layer_flutter's mask was the vertex's height alone, so on a ten metre aspen every part of
the trunk above 1.2 m trembled with the leaves and the bole read as cloth. What separates
a leaf from a bole is distance from the model's centre line, not height; the mask is
radial now, and small plants keep the old one because a flower is all leaf.
NEAR_FADE dithers tree foliage out inside arm's length of the camera, in the depth
prepass, so the lit pass never sees those pixels and the equal-depth optimisation is
untouched. gl_Position.w is the view depth, so it costs one varying and no uniform.
Blades, cards and flowers are excluded - they live at the player's feet - and the shadow
pass keeps every leaf.
daylight_hand takes a reach in metres. The falloff was an inverse square windowed between
26 and 6 with both numbers hard-coded: two per cent of its own near field at ten metres,
so a torch lit your boots. It is a gentle power out to the reach now.
Measured in Maroon Lake, twice per side: the crown mask moves 1.7% of an aspen frame and
nothing at all in the meadow under it; the near fade moves 7.1% of a first-person frame
at a conifer and 0% where there is no foliage in the lens; the torch's reach lifts the lit
ground 20 to 45% and leaves the sky bit-identical.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Actor.cast_hidden separates drawn from casting. ac_visible rejected a hidden actor from
the shadow pass too, so hiding the player's own body for first person took the player's
shadow with it - and in a sunlit basin your own shadow is what tells you where you are.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
layer_flutter(l, v) gives a scatter layer a per-leaf tremble. The vertex stage offsets
each leaf by a phase taken from its own place on the card, so neighbouring leaves are
never in step, and writes the result out as a varying the fragment stage uses to flash
the leaf's pale underside as it turns - which is the part that reads, since a still
frame of a tremble is a still frame of nothing. One uniform, one varying, no extra pass.
And the sway itself was measured in METRES: hgt * hgt * 0.35 is right for a 40 cm
flower and puts ten metres of sideways into a 14 m trunk, so every tall tree in the
valley stood bent over like a fishing rod. It is a fraction of the model's own height
now - the tip moves a few per cent of the tree whatever the tree is, and the base does
not move at all.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
water.frag takes u_wade - a point and a strength - and puts spreading rings and a
patch of churn into the surface normals there, so a wader marks the water and a
swimmer works the whole of it. It is one uniform in a fragment stage that was
already running, applied after the distance flattening so a disturbance close to
the camera survives it, and it measures no frame cost at all.
Also records the two renderer features that shipped without a changeset.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The existing occlusion is tuned as AMBIENT occlusion: a wide radius answering "how open is
the sky here". That is the right question, and it leaves every object in the frame
hovering - because what says a log is ON the ground rather than in front of it is a hard,
narrow darkening in the last few centimetres where the two meet, and at a metre and a half
of radius that darkening is spread so thin it is not there.
A second, tight pass: eight taps inside 40 cm, which at any normal distance is a handful of
pixels and stays in cache, with a much tighter range check than the ambient one so a wall
across the room does not darken the floor in front of it.
Small by frame area, because contact occlusion is - 1.8% of the frame, 7% of the region
around the things it grounds. GL 7.0 -> 7.1 s, VK 7.3 s over 400 frames.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Rain fell and the ground did not change: the weather was a curtain of particles in front
of a dry valley.
u_wet, 0 dry to 1 soaked, does the three things a wet surface does. Darkens the albedo.
Drops the roughness hard - which is what makes a soaked meadow read as soaked rather than
merely dark, because the sky glances off it. And pools: water finds the low places and
flat ground holds what a slope sheds, so the puddle mask is the macro noise the materials
already use gated on slope, and a puddle takes the world's up for its normal rather than
the ground's relief.
It joins the shore's existing wet band rather than fighting it - the same term from a
different cause.
34.1% of the frame changes between dry and soaked. GL 7.1 s either way over 400 frames.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
You walked through a meadow and every blade ignored you, which is the most noticeable
thing missing from every step the game asks you to take.
u_push (x, z, radius) bends blades away from a body and DOWN - a trodden stem is shorter
as well as leaning, and leaving the height alone made them splay outward like a fan
instead of being walked through. Applied after the blade's own yaw has put it into world
axes and before it is tipped onto the ground normal, so the push is a world direction
rather than something in the blade's private frame.
Radius 0 means nobody is there, so nothing is paid for when it does not apply. Measured:
GL 6.9 s, VK 7.3 s over 400 frames, unchanged.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The grass had a gust built from two sines; the trees had no gust term AT ALL, only a
per-instance wobble. So the meadow rippled and the canopy above it swayed to an unrelated
rhythm, and nothing ever crossed the valley.
wind.glsl is prepended to every stage (programs.ludic, and shaders.ludic for the SPIR-V
build) so grass, crowns and water read the same field at the same world position. It
declares no uniforms on purpose: u_time and u_wind already exist in several of those
files and redeclaring them is a compile error in whichever stage includes both.
The wavelength is what made it work. At 0.030 the front was 209 m crest to crest -
longer than the meadow you can see - so the whole frame sat in one phase and the gust
read as everything breathing together. At 0.085 it is 74 m and a front crosses a view in
a couple of seconds.
R3D_DEBUG_WIND=1 paints the field on the ground. It is the only honest way to show a gust
in a still image, and two shots 0.3 s apart move by 39/255.
400 frames: GL 6.9 s, VK 7.2 s. Backends agree to 0.68/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Two changes that have been sitting uncommitted in this checkout, gathered as a recovery
point before the next run of work.
grass.vert: the blade existence gate tested green DOMINANCE - g - max(r, b) - which is a
test for lush green and nothing else. A dry alpine meadow is yellow-green, its red as high
as its green, so the meadow scored zero and was thinned to the floor - a QUARTER of the
blades - on exactly the ground that should be thickest. Measured on Maroon's own ortho,
g - max(r, b) reads +0.026 at the camp and -0.002 six hundred metres away, flipping between
full density and a quarter over continuous meadow; g - b reads +0.076 and +0.014 and
separates plant from rock and snow just as well, because rock and snow are neutral and
vegetation is not. Bare ground in the near band went 82% -> 57% looking down.
Blade height is biased short (h3 * h3) rather than spread evenly, so a meadow is a dense
mat with taller stems out of it; an even spread read as a lawn that had been cut.
water.frag: the planar reflection is returned at 0.72 of the scene's exposure rather than
all of it, the fresnel mix caps at 0.70 rather than 0.86, absorption falls so the bed is
visible through the surface at the angles a player stands at, and the ripple field is
roughly halved - so a sheltered lake is one sheet of water with a mountain in it instead
of open chop to the horizon.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The shipping default had NO anti-aliasing at all: the temporal resolve was removed, the
setting's first option went on saying "Temporal", and MSAA defaults to one sample, so
every machine without DLSS drew grass and needle cards with nothing smoothing an edge.
FXAA in the sharpen pass, which already reads the neighbourhood and runs last on the LDR
image. No history, so it cannot drag or smear a reflection. 25.5% less single-pixel
staircase on edge pixels.
The trap, recorded because it inverted the result: the unsharp delta must be computed
from the RAW image and only then applied to the anti-aliased colour. Centre from FXAA and
neighbours from the raw texture measures half smoothing and half signal, so the mask
sharpens precisely what FXAA softened - 29% WORSE than no anti-aliasing at all.
Depth of field for the photo mode: a disc whose radius is the circle of confusion,
normalised by focus distance so a landscape shot is not a macro, with taps rejected
unless they are at least as out of focus as the pixel they blur into - which is what
stops a sharp foreground haloing into a blurred background. Between the scene and the
bloom, so a blurred highlight still blooms. Skipped whole when the aperture is shut.
400 frames in ordinary play: GL 7.1 s, VK 7.2 s - the lens does not draw there.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Foliage roughness was pinned to 1.0 and grazing Fresnel switched off, so nothing green
in the game had a highlight anywhere. The glint off waxy leaves and wet needles is most
of what makes a stand look alive rather than painted.
The reason it was off is real: a crown is card quads, and at a grazing angle the card's
normal is a lie, so a specular lobe frosted whole crowns white against the sky. The sheen
returns as its own term gated on exactly that - it fades as the card turns edge-on, which
is where its normal stops meaning anything. A tight lobe for the glint, a weak wide one
for the waxy rim, nothing at the angles that frosted.
Translucency reaches 260 m rather than 140, and a dense crown passes 0.45 of it rather
than 0.3, so a backlit stand glows for as far as you can see it.
400 frames: GL 7.1 s, VK 7.4 s. Backends agree to 0.14/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Correcting the previous commit, which said this was unfixed. It is fixed, and I had the
wrong knob: raising the mudstone tint's magnitude from 0.14 to 0.38 made the face LIGHTER
rather than REDDER and it came out pale tan. The shader's own DEBUG_ALB view measured
red:blue at 1.56 on the peak where maroon mudstone wants nearer 4, which says plainly that
what needed moving was green and blue DOWN, not red up.
The built-in DEBUG_MAT view is what settled it, and I should have reached for it an hour
earlier instead of inventing my own: it shows the Bells as pure red, rockW = 1, so the
face is rock and always was. That also explains why painting the snow albedo bright red
changed nothing and I wrongly read that as "this surface is not drawn by this shader" -
there is no snow on those faces to paint.
The far tier's fallback moves with it, so the cheap tier keeps the near tier's mean.
Backends agree to 0.60/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
55% of every ground pixel was the orthophotograph, at every distance and on every
material. A survey image records WHERE the forest and the scree are well and what a
steep rock face is coloured badly - it is shot through kilometres of air at an angle no
player stands at. The photograph keeps the meadow and the forest and gives the rock back
to the rock, by material and by elevation and never by distance: a distance fade used to
live here and was removed because the photograph has the day's own shadows baked in, so
grass grew dark patches as you backed away and they slid as you walked.
The far tier's rock fallback is the maroon mean, not a neutral grey - TFAST_3 skips the
rock sample and leaves that constant standing in for a whole mountain.
Ortho-classified snow needs altitude now. Bright and unsaturated is what snow looks like
from a satellite and also what a sunlit rock face looks like. Gully snow is gated on the
snow line rather than two absolute heights.
Distance desaturation eased 1.9 -> 1.15: tuned on a valley whose rock was grey anyway.
NOT FIXED, and I want it recorded rather than implied: the Bells themselves are still
not maroon. The near and middle rock is warmer and measurably so, but the distant peak
does not respond to ANY of this - not the rock tint, not the ortho weight, not the snow
line, not the gully gate. Painting sA bright red left it unchanged, so whatever surface
that is, it is not this shader's snow and not this shader's material blend. Somebody
should find out what draws it before tuning any of these numbers further.
400 frames: GL 7.0 s, VK 7.2 s. Backends agree to 0.62/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Everything before this made the air a COLOUR APPLIED TO A SURFACE. Nothing put light
in the space between surfaces, so the basin had no shafts, no pooled mist and no rays
off a ridge at any hour, whatever was done to the fog.
A half-resolution march from the camera to the depth buffer, asking the same shadow
the rest of the frame asks - the cascades, the baked height-field shadow and the cloud
mask - so a shaft is cast by the actual trees and the actual ridge and a passing cloud
dims its own rays. Henyey-Greenstein scattering, because real air throws light forward.
Density and a separate ground-hugging mist layer ride the sun's elevation, so mist
forms in the cold at either end of the day and burns off by mid-morning.
Composited with the bloom pyramid's own tent upsample under ONE/ONE - what was wanted
and already there - and before bloom, so a shaft blooms. Into post_hdr, not post_scene:
post_scene is what the water refracts and shafts added there would sit under the lake.
The tuning that mattered was the sky term, which is added at every step: at 0.06 it
accumulated into a flat grey wash lifting lit and shadowed air equally, which is the
contrast a shaft is made of, and the valley came out one pale sheet. At 0.012 the sun
dominates and there is light rather than fog. I cut the density and mist three times
before the frame looked like air instead of paint.
R3D_NOVOL=1 for an A/B; Off in Settings skips the pass whole.
400 frames at 07:00: GL 7.1 -> 7.3 s, VK 7.2 -> 7.4 s. Backends agree to 0.08/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Aerial perspective is a curve now. A low sun shines through far more air than a
high one and shines ALONG the ground rather than down onto it, so density, height
falloff and forward scatter all ride the sun's elevation; overcast thickens the air
and flattens the scatter, because a grey sky has no disc to scatter from. `lowsun`
falls away BELOW the horizon as well as above it, or the middle of the night gets a
dawn's haze with no dawn to justify it.
The term that was missing entirely is distance DESATURATION. Blending a saturated
green ridge toward a saturated blue noon sky leaves a saturated ridge - which is why
the same valley read as a photograph at dusk, where the fog colour happened to be a
warm grey, and as a toy at one o'clock. A surface is now pulled toward its own
luminance faster than the fog itself arrives. Measured far/near saturation at the
camp: 07:00 1.11 -> 0.89, 09:00 1.04 -> 0.93, 13:00 0.98 -> 0.89.
The grade is the hour's too - nine literals bound at the draw, written by
daylight_set now. Noon is the case worth naming: direct sun is warm-white and the
only thing filling a midday shadow is a blue sky, so noon gets a cool balance over a
blue-lifted shadow with hard contrast, and dawn and dusk the reverse. Ground R-B,
lit vs shadowed: 07:00 +42.8/+14.2 -> +48.9/+15.1, 13:00 +32.2/+14.8 -> +25.2/+2.9.
Gain is left alone deliberately: the grade is `c * gain + lift * (1 - c)`, so warming
it warms the whole frame, and warming it at noon made one o'clock yellower than seven
in the morning - the opposite of the point.
The visible sky is relit. Turning a photograph on its axis does not change what
colour it was taken at, so every sunset had a mid-morning blue overhead. An analytic
sky supplies the chroma and the photograph keeps the luminance: the cloud stays where
it is and goes orange at dusk, the zenith goes deep blue at noon, and no second sky
is shipped. It fades out under the horizon and eases off under cloud.
The ground bounce follows the ground, crossing meadow to rock at the map's treeline
instead of being one green constant everywhere including above the scree.
R3D_NOAIR=1 restores all of it, so a before-and-after comes from one binary at one
hour; it joins R3D_NOCLOUD / R3D_NOSHADOW / R3D_NOGI.
Verified on macOS OpenGL, macOS Vulkan (MoltenVK) and Windows Vulkan (RTX 3070 Ti).
Backends agree: mean difference 0.15-0.88/255 within a machine. Across machines the
ORIGINAL renderer already differed by 5.02/255 at 19:12 and this build differs by
2.80, so cross-platform variance is pre-existing and did not grow. 400 frames: GL
7.4 s before and after, VK 7.0 s before and after.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The platform gave these keys no code at all, so a game's rebinding screen could not take
one and nothing said why. Windows asked the active layout what they type and got nothing
(w_vk_char answers 0 for a key with no character); macOS let them fall through to
charactersIgnoringModifiers, which reports NSF1FunctionKey and its neighbours at 0xF704
and up - outside the 256-bit held set either way.
w_keyval and ev_keyval now name them, with the same codes on both: 132-143 F1-F12,
144-149 Home / End / PageUp / PageDown / Insert / Delete, 150 Caps Lock, 152-161 the
numpad digits, 162-166 its * + - . and /. The numpad's Enter is Enter.
Key.F1, Key.Home, Key.Numpad0 and the rest fold at compile time, and Input.key_label
names them without asking the layout - a key that types nothing is called the same thing
on every layout.
examples/library/input_typeless_keys.ludic covers the codes, the names, the held set and
the press edge; 150 passed in ludic-dev test, 33 in selfhost-test.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Crypto.random_* and Uuid.* read /dev/urandom, which Windows lacks, so every
byte was zero; the Windows target now calls RtlGenRandom (advapi32).
ludicc takes --title, which ludic build/run/bundle pass from package.ludic's
app name, so rt_init opens the window under that name instead of the
program name.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The runtime opens a game's window before main, titled with the program's name, and
gl_open attached to it without passing its title on (render3d's gvk_open called win_open,
which returns early on Windows and opened a second window on macOS). win_set_title in
cocoa.ll / win32.ll (setTitle: / SetWindowTextW, UTF-8 -> UTF-16; a no-op without a window,
stubbed headless) retitles it from gl_open, and win_open on an open window retitles it on
both platforms.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Process.spawn/poll/kill/free - non-blocking child processes with no shell: posix_spawn on
macOS (process.ll), CreateProcessW with MSVC-quoted arguments and no console window on
Windows (process_win.ll), linked only when a program uses Process.*.
Http.save_to streams a response body into a file (NSURLSession with a run-time delegate
class on macOS, the WinHTTP read loop on Windows); Http.received / Http.expected report
progress while it is pending. Freeing a pending request cancels it and parks the slot
until the worker has finished.
App.window_hide / App.window_show take the game's window off the screen and back without
closing it; the run goes on while hidden. Docs, examples, tests and a changeset.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The package overview, its commands, scripts and hooks, dependencies against
the lock with fetch/update/verify/vendor/add/remove, the app preview and the
asset roots. The bar over package.ludic now only prompts when something
needs doing.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Udp.open/port/send/recv/from_ip/from_port/close/resolve/local_ip/ip/ip_text, native
BSD sockets (udp.ll) and Winsock (udp_win.ll, -lws2_32), linked only when a program
uses Udp.*; example, docs and tests.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
glibc keeps sinf/sqrtf/floorf and the rest in libm, which macOS links implicitly;
examples/lang/floats.ludic failed to link on the Linux build-and-test job.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
emit_bin_vals lowered every pointer-typed ==/!= to @lp_str_eq, so two
distinct records compared their bytes up to the first zero byte. Content
compare now needs both sides to be text (string, or the untyped
pointer/ptr runtime code carries text in); other references use
icmp eq ptr, and string vs a non-text reference is a compile error.
Adds selfhost/tests/identity.ludic; both seeds regenerated.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`float` (32-bit) and `double` (64-bit) with + - * / %, comparisons and unary minus.
Decimal literals take their type from context and stay `fixed` elsewhere; int and long
promote implicitly (LUDIC_WARN_FLOAT_PROMOTE=1 lists every promotion). float(), double(),
int(), long() and fixed() convert; floats(n)/doubles(n) buffers; float fields, globals,
constants and parameters; Math.* computes in float for float arguments; string/print
write the shortest round-tripping decimal; float_bits/float_from_bits expose the bits.
@deterministic code may not use floats. The f_* runtime helpers stay as they are.
Editors know the new type words; the JetBrains plugin is 1.5.0.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
- JetBrains plugin 1.4.0: semantic colours (builtin / vendor / own), template strings,
brace handling, run configurations and a test console, package.ludic and
package.lock.ludic editing (completion, docs, app preview, colour previews, asset
navigation), External Libraries for the runtime and packages, doc pages for built-ins
- ludic-lsp: go to definition for imports, document links, hover with inferred types,
type definition, signature help with parameters, docs from docs/language
- `import "dir"` resolves a barrel `dir/index.ludic`
- package.ludic `entry`, `script` and `hook before|after <command>`; `ludic <script>`,
`ludic script`, `ludic scripts`
- `ludic test --verbose` and `--test NAME`; the test runner filters by name
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A reflecting body is clipped to its ellipse like every other unless it is an
unbounded sea, so a map whose reflection belongs to its lake (Maroon Lake, once
its sea sits below it) does not draw that lake's level over every hollow in the
survey. The terrain's wet shore and its forest and scree gates read the carved
lake's line inside its outline (u_lake), the rule grass already used. SPIR-V
regenerated.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Every R3D_* read goes through r3d_env_has / r3d_env (env.ludic): a headless
build honours them as before, a windowed build only when R3D_DEV is set to
anything but "0", so a shipped game never reaches a debug view, feature kill,
file writer or hardware fake. Documented in docs/SHIPPING.md.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The Windows runtime keyed the held set by the character MapVirtualKeyA gave a
virtual key, so a game's WASD belonged to whatever the active layout put there,
and with an input method on every letter arrived as VK_PROCESSKEY. The typing
block is now read from the scancode (the arrows, numpad and F-keys still by
virtual key); macOS reads keyCode the same way. Input.key_label(key) names a key
in the player's own layout (Windows) or as its US character elsewhere.
Verified on Windows with SendInput into a live window: VK_Z carrying W's scancode
holds 'w', VK_PROCESSKEY carrying A's holds 'a', Caps Lock changes nothing.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
r3d_hdr_calibrate(peak, paper, black) feeds the tonemap's and the overlay's HDR10 variants and
the display's HDR metadata; ov_hdr_nits draws a calibration patch at a number of nits.
gpu_caps_probe asks the running Vulkan renderer's instance instead of making and destroying a
second one under Streamline's interposer, which left the next swapchain rebuild calling address 0.
The overlay gets an HDR10 variant, and the tonemap brightens HDR highlights by one factor rather
than per channel.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A chunk's dispatch was sized for its largest tile, so the far tiles beside a
near one ran thousands of empty invocations: 9.8 ms of grass at 4K on an RTX
3070 Ti. One dispatch per tile, sized to that tile, brings it to 5.0 ms - still
three times the chunked path's 1.7 (36 fps against 41), so GF_MESH_GRASS is not
implemented yet and the Advanced row says a coming update.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
NVIDIA Streamline's interposer exports none of VK_KHR_acceleration_structure's
commands, so ray tracing looks each up per device with vkGetDeviceProcAddr and
calls it through a pointer: create (four pointers -> result), destroy (device,
handle, allocator), build sizes (device, type, info, counts, sizes), the
command-buffer build (buffer, count, infos, ranges) and the device address
(device, info -> u64). Both runtimes assemble; nothing uses them yet.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The chunked grass path draws each chunk as one mesh-shader dispatch when the
setting asks and the card has VK_EXT_mesh_shader: work group y is a tile, x a
batch of 16 of its blades, and a blade the placement, density, frustum, water
or slope tests reject emits nothing - the instanced path still runs its eight
vertices to a degenerate position. grass.mesh generates the same blades as
grass.vert (grass_blade_mesh(4)'s rows, the same hashes, sway and lighting
normal), capped at the instanced path's 65535 a tile.
Vulkan: VK_EXT_mesh_shader with meshShader, and maintenance4 (glslang's mesh
stages declare LocalSizeId); vkCmdDrawMeshTasksEXT looked up per device, as the
Streamline interposer exports none; a *.mesh program's pipeline takes the mesh
stage and no vertex input, its bindings the mesh stage bit. gpu_has_mesh,
gpu_draw_mesh_tasks; r3d_mesh_grass and R3D_MESH_GRASS / R3D_NO_MESH.
bin/ludic-dev rebuilt: the committed binary predated the shader tool's mesh
support and compiled grass.mesh as a vertex stage.
PC (RTX 3070 Ti): the camp matches the chunked path; validation only the
no-window present-id message.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
