWO MEN, and the age spread across them is the whole point of the plate: a man in his EARLY TWENTIES, a woman in her TWENTIES-TO-THIRTIES, a woman in her FIFTIES-TO-SIXTIES, and a man in his SIXTIES-TO-SEVENTIES. The young man is the tallest by a head; the two older figures are the shortest and the stoutest. LEFT - THE MATRON, mid-fifties to sixties, heavy-set, ruddy round face with deep laugh lines and a faint closed-mouth smile, grey-brown hair showing at the temples. A HEADSCARF of grey-green ground mottled with RUST-ORANGE leaf-shapes, tied at the BACK of the neck with two ends hanging behind. Blue-grey collared work shirt buttoned at the throat, sleeves pushed to below the elbow, ONE brown square patch on the upper sleeve. Over it a BROWN CANVAS BIB APRON: two shoulder straps buttoned at the bib top, a tie knotted at the waist, TWO square patch pockets on the front, three further stitched square patches scattered across it in mismatched rust-brown, blue-grey and grey-brown, and a dashed hand-stitched hem. Blue-grey skirt to mid-calf beneath, grey stockings, plain BROWN leather shoes. In her right hand a round WICKER BASKET with a twisted rope handle, heaped with five or six RED-AND-GOLD apples. CENTRE-LEFT - THE YOUNG MAN, early twenties, clean-shaven, tousled mid-brown hair, lean and the tallest of the four. Open TEAL-SLATE work jacket, notch lapels, three buttons, two hip patch pockets, one sleeve pushed up the forearm, over a GREY HENLEY shirt with a short button placket. Grey-blue trousers with belt loops and ONE square darned patch on the knee. BROWN leather lace-up shoes. Across one shoulder, gripped in the raised hand, a long plain WOODEN POLE with a steel ferrule and a curved iron BOAT HOOK at the far end - carried the way a tool is carried to work, resting on the shoulder, the hook up and forward. CENTRE-RIGHT - THE OLD MAN, sixties to seventies, barrel-chested and heavy, deeply lined face, short grey-white beard and moustache, greying brows. A frayed knitted OLIVE-BROWN watch cap with a rolled brim. A thick BROWN CABLE-KNIT ROLL-NECK sweater, collar folded over, cable panels front and sleeves, ribbed cuffs and hem, with ONE small stitched darn on the sleeve near the elbow. Olive-khaki work trousers carrying EXACTLY TWO square brown knee patches, one on each leg, plus a worn tear. Scuffed BROWN leather work boots. BOTH HANDS ARE EMPTY and hang at his sides - he carries nothing, and that is deliberate. RIGHT - THE YOUNG WOMAN, twenties to thirties, BARE-HEADED, dark brown hair centre-parted and waved back into a low BUN at the nape with loose wisps at the temples. Pale SAGE-GREEN long-sleeved dress with a cream crochet trim at the neckline. Over both shoulders a heavy BROWN WOOL SHAWL, crossed at the chest and held closed by her folded hands, with ONE woven RUST-ORANGE band running near its edge and a long knotted FRINGE hanging from it. Long olive-green skirt to the ankle in two layers, a paler over-skirt above a darker hem. BROWN leather lace-up ankle boots with a low stacked heel. On her forearm a second WICKER BASKET, rope-twist handle, holding ONE long pale unwrapped LOAF standing upright, a red tomato, an orange carrot and green onion tops. THE WARDROBE SENTENCE, quoted by four other blocks and not to be reworded: "plain earth-tone island wear - linen shirts, wool sweaters, aprons, headscarves, waistcoats, work boots. Muted greens, browns, greys, dusty blues. No armor, no neon." That list is the VOCABULARY, and it is deliberately wider than these four outfits - no waistcoat appears on this sheet, but waistcoats are canon islander wear and appear on `the-grey`. Everything here is MENDED: patches, darns, stains and dashed hand-stitching, unevenly distributed rather than applied to all four alike. A clean, new, unpatched Solmaran is wrong. WHAT IT IS FOR. This is the STYLE MASTER for every anonymous person in every Solmara crowd - the market square, the lanes, the terraces, the undercroft, the evacuation, the harbour. It is a GROUP plate and cannot be attached when a shot needs ONE isolated islander; that is `townsfolk-workers`, which exists for exactly that reason. AND IT IS THE ADULT HALF OF SOLMARA, NOT ALL OF IT. Brandt's note on this exact picture, verbatim: "None of these people are children. They look adults." He was right about the sheet, and the fix was never to redraw it - the fix was the `children` sheet, which is the child half of this same job. So the two travel together: a Solmara crowd is built from THIS plate for its adults and from `children` for its children, and a crowd assembled from this plate alone will read as a town with no young in it, which is the defect that produced the children sheet. The four here are ANONYMOUS - none is named, no relationship between them is canon, and no principal is ever drawn out of them (Petra, Momma Jo, Ossie, Holly Jo, Vess and Darren each have their own registered design and are composed in by prompt). The plate's flat neutral studio light belongs to no Solmara state: relight into EMERALD NIGHT or CREAM DAY in the shot, never a blend and never a third state. Its harvested counterpart is `the-grey`, which must be DRAWN grey and never made by desaturating this file.

more or fewer than FOUR figures on the sheet, any split other than TWO women and TWO men, all four drawn the same age, all four young, or all four elderly - the spread is...

NEVER - what breaks it

more or fewer than FOUR figures on the sheet, any split other than TWO women and TWO men, all four drawn the same age, all four young, or all four elderly - the spread is early-twenties man, twenties-thirties woman, fifties-sixties woman, sixties-seventies man, a child, toddler, baby or teenager standing on this sheet (children are the `children` sheet and are composed in), a Solmara crowd, market, lane, evacuation or undercroft built from this plate ALONE with no child anywhere in it - that is the exact defect Brandt caught here, this four-figure sheet attached to produce ONE isolated islander (that is `townsfolk-workers`), naming any of the four, or writing them as a family, two couples, or parents with grown children, Petra, Momma Jo, Ossie, Holly Jo, Vess, Darren or any principal drawn out of these four, the matron given Petra's brass-ringed curlers, her scarf knotted UNDER the chin, or a plain unpatterned scarf in place of the rust-on-grey-green mottled print, the matron given a fringed crossed shawl, a low white bun, a gnarled walking stick or black boots - that is the `townsfolk-workers` ELDER WOMAN, a different registered figure, BLACK boots or shoes on anyone here (all four are BROWN leather), a headscarf, bonnet, hood, cap or hat of any kind on the young woman (she is bare-headed, the low bun is the design) or on the young man (he is bare-headed and clean-shaven), a bare head on the matron or a hatless old man - there is EXACTLY ONE headscarf and EXACTLY ONE knitted cap on the sheet, a beard on the young man, or the old man shaved, any count of carried baskets but TWO, an empty basket, the two baskets swapped between the women, green apples, a single apple, or fruit other than the five or six red-and-gold ones, a second loaf, a loaf wrapped in kraft paper and twine (that is `bread-package`, a different registered prop), or fish, meat, flowers or an animal added to either basket, more than ONE carried pole, or a fishing rod, oar, pitchfork, scythe, broom, staff, net or creel in place of the single hooked pole (the net, rope, gaff and creel belong to `townsfolk-workers` and `fishing-gear`), the hook levelled like a spear, gripped as a weapon, carried into a fight or drawn with blood on it - Solmara has NO weapons and that absence is the argument `lane-kit` and CH20 make, a second hook head, a barb, a blade or a bound-on hook with no steel ferrule, the old man given something to hold - his empty hands are the design, clean, new, crisp or unpatched clothing on any of them, or all four mended identically in the same places - the matron's apron patches, the old man's two knee patches and one sleeve darn, and the young man's single knee patch are counted and uneven, saturated red, orange, purple, pink, bright white or black clothing, dyed or printed fabric, or stripes anywhere but the shawl's ONE rust band, armour, uniforms, weapons, guards, jewellery, watches, spectacles, or modern dress - trainers, zips, logos, printed graphics, sunglasses, cyan or magenta rim-light, the game's neon palette, or any glow on them, the drained colourless GREY harvested state applied to this sheet or this sheet desaturated to produce it (that is `the-grey`, which is drawn, not filtered), any of them holding, riding, touching or standing near the hoverboard (there is one board in the show and it is Holly Jo's), a background, ground plane, town, market stall, quay, orchard or scenery drawn onto the sheet itself - the setting is composed in the PROMPT, this sheet's flat neutral grey studio light or pale backdrop used as the light, palette or backdrop reference for any shot, a dusk, golden-hour, first-light or any third palette state in a frame they appear in, pitched, gabled or tiled roofs, tan, beige or brown stone, or yellow or amber lantern strings in any scene built around them, readable text, lettering, numerals, price boards, signage or a watermark anywhere in frame, a photoreal, 3D-render, cel-vector or flat-fill finish in place of the painted heavy-ink style with a drawn outline, and rewording, paraphrasing or trimming the quoted wardrobe sentence - `children`, `townsfolk-workers` and `the-grey` all reproduce it verbatim and it changes in all four places or in none.

You said: The four-figure background townsfolk plate - the STYLE master canon points at for every crowd. Cannot be attached to get ONE isolated person; that is 'townsfolk-workers'.

Approved/townsfolk/townsfolk_1.png
ref 1e552a46

LOCKEDNO "NEVER" LIST

TOWNSFOLK WORKERS

You said: Fisher AT WORK, market vendor SELLING, elder woman. Isolated, unlike the four-figure townsfolk group plate which cannot be attached to get one person. The elder woman is deliberately NOT Petra.

Approved/townsfolk-workers/workers_1.png
ref cb68b86c

LOCKEDNO "NEVER" LIST

TRAINING YARD

You said: The yard where Darren drills her. Named by CH2 and CH3.

Approved/training-yard/yard_v2b.png
ref 27fd1688

LOCKEDNO "NEVER" LIST

UNDERCROFT

You said: The vaulted rock chamber under the town that holds four hundred. NEVER swap with the keeper's shelter, which is a one-man hut.

Approved/undercroft/undercroft_1.png
ref 24b9930d

LOCKED

VELLAMAR - the harbour town

Approved 2026-08-25 (wave 38b), after a deny. Brandt's deny on the first version - "This looks like another town... I don't see the town and the cherry blossoms and stuff like that" -...

the full canon wording

Approved 2026-08-25 (wave 38b), after a deny. Brandt's deny on the first version - "This looks like another town... I don't see the town and the cherry blossoms and stuff like that" - was exactly right: it had been built in tan stone with warm yellow lanterns and no blossom, which is not this world. IT IS THE SAME WORLD AS SOLMARA AND MUST ALWAYS LOOK IT: TEAL-GREEN STONE buildings with flat roofs and small deep-set windows lit warm from within; a deep BLUE-VIOLET night; PINK PAPER LANTERN STRINGS (the lantern-strings sheet) hung in long swooping catenaries along the waterfront and between buildings; PURPLE-PINK CHERRY BLOSSOM TREES in loose rows behind the quay. Cool teal and violet throughout - NEVER tan, beige or brown. THE ONLY THING THAT DIFFERS FROM SOLMARA IS THE SHAPE OF THE LAND. Solmara climbs one steep mountain in stacked terraces with the Ring on its crown. VELLAMAR IS FLAT: it lies along the water on level ground, built around a long curving stone QUAY with fishing and small cargo boats tied along it, low stone warehouses and net lofts behind, gentle low hills far back. is the entire reason the story can take it.

a mountain, terraces, or A RING OF ANY KIND. Vellamar has no Ring, and that

Approved/vellamar/vellamar.png
ref 012e8610

LOCKEDNO "NEVER" LIST

VIOLET MANTA

You said: NOT META: background is wrong and facing direction changes. Needs re-cutting on a plain plate before it can be the master.

Approved/violet-manta/manta_REFERENCE_SHEET.png
ref 029ebf8c

LOCKEDNO "NEVER" LIST

WAR PROPS

You said: The war-council prop - Solmara drawn in plan on torn parchment, ringed by eight inward attack arrows, weighted by two stones with a knife laid across it. Approved 2026-08-25 in WAVE 21 - THE WAR'S FACE + EPISODE 2 FOUNDATIONS. It is a LANTERN-LIT SEPIA INTERIOR and carries neither EMERALD NIGHT nor CREAM DAY, so a shot never takes its grading from here; and the town drawn ON the map has pitched roofs and pink orchard, which are map draughtsmanship and not licences for the real town. Registered 2026-09-07 (approved but never registered).

Approved/war-props/map_prop.png
ref 1fb3b094

NEEDS WORK - 21

You said no, and said why. Your words are kept exactly as you wrote them, because a tidied-up note is how "the flat area should be much bigger" turns into another picture that misses the point.

SHIP IT AS IT IS - the res

3-06: you said roll the roofs again. I did, three more times, and it failed.

This is off. It doesn't look right and the sound effects is way off.

ADD IT - the deflect needs

4-08b: the returned light arrives, and the scout goes down

Looks better but now it doesn't look like it is actually deflecting back and shooting from the shield.

no picture

FIX - I'll say what in the

animatic:sc01

I approve the music, you just do not have enough still shots or maybe the still shots are off from narration.

no picture

FIX - I'll say what in the

animatic:sc01@03be09b5

Much better, something you should know the camera is shaking. Also do not be afraid of getting more still shots, higgsfield has a ton of credits.

no picture

FIX - I'll say what in the

animatic:sc02

So you do not have enough still shots that are matching narration, also Holly is looking different...

no picture

FIX - I'll say what in the

animatic:sc02@4e6f6962

Much better, something you should know the camera is a little shaky. Also do not be afraid of getting more still shots, higgsfield has a ton of credits. also there was a couple shots that do not look like the approved Holly Jo. Please fid that.

LEAVE THEM AND STOP ASKING

FOUR APPROVED PLATES BREAK THE FLAT-ROOF LAW - and canon says it is YOUR call, not mine

I don't know why you think the other ones are bad. That's exactly how the places should look. I don't know what I'm actually approving, but are we saying that we're going to get rid of these things because you should not? These are actually what the city looks like and all that other stuff

TOO BIG

S2-05 at 1:26 in the cut

Why is Holly a giant...

TOO BIG

S3-15 at 3:08 in the cut

Slightly too big

TOO BIG

S3-16 at 3:11 in the cut

Wrong board entirely

TOO SMALL

S4-04 at 3:36 in the cut

Slightly too small

SIZE OK

S4-06 at 3:44 in the cut

Perfect

TOO SMALL

S5-13 at 5:09 in the cut

Board is not the right looking board

TOO SMALL

S5-15 at 5:17 in the cut

That's not the right board

SIZE OK

S5-16 at 5:22 in the cut

This is the right board

DENY

S3-20 - rebuilt: Holly Jo and her board (re-asked for your note)

The board doesn't look like the agreed upon board. It looks super long and skinny so I don't know why you think it. Would it be approved?

DENY

S4-04 - board fix

They style of the board looks off

no picture

DENY - rewrite this scene

SCRIPT v1, scene 1 - THE LAW (denied; the abstract prologue, cut from the film)

Confused, this is the first scene that people see? I am looking at the assets (pictures) and it doesn't make sense

CHANGE - my note says what

1. MOSTLY OCEAN (42s, 6 lines)

There needs to be a section here where you give the prompt or tell me what prompt you're going to give to skyreels. Because in the prompt you should be referencing things and doing narration and scripting and all other stuff. I also see that you have things that haven't been approved so maybe you make sub-approvals within this main approval so I can approve small little things and others. I also feel like you are mentioning things in the script that aren't captured as pictures here.

no picture

CHANGE - my note says what

tp01b

This pic and this pic look off: one has mountains around it, and the other looks like it has a paninsula

no picture

DENY - rewrite this scene

tp01c

So this doesn't sound right at all. When I listen to the voices it's like a bunch dead sound and then from scene to scene at least what I'm listening to doesn't make sense. So I don't know if you redid that or what, but it sounds weird. Just listen to it yourself or the lyrics and you'll know like why it sounds weird because I don't know. I don't know how to describe it

FIXED - 18

You refused these, said why, and the redo is now approved and locked above. Kept here so the reason is not lost.

4. CHILDREN - two, about 7 and 11 - you said: None of these people are children. They look adults
1. TOWN MASTER - first light - you said: This doesn't look like the emerald City. It looks a little bit off
DARREN has never been cast, and he speaks three times - you said: Needs to be more harsh
THE DOME - the shield now clears the whole island - you said: So I'm not entirely sure. This looks exactly like the city because the ring looks way too big on the top. I don't remember putting a a wall around the entire city. This is stuffy. Need to think about when creating it based on previous meta pictures and stuff like that. Make it as close as you can to it
THE GREY - what was wrong with it? - you said: I didn't really understand why they were gray
THE DOME - rebuilt at full town scale - you said: The bubble doesn't look like it actually covers the entire city
HOLLY JO - the shield in front of her - you said: I'm on the fence on this one. Here hands are supposed to create a deflect shield in front of her. We have assets like it but this one is off
THE CHALK COLUMN on the stair wall - you said: I don't really understand the 96 stuff so maybe we need to rewrite a little bit of the script because this doesn't even really make sense unless you can explain it
THE GREY - harvested townsfolk
THE DOME - redesigned to keep the crest rule - you said: This looks like a way smaller town than what we originally had so it doesn't make sense
VARDEIM - DARREN'S WORLD - you said: Should be viking themed but more futurrisitc where they also fight with lazer peams and space ships.
MISSUS PETRA - you said: Needs to look more like what the towns people would wear
THE KEEPER'S CHAMBER - you said: Not sure what this is
THE SEVEN WORLDS - you said: The planets need to look a little more realistic but like colors and look
THE WARLORD - you said: Need to work on the boss, should look lik ethis but less cartoonie
THE KEEPER'S CHAMBER - you said: Not sure what this is
THE RING at night - you said: Area at top of mountain too small of flat area should be much bigger
MARKET (world-suite plate) - you said: Close but still needs work

NOT ANSWERED

No ruling exists for these, so nothing has been assumed either way. They stay out of shots until you say.

E1SC01Z S1-14v4 - "MOMMA JO! IT WENT OUT AGAIN" - WHAT CHANGED SINCE S1-14v3, WHICH YOU ALREADY APPROVED: v3 came back with invented words first ('Mama Jo is lying and De

DEAD VARIANTS

Denied with no note - alternates that lost to a better sheet. Kept on the record so they are not re-generated by accident.

3-01, THE ANCHOR: my recommendation is to refuse this one - DENY - I would not use this one
THE ORCHARD SHORE - your peninsula. I cannot fix this one by editing, so it is your call - RECOMPOSE IT - new framing, same place
The bakery's street-side work plank (scene 3) - DESIGN IT - make this sheet
BLOCKING - The street-side bread rack and the loose unwrapped loaves (scene 3) - DESIGN IT - make this sheet
BLOCKING - The balcony lane in CREAM DAY (scene 4) - DESIGN IT - make this sheet
The board's AGE AND WEAR (the colour is ruled: warm amber) (scenes 3, 4, 7) - DESIGN IT - make this sheet
asset:canal-cream-day - DESIGN IT - make this sheet
asset:canal-mill - DESIGN IT - make this sheet
asset:chalk-box - DESIGN IT - make this sheet
BLOCKING - The Keeper's vigil wall - eleven thousand nights, ruled in courses (scenes 5, 8) - DESIGN IT - make this sheet
asset:coin-dish - DESIGN IT - make this sheet
What the waking coin does to the hand and face holding it (scene 12) - DESIGN IT - make this sheet
BLOCKING - The courier docket she signs, and its marking stub (scene 5) - DESIGN IT - make this sheet
The strapped load rigged for carriage (scene 4) - DESIGN IT - make this sheet
asset:crown-blue-wash-night - DESIGN IT - make this sheet
The Crown lighting, glyphs running alive along the rim, seen from the stair (scene 8) - DESIGN IT - make this sheet
A red bolt striking the cyan barrier and not coming back (scene 9) - DESIGN IT - make this sheet
Darren spent - permanent, not an injury (scenes 9, 10, 11, 12) - DESIGN IT - make this sheet
BLOCKING - The kneading trough and its round of dough, lane side (scene 3) - DESIGN IT - make this sheet
The second counting neighbour (scene 4) - DESIGN IT - make this sheet
The Jo kitchen in a day state (scene 2) - DESIGN IT - make this sheet
asset:farmhouse-screen-door - DESIGN IT - make this sheet
The flour burst (scene 3) - DESIGN IT - make this sheet
George (scene 4) - DESIGN IT - make this sheet
Solmara's gulls (scene 1) - DESIGN IT - make this sheet
BLOCKING - The hand-carried lantern an islander may legally hold at night (merges scene 10's crowd-hand-lantern) (scenes 10, 11, 12) - DESIGN IT - make this sheet
Holly Jo's old board with the warm amber underglow (scene 4) - DESIGN IT - make this sheet
The box that goes up the keeper's stair (scene 2) - DESIGN IT - make this sheet
The jump geometry - upper parapet, the drop, the landing run (scene 4) - DESIGN IT - make this sheet
The jump geometry - upper parapet, the drop, the landing run (scene 4) - DESIGN IT - make this sheet
BLOCKING - Solmara's window shutters - open, half-closed, closed (scene 7) - DESIGN IT - make this sheet
Wash lines strung across the lane between balconies (scene 4) - DESIGN IT - make this sheet
BLOCKING - The last landing at the head of the Keeper's Stair (scenes 9, 10, 11, 12) - DESIGN IT - make this sheet
The basket Momma Jo folds into (scene 2) - DESIGN IT - make this sheet
Momma Jo, night variant (scenes 6, 10, 11, 12) - DESIGN IT - make this sheet
The near-side waterline the shouting woman stands on (scene 1) - DESIGN IT - make this sheet
The water seal at night - black water all the way round, the pale reef line, the empty horizon (scene 11) - DESIGN IT - make this sheet
What the Jo orchard actually yields, in the crate (scenes 1, 2) - DESIGN IT - make this sheet
The orchard ladder standing in the row (scene 2) - DESIGN IT - make this sheet
Ossie's doorway on the terrace below Petra's balcony (scene 7) - SHOOT AROUND IT - do not spend on it
Missus Petra's cup (scene 4) - DESIGN IT - make this sheet
BLOCKING - What Missus Petra wears outdoors at night (merges scene 7's petra-nightwear) (scenes 7, 11) - DESIGN IT - make this sheet
Missus Petra in nightwear (scene 7) - DESIGN IT - make this sheet
The pale reef line and the sealed ocean, day and night states (scenes 1, 11) - DESIGN IT - make this sheet
The dead Ring on the crown, cream day (scene 4) - DESIGN IT - make this sheet
The Ring's resting state after having been open - one mark or zero (scenes 10, 11, 12) - DESIGN IT - make this sheet
The Ring at rest in CREAM DAY - dead, empty-mouthed, one cyan mark, small on a broad mesa (scenes 1, 3, 4, 5) - DESIGN IT - make this sheet
The Ring half-extinguished - marks going out one after another (scene 9) - DESIGN IT - make this sheet
The Ring's waking light falling INSIDE a room (scene 6) - DESIGN IT - make this sheet
BLOCKING - The round shield alone, off the arm, on bare rock - with the rim worn to bright metal (merges scene 9's shield-rim-wear) (scenes 9, 10, 11, 12) - DESIGN IT - make this sheet
The scorers' tally slate (scene 4) - DESIGN IT - make this sheet
The two worn bright patches on the shield rim (scene 9) - DESIGN IT - make this sheet
The Keeper's Stair in CREAM DAY - switchback, parapet, landing (scene 5) - DESIGN IT - make this sheet
BLOCKING - The Jo table's supper service - plate, fork, and what supper is (scene 6) - DESIGN IT - make this sheet
BLOCKING - The chalk tally wall - eleven thousand nights of strokes (scene 8) - DESIGN IT - make this sheet
Whatever came through the gate behind him (merges scene 9's truncated slug the-thing-that-came-throug) (scenes 9, 10) - DESIGN IT - make this sheet
The worn bowl on the mill-door sill (scene 3) - DESIGN IT - make this sheet
asset:wake-night-light - DESIGN IT - make this sheet
BLOCKING - The Crown's blue - the waking light on the hill and what it does below (scenes 6, 7, 8) - DESIGN IT - make this sheet
SCENE 1, THE MAN ON THE WATER - "Six baskets!" (blocks scene 1) - DANIEL
SCENE 1, THE WOMAN ON THE QUAY - "It's four!" (blocks scenes 1 and 4) - CHARLOTTE
S2-04 at 1:21 in the cut - TOO BIG
S2-06 at 1:29 in the cut - SIZE OK
S2-07 at 1:33 in the cut - SIZE OK
S2-08 at 1:37 in the cut - SIZE OK
S2-10 at 1:44 in the cut - SIZE OK
S3-01 at 2:32 in the cut - SIZE OK
S3-05 at 2:42 in the cut - SIZE OK
S3-06 at 2:45 in the cut - SIZE OK
S3-10 at 2:53 in the cut - SIZE OK
S3-12 at 2:59 in the cut - TOO BIG
S3-14 at 3:04 in the cut - TOO BIG
S3-22 at 3:24 in the cut - SIZE OK
S4-01 at 3:27 in the cut - SIZE OK
S4-03 at 3:33 in the cut - SIZE OK
S4-08 at 3:53 in the cut - SIZE OK
S4-10 at 4:00 in the cut - SIZE OK
S4-12 at 4:07 in the cut - SIZE OK
S4-13 at 4:09 in the cut - SIZE OK
S4-14 at 4:12 in the cut - SIZE OK
S4-15 at 4:15 in the cut - SIZE OK
S4-16 at 4:19 in the cut - SIZE OK
S5-01 at 4:23 in the cut - SIZE OK
S5-06 at 4:47 in the cut - SIZE OK
S5-11 at 5:00 in the cut - SIZE OK
S5-14 at 5:12 in the cut - SIZE OK
S5-18 at 5:28 in the cut - SIZE OK
S5-20 at 5:35 in the cut - SIZE OK
S5-22 at 5:40 in the cut - SIZE OK
S5-23 at 5:43 in the cut - SIZE OK
S5-24 at 5:44 in the cut - SIZE OK
e1fix:S3-20 - DENY
hj_f1.png - DENY
hj_f2.png - DENY
THE CANAL DISTRICT, cream day - second attempt (blocks scenes 1, 3) - REDO - start it again
THE CANAL MILL (blocks scenes 1, 3) - REDO - start it again
THE COIN DISH - two attempts, BOTH FAILED the same way (blocks scenes 2, 6) - REDO - start it again
sheet:solmara-profile-day - CHANGE - my note says what to fix
sk2:ask-for-more - I have written what I want in the note
sk2:ask-for-more-2 - I have written what I want in the note
sr:bakery-dialogue - DENY - not this shot
sr:board-closeup - DENY - not this shot
sr:dawn-terraces - DENY - not this shot
sr:holly-ride - DENY - not this shot
sr:island-night - DENY - not this shot
VOICE - MISSUS PETRA (currently a placeholder) - RUN ME A LINEUP - I want to cast this properly
voice:town - RUN ME A LINEUP - I want to cast this properly