PROMPT Build "Offshore Jelly" — a single-file interactive WebGPU diorama in the "Material Studies" series: a stretch of North Sea cut out as a cube of translucent jelly, sitting on a studio floor. Everything is procedural (no external assets, no network), one HTML file with inline JS/WGSL. THE BLOCK - A wobbly jelly cube you can grab by its sides and tip; it springs back. Sliders: firmness, damping, wind (0–20 m/s). - Inside: a shallow-water simulation for the sea surface (waves, wakes, foam, whitecaps), seabed with sand ripples, scour rocks, kelp, boulders, starfish, crabs, urchins, a pipeline, cables and a small wreck. Caustics on the seabed. Dragging the water stirs up waves. - Waves come from the wind: several wave trains whose height grows with wind speed. THE SCENE - A production platform on a four-legged steel jacket (braces, risers, conductors, boat landing, marine growth below the waterline): main and cellar decks, process module, derrick, living quarters, lifeboats, a pedestal crane with a laydown area, a flare boom with a flickering flame and smoke. - An octagonal helideck with an H, a net, perimeter lights and a windsock. - Five offshore wind turbines on monopiles: transition piece with yellow platform, boat landing ladder, davit, tower, nacelle, three-blade rotors with red tips, blinking red aviation lights. Rotor speed and power output (MW) follow the wind. - A rocky skerry with a lighthouse whose beam turns; seals haul out on it. WHAT HAPPENS - Supply run: a platform supply vessel comes in from standby, holds station next to the jacket on dynamic positioning (thruster foam), and the crane does four lifts — containers swing on the hook, are set down on the platform and back-loaded onto the boat's deck. Then she sails back to standby. - Helicopter: flies in from the west, turns into the wind, lands on the helideck; a deck officer walks out; passengers get off. A second press sends it away (spin-up, lift, outbound). Rotor and tail rotor spin, downwash flattens the water. - Crew boat: a small catamaran sails out to a turbine, pushes its bow onto the boat landing, and technicians climb the ladder onto the platform. Next time she picks them up and brings them home. - Storm: the wind builds to a gale, waves get big with whitecaps and spray, rain falls, the room darkens, lightning strikes blades, the lighthouse, the derrick or the sea with a flash and thunder. Above cut-out the turbines feather their blades and stop (0 MW); the helicopter is grounded. Then it eases and the turbines restart. LIFE - Schools of fish around the jacket and wrecks, gulls that perch on railings and take off on the horn, gannets that plunge-dive for fish, a pod of porpoises, seals, moon jellyfish, crew walking the decks. CONTROLS & UI - Buttons: Supply run, Helicopter (take-off when landed), Crew boat, Storm. Space = ship's horn. Tapping a turbine switches it on/off, tapping the supply boat or helideck calls them. Orbit by drag, zoom by wheel/pinch. - Tallies: Power (MW), Lifts, Flights; status lines for the supply boat, helicopter and crew boat. - Flavours (jelly colour palettes): North Sea, Curaçao, Blackcurrant. - Sounds are synthesised with WebAudio and only play for events (horn, winch, set-down, bump, rotor, thunder, rain) — no constant background ambience. Sound toggle and pause. - Mobile: a bottom sheet with the controls, touch orbit and pinch zoom. Clean fallback message when WebGPU is unavailable. - Copy in English: "Offshore Jelly. A wind farm and a platform working a stretch of North Sea, set in a block of jelly." — "Call in the supply boat. Fly the crew out. Brew up a storm."

PROMPT: Build a single-page web toy called "Beach Two": a real-time 3D scene rendered as pixel art — a beach volleyball court on a floating island with the sea in front. three.js r160 via import map (jsDelivr), English UI, original design only (no real brands). RENDERING PIPELINE - Orthographic camera at an isometric angle (≈31° down, azimuth π/4, rotatable in 90° steps with easing; drag sideways or buttons; wheel/pinch zoom 0.7–2.8). Fit the island outline plus palm tops into the screen area left free by the UI; snap the camera so the world origin lands on a whole art pixel. - Render into a small half-float WebGLRenderTarget (nearest filtering, depth texture), ~480×300 art pixels at pixel size 3, no anti-aliasing. - A mirrored reflection pass first (scene.scale.y = −1 about the water plane, hiding the sand, water and particles) into its own target; the water samples it in screen space. - Post pass: texelFetch whole-pixel upscale, depth outlines (neighbour > 0.5 m nearer → darken ×0.5), nearest-of-~65 palette colours in OKLab (L weighted ×1.35), optional 4×4 Bayer dither, empty depth = page background. "Raw 3D" toggle shows the full-res MSAA render. Pixel size slider 2–6, palette/dither/outline checkboxes. - Palette: foam whites and greys, sand from dry to wet, sea from shallow turquoise to deep blue, sky blues and night, sunset peach/coral/rose/violet, palm greens, team coral and teal, yellow/blue accents, skin and wood, lamp and fire yellows. WORLD - Island 33×26 m with rounded corners, cut like a cake: a sand heightfield grid pressed into the outline (dunes at the back, flat court, slope under the sea along a gently curving shoreline), coloured face by face with sand speckle and a wet band, smooth analytic normals. The cut side shows sand bands, and where the sea is a wall of water in depth layers; soil and rock below. - Sea: a grid of waves updated every frame (rolling swells, chop, shoaling near shore), vertex colours by depth, foam where crests break in the shallows and along the swash line; shader mixes its own tinted colour with the mirrored beach (slight wobble) and adds sun/moon glints from facet normals. Buoys on a rope bob on the waves. - Court 16×8 m with blue straps, net (alpha grid texture, white tapes, red-white antennae, padded posts, guy ropes). - Palms with ringed curved trunks and drooping fronds swaying with the wind; dune grass; a boardwalk; a snack kiosk with striped awning, sign, lit hatch at night, surfboards, cooler and stools; benches; a beach shower; a lifeguard tower with a wind flag; striped umbrellas, towels, a deck chair, a sandcastle, a rowboat, a fire pit with logs; string lights on posts; two floodlights. - Footprints and ball marks as instanced dents in the sand that fade back over time. PEOPLE - Box rigs (~18 boxes) posed every frame with two-bone IK: run on sand, ready stance, bump platform, setting window, spike (cock–whip–follow-through, airborne), serve with toss, block with arms up, sprawling dive, celebrate and high five, hold/throw the ball. Players have caps, glasses, buns. - Beachgoers: one sunbathing on a towel, one in a deck chair, two standing who clap/cheer on points, a kid patting a sandcastle, two sitting by the fire. Gulls circle, flapping or gliding, casting shadows. GAME (rally scoring to 15, win by 2, sets counted) - Ball physics in substeps: gravity, quadratic air drag, wind with gusts, float-serve wobble; net crossing → tape dribble-over or drops into the net; posts; antennae fault; landing on sand with a puff and short roll; floating and drifting in the sea. - AI: predict the ball's real flight; for the side it comes down on, pick who can reach the contact height in time (zones break ties); types pass/dig, set (or bump set), attack (or free ball), dive when slightly late; leave balls clearly going out; occasional "seam" where both leave the serve. - Shot aiming by iterative simulation (lob to an apex, or a drive at a speed with bisection on launch angle plus drift correction), allowing for ~70% of the wind. Pass errors grow with incoming speed, wind and lateness; shanks on hard balls. - Attack: run-up timed so the jump peaks at contact; candidate targets (line/cross deep, cut shots, pokes) scored by distance from the defender and block, with a taste for spiking; net-clearance check, small chances of long or net errors. - Defence: one blocker jumps with the hitter in his lane (stuff, soft touch counting as first touch, or off the fingers), one deep defender shading away from the block. - Serves: lobbed floats or hard flat serves; small error rates. Between rallies the nearest player fetches the ball (anywhere, even in the sea), lobs it to the server, who walks to the line. UI - Lit pixel-font scoreboard (CORAL vs TEAL, set number, status, serve dots, sets won). Rail: Time (Day/Sunset/Night), Wind (Calm/Breeze/Gusty + live m/s), Attack style (Auto/Spike/Shots), New match, Pause, View. Click the sand to call where the next attack goes (marker X). Light/dark themes; stacked layout on phones; "How it's drawn" panel.

Claude Opus 5.5: claude.ai/artifact/2PoSUwk9J…

PROMPT: Build "Corner Court" — a single-file, real-time three.js (r160, ES module via import map from jsDelivr) page: an isometric diorama of an original street basketball half court on a floating city block, rendered as crisp pixel art. UI text in English. RENDER PIPELINE - Orthographic camera at ~31° elevation, azimuth 45° + 90° steps (animated; drag sideways or buttons), wheel/pinch zoom; fit the whole slab into the free screen area. - Render into a small target (screen / pixel size) with no anti-aliasing; snap the camera to whole pixels. - Post pass: - depth outlines (darken a pixel >0.55 m in front of a neighbour); - nearest colour of a fixed ~54-colour city palette in OKLab (concrete/asphalt greys, sky and night blues, court teal, terracotta/orange, reds, yellows, leaf greens, skin/wood, dusk purples, neon pink); optional 4×4 Bayer dither; - whole-pixel upscale via texelFetch; the background (depth = 1) is the page colour. - Hard shadows (BasicShadowMap); flat-shaded Lambert low-poly. - Puddle reflections: render the scene mirrored about the ground (scene.scale.y = -1, ground meshes and rain hidden) into a second target, sampled at gl_FragCoord in the ground shader. - "Raw 3D" mode: the same scene at full resolution with MSAA. SCENE - A ragged-edged slab: grass over soil over rock. - An asphalt pad painted texel-by-texel at 10 px/m: teal inside the 6 m arc (straight corner lines), terracotta key, white lines, free-throw and restricted circles, cracks, worn paint, a stencilled "COURT 7". - Hoop: padded navy pole, arm, backboard with its square, orange torus rim, and a line-segment net that sways when the ball goes through. - Chain-link fence behind the hoop (alpha-tested diamond texture). - A brick corner shop with an awning, lit windows, a pink "OPEN" neon sign and a vending machine. - A long wall with an original sunset-city mural. - A sidewalk with a bench and two seated spectators. - Floodlights, a streetlight, low-poly trees, hedges, a dumpster, a fountain, a bike rack with two bikes, a hydrant. - Pigeons that peck and fly off when players or the ball come near. PLAYERS — procedural rigs of ~17 boxes - Two-bone IK for legs (running stride, defensive slide, tucked jumps) and arms: dribble hand following the ball, jump-shot set point with release and gooseneck follow-through, layup reach, two-hand dunk, chest pass, rebound/contest reach, celebration. - Spectators sit, cheer on makes and open umbrellas in the rain. GAME — streetball 2v2 half court - Make it take it; 1s inside the arc, 2s beyond; first to 11; win counter. - Check ball at the top (pass to the defender and back). A change of possession must be cleared beyond the arc. - Offence AI: dribble to spots, drive when the lane is open, pull-up jumpers when open, layups/dunks at the rim, passes when pressured; the off-ball player spots up or cuts. Man-to-man defence with stance, gap control, steals and contested jumps (blocks). - Ball physics with substeps: bounces on asphalt, sphere vs torus rim and backboard box, net drag, pole, fences, wall, slab edge. - Jumpers aimed on a ballistic arc (~50°) with speed/aim noise growing with distance and contest. - Layups lofted to a peak above the rim so they drop in. - Rebounds with jumps; out of bounds goes to the other team. - Score, possession and status messages ("SWISH", "BLOCKED!", "TAKE IT BACK", …) on a lit scoreboard. - Clicks: the ball handler shoots, his teammate gets a pass, the court sends the handler there. Shoot/Pass buttons. WEATHER AND TIME - Day / Dusk / Night lighting presets blended over ~1.6 s; floodlights, streetlight, neon and windows at night. - Dry / Drizzle / Downpour: rain as short line streaks with splashes. A wetness value rises and slowly dries: the asphalt darkens, puddles spread from low spots in a precomputed depth map and mirror the scene, rain rings flicker in them; feet and the ball splash. UI - Pixel display font (Silkscreen) and a clean body font; light/dark themes via tokens. - Controls: Time, Weather (with a court wetness bar), Shoot, Pass, New game, Pause, Turn left/right, Pixel art/Raw 3D, Pixel size, Palette/Dither/Outlines. - A "How it's drawn" panel; a stacked mobile layout with no horizontal scroll.

Check prompt: Build a real-time WebGPU plush-toy study of a cute stuffed lobster, in the same engine and editorial "Material Studies" page style as my Plush Crab (shell-rendered minky fur, XPBD soft body, wired legs). Body: one signed distance field — a long domed carapace with a rounder face and a small horn, two short eye stalks with big glossy safety eyes on white felt discs, an embroidered smile and rosy cheeks, then a tail of six smooth-unioned segments that get smaller toward the back, with a crease between each, ending in a flat five-paddle tail fan. Fill it with a hex lattice of cells and tetrahedra, solved with co-rotational cell shape matching plus volume constraints on a fixed 60 Hz step; Coulomb friction on the table. The shell breathes. Only the shell keeps its footing and posture, so the tail stays free. Tail muscle: along the tail's centre line, lengthen the cells' rest shapes above the line and shorten them below, so the stuffing itself curls the tail. At rest the tail gently lifts and settles. "Tail flip": snap the tail under hard in about 0.1 s with extra cell stiffness, throw the body back and up, and straighten the tail again mid-air so it lands stretched out well behind where it started. A finger poke on the shell triggers the same flip. Chains (XPBD rods with a plastic wire, posed in the body frame, blended poses lie/stand/tuck/wave/hang): - eight thin walking legs with pale knitted joint bands; - two arms ending in a big padded palm with two plush claw fingers (dark felt tips) that open and close by one angle; - two long thin striped feelers that sweep up and back and always twitch slightly. Behaviours: - walking: head first, an alternating gait with footholds on the table; - "Snip snip": both claws open and shut out of step; - "Wave claws": claws raised and waving; - Finger tool: the lobster walks to the finger, faces it and pinches it gently; - held up, its legs dangle; - pulling a limb past its reach tows the whole body. Rendering: fur shells with Kajiya–Kay highlights, a velvet lie the Comb tool can brush, and pile that sways on springs. Draw the tail seams as stitched short-pile creases and give the fan pale edges. Soft shadows, contact AO, a studio backdrop, PBR Neutral tone mapping. Varieties: Red, Blue, Golden. Tools: Hand, Finger, Comb. Sliders: stuffing, pile length, wire. Buttons: Walk, Snip snip, Tail flip, Wave claws, Straighten, Smooth fur, Reset, ¼ speed, Mesh, Pause. Readouts: mass, volume, steps, flips, snips. Add an "Inside the experiment" notes drawer. English UI, mobile-friendly.

prompt: Build a real-time WebGPU soft-body "jelly" study of a watermelon wedge that you can cut with a steel knife, in an editorial "Material Studies" page style (serif title "Melon Jelly.", muted paper backdrop, side panel, English UI, mobile-friendly). Geometry: a thick triangular watermelon wedge with a rounded green rind, a pale white layer, and translucent red flesh with dark seeds and a few air bubbles. Sim: CPU XPBD on a tetrahedral mesh, fixed 60 Hz step with 10 substeps. Each tet uses a co-rotational shape-matching constraint with finite compliance, which also flips inverted elements back out, plus a near-incompressible volume constraint so a stretched slice necks in. The rind is about 3× stiffer than the flesh. Damping acts only on relative velocity along edges. Floor contact uses Coulomb friction. Grabbing is a soft, reach-limited attachment to a patch of particles, and scroll or a second finger twists it. Two tools, Hand and Knife: - Knife: the user draws a stroke across the slice. Read on the surface, that stroke defines a vertical blade plane. Every piece is stored as a rounded convex outline in the slice's rest plane. For each piece the plane crosses, fit the piece's current pose with a best rotation, carry the plane back to rest space as a straight line, and split the outline along it. - The cut: prebuild both halves as fresh tet meshes on release. An animated steel knife lines up over the stroke, comes down, and first presses a groove into the jelly. When it breaks through, swap in the new pieces, which inherit the position and velocity of the flesh they came from, and the blade wedges the faces apart on its way to the board. Draw the blade behind the jelly surface so the buried part is seen refracted. - Pieces: every piece is its own soft body that can be grabbed, stretched and cut again, and pieces collide with each other instead of passing through. Render: a smooth surface mesh plus the seeds and bubbles, each vertex embedded in a tet by barycentric weights so they ride the wobble. WGSL passes: - floor, seeds and bubbles first; - back faces, to get the thickness each view ray crosses; - front faces with refraction by that thickness, Beer–Lambert absorption, milky scattering in the pale layer, a back-lit glow at thin edges, Fresnel reflections of a procedural studio, and GGX highlights; - a soft key shadow on the floor tinted by the jelly, plus contact AO from a top-down height map. Varieties: Crimson, Golden, Rosé. Controls: Hand/Knife tool toggle, firmness and internal damping sliders, "Give it a nudge", Reset, Pause, ¼ speed, Show mesh, plus mass/volume/kinetic readouts and an "Inside the experiment" notes drawer explaining the physics, cutting and rendering.