@bitmagic/cli 0.1.65-dev.24 → 0.1.65-dev.4

package/dist/telemetry/creator-prompt.d.ts

@@ -40,9 +40,8 @@ export declare function creatorPromptField(override?: unknown): {
 /** `body` plus the creator's own words, when the flag was given and telemetry is on. */
 export declare function withParent(body: Record<string, unknown>): Record<string, unknown>;
 /**
- * The creator's ask as an opaque, stable dedupe key — what a game's "Built with N prompts" is
- * counted on, so the COUNT never depends on storing anybody's words. (The beacon also carries the
- * words themselves in {@link creatorAskText}, for a channel that shows them and stores nothing.)
+ * The creator's ask as an opaque, stable dedupe key — what the command beacon sends so
+ * api-server can count "prompts this game was built with" without ever being told the text.
  *
  * The CLI is the ONLY producer of this value. api-server stores it and compares it to other
  * values from this same function; it never recomputes one from text, so the two sides cannot
@@ -57,18 +56,3 @@ export declare function withParent(body: Record<string, unknown>): Record<string
  * `--original-prompt` produces — the count is a floor, never an overcount.
  */
 export declare function creatorAskDigest(override?: unknown): string | undefined;
-/**
- * The creator's ask as TEXT, bounded for a wire that has a body limit.
- *
- * The beacon carries this so the live-prompts Slack channel can show what an
- * agent is being asked for on the commands that send no prompt anywhere else —
- * `build`, `verify`, `dev`, `reload`, `publish` — which are most of what
- * building a GDK project consists of. api-server posts it and never stores it:
- * the count still runs on {@link creatorAskDigest}, and no prompt text reaches
- * Postgres.
- *
- * Capped by the same rule the digest hashes under, so the two always describe
- * the same words. `DO_NOT_TRACK` drops it upstream in `beginCommand`, like
- * every other field here.
- */
-export declare function creatorAskText(override?: unknown): string | undefined;

package/dist/telemetry/creator-prompt.js

@@ -52,9 +52,8 @@ export function withParent(body) {
     return 'creatorPrompt' in field ? { ...body, ...field } : body;
 }
 /**
- * The creator's ask as an opaque, stable dedupe key — what a game's "Built with N prompts" is
- * counted on, so the COUNT never depends on storing anybody's words. (The beacon also carries the
- * words themselves in {@link creatorAskText}, for a channel that shows them and stores nothing.)
+ * The creator's ask as an opaque, stable dedupe key — what the command beacon sends so
+ * api-server can count "prompts this game was built with" without ever being told the text.
  *
  * The CLI is the ONLY producer of this value. api-server stores it and compares it to other
  * values from this same function; it never recomputes one from text, so the two sides cannot
@@ -69,29 +68,9 @@ export function withParent(body) {
  * `--original-prompt` produces — the count is a floor, never an overcount.
  */
 export function creatorAskDigest(override) {
-    const text = creatorAskText(override);
-    if (text === undefined)
-        return undefined;
-    return createHash('sha256').update(text).digest('hex').slice(0, 16);
-}
-/**
- * The creator's ask as TEXT, bounded for a wire that has a body limit.
- *
- * The beacon carries this so the live-prompts Slack channel can show what an
- * agent is being asked for on the commands that send no prompt anywhere else —
- * `build`, `verify`, `dev`, `reload`, `publish` — which are most of what
- * building a GDK project consists of. api-server posts it and never stores it:
- * the count still runs on {@link creatorAskDigest}, and no prompt text reaches
- * Postgres.
- *
- * Capped by the same rule the digest hashes under, so the two always describe
- * the same words. `DO_NOT_TRACK` drops it upstream in `beginCommand`, like
- * every other field here.
- */
-export function creatorAskText(override) {
     const field = creatorPromptField(override);
     if (!('creatorPrompt' in field))
         return undefined;
-    return field.creatorPrompt.slice(0, MAX_ASK_CHARS);
+    return createHash('sha256').update(field.creatorPrompt.slice(0, MAX_ASK_CHARS)).digest('hex').slice(0, 16);
 }
 //# sourceMappingURL=creator-prompt.js.map

package/dist/telemetry/creator-prompt.js.map

@@ -1 +1 @@
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+{"version":3,"file":"creator-prompt.js","sourceRoot":"","sources":["../../src/telemetry/creator-prompt.ts"],"names":[],"mappings":"AAAA;;;;;;;;;;;;;;;;;;;;;GAqBG;AAEH,OAAO,EAAE,UAAU,EAAE,MAAM,aAAa,CAAC;AACzC,OAAO,EAAE,cAAc,EAAE,MAAM,sBAAsB,CAAC;AAEtD,sGAAsG;AACtG,MAAM,aAAa,GAAG,IAAI,CAAC;AAE3B,MAAM,CAAC,MAAM,oBAAoB,GAAG;IAClC,IAAI,EAAE,QAAQ;IACd,WAAW,EAAE,oFAAoF;UAC7F,iEAAiE;CAC7D,CAAC;AAEX;;;;;;;;;GASG;AACH,MAAM,UAAU,kBAAkB,CAAC,QAAkB;IACnD,MAAM,KAAK,GAAG,QAAQ,IAAI,cAAc,EAAE,EAAE,aAAa,CAAC;IAC1D,oFAAoF;IACpF,OAAO,OAAO,KAAK,KAAK,QAAQ,IAAI,KAAK,CAAC,IAAI,EAAE,CAAC,MAAM,GAAG,CAAC,CAAC,CAAC,CAAC,EAAE,aAAa,EAAE,KAAK,CAAC,IAAI,EAAE,EAAE,CAAC,CAAC,CAAC,EAAE,CAAC;AACrG,CAAC;AAED,wFAAwF;AACxF,MAAM,UAAU,UAAU,CAAC,IAA6B;IACtD,MAAM,KAAK,GAAG,kBAAkB,EAAE,CAAC;IACnC,gGAAgG;IAChG,8FAA8F;IAC9F,OAAO,eAAe,IAAI,KAAK,CAAC,CAAC,CAAC,EAAE,GAAG,IAAI,EAAE,GAAG,KAAK,EAAE,CAAC,CAAC,CAAC,IAAI,CAAC;AACjE,CAAC;AAED;;;;;;;;;;;;;;;GAeG;AACH,MAAM,UAAU,gBAAgB,CAAC,QAAkB;IACjD,MAAM,KAAK,GAAG,kBAAkB,CAAC,QAAQ,CAAC,CAAC;IAC3C,IAAI,CAAC,CAAC,eAAe,IAAI,KAAK,CAAC;QAAE,OAAO,SAAS,CAAC;IAClD,OAAO,UAAU,CAAC,QAAQ,CAAC,CAAC,MAAM,CAAC,KAAK,CAAC,aAAa,CAAC,KAAK,CAAC,CAAC,EAAE,aAAa,CAAC,CAAC,CAAC,MAAM,CAAC,KAAK,CAAC,CAAC,KAAK,CAAC,CAAC,EAAE,EAAE,CAAC,CAAC;AAC7G,CAAC"}

package/dist/telemetry/report.js

@@ -16,19 +16,11 @@
  *      bounded to {@link REPORT_TIMEOUT_MS} per request so a finished command is
  *      never held open by a sulking network (the same reasoning as
  *      update/check.ts). It never prints.
- *   2. Its ANALYTICS are categories, never messages: the command name, ok/failed,
- *      the exit code, a `CliError.code`, and a duration. A message can name a
- *      path; that does not belong in an analytics event. The game id keeps the
- *      rule (it is an id we minted) and so does the ask DIGEST (opaque by
- *      construction), and neither reaches GA4.
- *
- *      `creatorPrompt` is the one field that carries words, and it is not
- *      analytics: api-server posts it to an internal Slack channel and stores it
- *      nowhere — not GA4, not Postgres, not BigQuery. It is here because the
- *      commands that send prompt text to a route are the generators, and an
- *      agent building a GDK project spends most of its commands on the offline
- *      ones. `DO_NOT_TRACK` drops it with everything else. See
- *      {@link CommandProvenance}.
+ *   2. It sends categories, never messages: the command name, ok/failed, the
+ *      exit code, a `CliError.code`, and a duration. A message can name a path;
+ *      that does not belong in an analytics event. The two later additions keep
+ *      the rule: the project's game id is an id we minted, and the creator's ask
+ *      travels as an opaque DIGEST, never its words. See {@link CommandProvenance}.
  *   3. It is authenticated with the creator's own token, so the server can key
  *      the event to the account and look up their real Pro state. No token, no
  *      report — an anonymous beacon would be a spammable endpoint for nothing.
@@ -40,7 +32,7 @@ import { resolveAuth0ClientId } from '../config/environments.js';
 import { getAccessToken } from '../auth/session.js';
 import { readProjectGameIdOrNull } from '../project/context.js';
 import { apiServerHeaders } from './request-headers.js';
-import { creatorAskDigest, creatorAskText } from './creator-prompt.js';
+import { creatorAskDigest } from './creator-prompt.js';
 import { currentCommand, isTelemetryDisabled } from './command-context.js';
 // Re-exported because this is where the opt-out is enforced for a report that is already
 // under way; `beginCommand` consults the same predicate to skip collecting anything at all.
@@ -93,28 +85,21 @@ function defaultDeps() {
     return { fetch: globalThis.fetch, env: process.env };
 }
 /**
- * The game and the ask, when this command has either. Keys are omitted rather than sent as null:
- * api-server validates the body strictly, and an absent key is how "nothing to say" is spelled
- * everywhere else on this wire.
- *
- * Nothing is present unless the command declared `--original-prompt` AND the agent passed it —
- * `creatorAskDigest` reads the value `beginCommand` captured, which is also where `DO_NOT_TRACK`
- * already dropped it.
+ * The game and the ask, when this command has either. Both keys are omitted rather than sent as
+ * null: api-server validates the body strictly, and an absent key is how "nothing to say" is
+ * spelled everywhere else on this wire.
  *
- * `gameId` and `askDigest` are only sent TOGETHER: a digest with no game cannot be counted, and a
- * game with no digest is not an ask. `creatorPrompt` is independent of that pair, because the
- * channel it feeds wants the ask from a command run before a game exists just as much — the pair
- * is about counting, and counting needs a game to count against.
+ * The digest is only ever present when the command declared `--original-prompt` AND the agent
+ * passed it — `creatorAskDigest` reads the value `beginCommand` captured, which is also where
+ * `DO_NOT_TRACK` already dropped it. The pair is only sent together: a digest with no game
+ * cannot be counted, and a game with no digest is not an ask.
  */
 function provenance(deps) {
-    const creatorPrompt = creatorAskText();
-    if (creatorPrompt === undefined)
+    const askDigest = creatorAskDigest();
+    if (askDigest === undefined)
         return {};
     const gameId = readProjectGameIdOrNull(deps.cwd);
-    const askDigest = creatorAskDigest();
-    if (gameId === undefined || askDigest === undefined)
-        return { creatorPrompt };
-    return { creatorPrompt, gameId, askDigest };
+    return gameId === undefined ? {} : { gameId, askDigest };
 }
 /**
  * Report the running command's `report` to api-server. Resolves when the report

package/dist/telemetry/report.js.map

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package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "@bitmagic/cli",
-  "version": "0.1.65-dev.24",
+  "version": "0.1.65-dev.4",
   "description": "Build Bitmagic games from your own agent tool",
   "license": "SEE LICENSE IN LICENSE.md",
   "author": "Bitmagic Oy",
@@ -25,9 +25,9 @@
     "playwright-core": "^1.59.1",
     "tar": "^7.4.3",
     "ws": "^8.21.3",
-    "@bitmagic/animation-forger": "0.1.20-dev.24",
-    "@bitmagic/asset-core": "0.2.20-dev.24",
-    "@bitmagic/world-forger": "0.1.25-dev.24"
+    "@bitmagic/animation-forger": "0.1.20-dev.4",
+    "@bitmagic/world-forger": "0.1.25-dev.4",
+    "@bitmagic/asset-core": "0.2.20-dev.4"
   },
   "devDependencies": {
     "@eslint/js": "^9.38.0",

package/assets/skills/trailer-craft.md

@@ -1,180 +0,0 @@
-# Trailer craft — structure, pacing, and on-screen text
-
-Read this before composing a cut or putting any text on screen. Compressed
-from Derek Lieu's trailer-editing essays (trailer editor for Half-Life: Alyx,
-Dead Cells, Spelunky 2) plus general trailer-typography guidance; sources at
-the bottom.
-
-## Ordering: Genre → Hook → Anchors → Content
-
-- **Genre** in 1–2 shots: the viewer must know what kind of game this is
-  within the first seconds. For our games one gameplay shot usually does it.
-- **Hook** — the thing only this game has — as soon as genre is established:
-  ideally inside the first 10–15 s, never later than the first third.
-  Showing generic-but-good content before the hook makes the game read as
-  "a lesser version of an old game".
-- **Anchors** — the features people expect from the genre (for a racer:
-  overtakes, drifts, crashes, varied tracks) fill the middle.
-- **Content** — breadth (levels, modes, vehicles) comes last, once the viewer
-  already cares.
-
-## Timeline layout: constraints first, footage last
-
-Lay the timeline out as a skeleton and only then hunt for footage — not the
-other way round:
-
-1. Write the section skeleton: **Cold open → Introduction → Escalation →
-   Climax → Breath → Button/End card**. Sections have different lengths and
-   energy; they are not equal slices.
-2. Reserve the **end card** first: 2–3 s, ONE card (logo + tagline + CTA),
-   never a sequence of closing screens.
-3. Place any **body title cards** next, as placeholders with their copy
-   written — each one names what the following footage must prove.
-4. Only now fill footage, chosen to demonstrate whatever the neighbouring
-   card or section claims.
-
-This turns "pick 15 great clips" (squishy, drifts toward sameness) into
-"find the one clip that proves this beat" (constrained, self-diversifying).
-
-## Pacing
-
-- Sections need **ebb and flow**: build to a peak, then give a deliberate
-  breathing shot (~5 s, calmer, wider) before the next build or the finale.
-  The stops emphasize the fast; the fast emphasizes the slow.
-- **Rule of three**: never more than three similar things in a row — three
-  crashes, three drift shots, three of anything. Viewers extrapolate after
-  two; the fourth is dead time.
-- **Do not cut on every beat.** Snap cuts to the grid, but vary clip lengths
-  (2, 3, 4, 6 beats) and sometimes let a musical moment land on an in-clip
-  action (a landing, an impact) instead of a cut. Constant per-beat cutting
-  reads as a sizzle reel, and gets nauseating.
-- Average shot length is a genre statement: ~1.3 s reads as AAA shooter,
-  ~4 s reads as contemplative indie. An arcade racer sits around 1.5–3 s
-  with a few longer holds where one continuous action is the payoff.
-- **More editing is not better editing.** A cut must clarify or escalate;
-  cutting fast to look "like a real trailer" hides the game. If a single
-  take shows the whole stunt, keep the take.
-- Total length: under 90 s unless there's a reason; 30–45 s is a sweet spot
-  for social/store use.
-
-## Variety — the five axes
-
-Audit the cut on each axis; the labels list in the shots file is the tool
-(read the labels top to bottom — repetition is visible in text before you
-ever re-watch):
-
-1. **Content** — different actions, not the same action in new places.
-   Escalate variants (jump → bigger jump) rather than repeating.
-2. **Composition** — vary camera distance and framing; chase cam all the way
-   through is monotone. Watch eye-trace: the viewer's focus point should not
-   teleport across the frame on a cut.
-3. **Energy** — intense vs. quiet moments; contrast matters more than speed.
-4. **Pacing** — vary section tempo, not just shot tempo.
-5. **Shot length** — vary beats-per-clip even inside a fast section.
-
-## Where the shots come from
-
-Played footage is the default and the bulk of any trailer: it is the only
-thing that shows what the game DOES, and a trailer of pure scenery reads as a
-tech demo however pretty it is. But two of the beats above are ones a chase
-camera almost never hands you:
-
-- the **cold open**, which wants the level to look composed and deliberate;
-- the **breath**, which wants one calm wide shot with nothing happening.
-
-Both are what an authored **camera fly-through** is for — a path through the
-level with the game running underneath, so traffic still drives and animations
-still play while the camera moves on rails. Recording one is cheap and nobody
-has to play it, so a fly-through is worth having even when there is plenty of
-gameplay: cut one or two of its shots into a gameplay trailer rather than
-building a trailer out of it.
-
-A fly-through alone is the right whole trailer in a narrow set of cases — a
-world reveal, an architectural or exploration piece, a level that is the
-feature — and whenever there is no one available to play. Otherwise it is a
-source of shots, not a substitute for showing the game.
-
-## On-screen text
-
-When to use text at all: only when footage cannot say it. A card that
-narrates what the next shot visibly shows is noise. Default for our
-gameplay trailers: **end card only**; add body cards only when they carry
-information the footage can't (game name early, a hook that isn't visual,
-release date).
-
-Writing the cards:
-- Copy must sound like this game and no other. Exercise: describe the game
-  in three words; build cards from what's left after cutting everything
-  generic.
-- ≤ 6 words per card. Evocative verbs beat feature lists ("Forge your own
-  path", not "Over 40 unique tracks").
-- Banned: content quantities ("5 unique levels"), genre-descriptor stacks
-  ("a 2D rogue-lite action adventure"), player-verb lists ("Race! Drift!
-  Win!"), and stock phrases ("In a world…", "Get ready…", "Experience…",
-  "…like never before").
-
-Showing the cards:
-- **Intercut, don't overlay**: a card gets its own beat between gameplay
-  shots (dimmed still or plain background). Never ask the viewer to read
-  while action plays — they do neither. Small persistent text (logo bug,
-  date) is the exception.
-- Reading time: ~0.5–0.7 s per word, minimum 2.5 s on screen; end card
-  2–3 s (ours may run longer over a music outro).
-- Cards ride the same beat grid as the cuts — a card is a clip.
-- Typography must match the game's art quality and universe: one typeface
-  family for the whole trailer, generous letter-spacing for all-caps,
-  strong contrast against footage (our title raster already adds shadow),
-  subtle animation only (fade/scale-in) — a static default-font card reads
-  as a last-minute add-on.
-
-## Structure template (30–45 s, gameplay-only, end card close)
-
-| Section | ~share | What goes here |
-|---|---|---|
-| Cold open | 5–15% | The single most striking moment; genre obvious at a glance |
-| Introduction | 15–20% | Clean, readable driving; establish look + one anchor |
-| Escalation | 35–45% | Varied action, rising energy, hook prominent early in it |
-| Climax | 15–20% | Densest, loudest stretch; biggest moments back to back |
-| Breath | ~5% | One calmer, wider shot; lets the climax land |
-| End card | 2–3 s+ | Logo, tagline, CTA — over the music's outro |
-
-## Selection rules already paid for
-
-These came out of review rounds on real cuts. They cost time to learn and
-nothing to apply, so apply them before the first render, not after.
-
-- **Never use slow motion.** On gameplay footage it reads as the game running
-  at a low framerate, not as drama. `speed` stays 1.0.
-- **Numbers are not interest.** Event `severity` / `impactSpeed` ranks
-  car-stops-dead-against-a-wall highest — the worst possible clip. A crash
-  earns its slot only if things visibly break (`destruction` events, debris)
-  and motion continues through the hit.
-- **Low speed can BE the drama.** Wheelspin recoveries throwing dirt or snow,
-  plowing back onto the track, being overtaken while struggling
-  (`position-change` with `gained: false`), `off-track` +
-  `hard-acceleration` clusters — these are among the best clips and score
-  near zero on any speed metric.
-- **"Some shots of X" means a few.** The failure mode is 0-or-100: one
-  standing start is an opener, five is a broken trailer.
-- **Quota check before rendering.** Read the shots list labels top to bottom.
-  Max one standing start; no more than three of any shot type in the whole
-  cut and never three similar in a row; vary track or biome, camera distance
-  and action type (the five axes above).
-- **Menu and selection clips need `"ui": false`** — the HUD replay only knows
-  the gameplay HUD and will paint it over menus.
-- **Verify on pixels.** Contact sheets and stills for every candidate, and
-  stills from the RENDERED file for anything you changed. The timeline knows
-  about events; it cannot see framing, occlusion or beauty.
-- **Iterate cheaply, keep history.** Editing the shots and re-rendering is
-  minutes, and revisions auto-version — so render rather than debate, and
-  compare against the previous `-rN` before delivering.
-
-## Sources
-
-- [How to Hook the Audience and How Quickly to Do it](https://www.derek-lieu.com/blog/2022/10/24/how-to-hook-the-audience-and-how-quickly-to-do-it)
-- [Step Two of Starting a Game Trailer Timeline](https://www.derek-lieu.com/blog/2023/2/19/step-two-of-starting-a-game-trailer-timeline)
-- [How to Think About Pacing in a Trailer](https://www.derek-lieu.com/blog/2020/11/16/how-to-think-about-pacing-in-a-trailer)
-- [Variety is the Spice of Trailers](https://www.derek-lieu.com/blog/2019/3/27/variety-is-the-spice-of-trailers)
-- [More Trailer Editing is not Better Trailer Editing](https://www.derek-lieu.com/blog/2023/4/23/more-trailer-editing-is-not-better-trailer-editing)
-- [How to Write Trailer Title Cards With Strong Messaging](https://www.derek-lieu.com/blog/2020/4/19/how-to-write-trailer-title-cards-with-strong-messaging)
-- [10 Common Indie Game Trailer Mistakes & How to Fix Them](https://www.derek-lieu.com/blog/2020/9/14/10-common-indie-game-trailer-mistakes-and-how-to-fix-them)

package/dist/commands/character.d.ts

@@ -1,18 +0,0 @@
-import { type CharacterSearchRecord } from '../project/character-search.js';
-import { type CharacterArgs } from '../generate/character-body.js';
-/**
- * What `bitmagic character add` will ask for, from its flags and the cached search.
- *
- * Pure, and separated from the command so the branch that matters — which of the
- * two forms was asked for, and whether the cache can answer it — is testable
- * without a project, a token or a network. It returns the character args rather
- * than a body so the shared `buildCharacterBody` still owns the wire shape.
- */
-export declare function resolveAddRequest(args: {
-    name: string;
-    id?: string;
-    prompt?: string;
-    applyToPlayer?: boolean;
-    record: CharacterSearchRecord | null;
-}): CharacterArgs;
-export declare const characterCommand: import("citty").CommandDef<import("citty").ArgsDef>;