@fusion.dev/helix 0.142.1 → 0.144.0

package/dist/aura/shader.js

@@ -37,29 +37,9 @@ export const FRAGMENT = `#version 300 es
   uniform float uBloom;
   uniform float uGain;
 
-  /* How much the members of a population differ from one another, 1 being the
-     resting amount and 0 a set that is uniform. Read by six of the eleven
-     shapes, the ones made of many similar things, whether those are counted or
-     continuous: streaks has lanes, particles has motes, rays has a fan, aurora
-     has bundles and folds, caustics has three depths of fold and a pool over
-     them, and fracture has territories and the borders between them. The five
-     that do not read it refuse it. Braid, waves and flow have a single subject
-     and nothing to vary. Threads and lattice are even on purpose, a scatter of
-     strands and a regular structure each being what it is because its members do
-     not differ. */
+  ${''}
   uniform float uVariance;
-  /* Where the pointer has been, as x, y and age. Age runs 0 at the moment it
-     was left to 1 when it has faded, so a spent slot costs a compare.
-
-     **This is what a fluid gets from a framebuffer, bought for eight vec3s.** A
-     real solver advects a dye texture and reads it back the next frame, which
-     needs render targets, a ping-pong pair and about six passes. What a reader
-     actually perceives from that is one thing: the cursor leaves a wake that
-     outlives it. A short history of where it went reproduces that in the single
-     pass this component already makes, at a fixed cost that does not grow with
-     how long the page has been open. What it cannot do is conserve anything, so
-     there is no diffusion and no pressure: the wake decays rather than
-     spreading. Worth knowing before this is asked to be a simulation. */
+  ${''}
   uniform vec3 uTrail[9];
   uniform vec3 uGround;
   uniform vec3 uHaze;
@@ -73,10 +53,7 @@ export const FRAGMENT = `#version 300 es
   float noise(vec2 p) {
     vec2 i = floor(p);
     vec2 f = fract(p);
-    /* Quintic rather than cubic. Cubic smoothstep leaves a second derivative
-       discontinuity at every cell edge, which four octaves of lighting turn
-       into a faint square lattice: visible on a large soft field and exactly
-       the artifact that reads as cheap. */
+    ${''}
     vec2 u = f * f * f * (f * (f * 6.0 - 15.0) + 10.0);
     return mix(
       mix(hash(i), hash(i + vec2(1.0, 0.0)), u.x),
@@ -85,9 +62,7 @@ export const FRAGMENT = `#version 300 es
     );
   }
 
-  /* Each octave is rotated as well as scaled. Doubling alone stacks every
-     octave on the same axes, so value noise keeps its grid however many are
-     summed. An irrational angle means no two octaves ever line up again. */
+  ${''}
   const mat2 TURN = mat2(0.8, 0.6, -0.6, 0.8);
 
   float fbm(vec2 p) {
@@ -101,43 +76,22 @@ export const FRAGMENT = `#version 300 es
     return sum;
   }
 
-  /* Domain warping: the field is sampled at coordinates another field bends.
-     This is the single largest difference between noise that reads as organic
-     and noise that reads as television static, and it costs two more fbm calls
-     rather than a different algorithm. */
+  ${''}
   float warped(vec2 p, float t) {
     vec2 q = vec2(fbm(p + vec2(0.0, t)), fbm(p + vec2(5.2, 1.3 - t)));
     vec2 r = vec2(fbm(p + 4.0 * q + vec2(1.7, 9.2)), fbm(p + 4.0 * q + vec2(8.3, 2.8)));
     return fbm(p + 4.0 * r);
   }
 
-  /* An exponential falloff without the corner.
-   *
-   * Both abs and length have a vertex at zero and their derivative jumps
-   * across it, so a falloff built on either acquires a hard line exactly along
-   * the axis it is brightest on. That is a crease in something meant to be
-   * light, and it is what put a chevron through the braid wherever the
-   * pointer's height crossed a strand.
-   *
-   * Softening the distance rather than the exponent keeps the tails identical
-   * and rounds only the point. The softening scales with the rate, so a tight
-   * falloff is rounded tightly and a broad one broadly: at zero the result is
-   * exp(-0.06) whatever the rate is, six per cent off the peak, which is not
-   * visible as flattening.
-   *
-   * Takes the squared distance, because every caller already has one and a
-   * square root taken here is the one that would have reintroduced the vertex.
-   */
+  ${''}
   float falloff(float d2, float k) {
     float soft = 0.06 / k;
     return exp(-sqrt(d2 + soft * soft) * k);
   }
 
-  /* Two strands half a turn apart, inside a wider volume. */
+  ${''}
   float braid(vec2 q, float t, vec2 qp, float reach) {
-    /* The strands lean toward the pointer where it is alongside them, and are
-       unmoved where it is not. A braid is a thing with a length, so what it can
-       answer with is a bend at a height, not a bulge at a point. */
+    ${''}
     float alongside = falloff((q.y - qp.y) * (q.y - qp.y), 1.1) * reach;
     float lean = qp.x * alongside * 0.45;
     float lit = 0.0;
@@ -147,25 +101,15 @@ export const FRAGMENT = `#version 300 es
       lit += 0.8 * falloff(x * x, 13.0);
     }
     float volume = falloff(q.x * q.x, 2.6);
-    /* Compressed hard across the shaft and stretched along it. The same octaves
-       sampled square read as haze; this way they read as filaments. */
+    ${''}
     float streak = fbm(vec2(q.x * 9.0, q.y * 0.55 - t * 2.4));
     float haze = warped(vec2(q.x * 0.8 + 4.0, q.y * 0.45), t * 0.5);
     return lit * mix(0.35, 1.65, streak) + volume * 0.3 * mix(0.35, 1.05, haze);
   }
 
-  /* A fan from a source above the frame, cut into filaments by angle. */
+  ${''}
   float rays(vec2 q, float t, vec2 qp, float reach) {
-    /* The pointer occludes, rather than the source moving. Swinging the source
-       re-aims the whole fan, which is a thing a light does and not a thing that
-       happens when something passes in front of one, so the source is fixed and
-       the pointer is a blocker.
-
-       The shadow is angular, not radial: it is the wedge of directions the
-       object covers as seen from the source, and it only exists further along
-       than the object is. A fragment nearer the source than the blocker is in
-       front of it and stays lit, which is the whole difference between an
-       occluder and a dark patch that follows the cursor. */
+    ${''}
     vec2 o = vec2(0.0, 1.45);
     vec2 v = q - o;
     float dist = length(v);
@@ -174,117 +118,61 @@ export const FRAGMENT = `#version 300 es
     vec2 vp = qp - o;
     float distToBlocker = length(vp);
     float angToBlocker = atan(vp.x, -vp.y);
-    /* Widened with distance, so the object reads as a fixed size rather than
-       as a wedge that grows the further out it is carried. */
+    ${''}
     float halfAngle = 0.055 / max(distToBlocker, 0.35);
     float across = (ang - angToBlocker) / halfAngle;
-    /* Cast from the near edge of the object rather than from somewhere past it.
-       Ramping in over a fifth of a unit started the shadow below the thing
-       supposedly casting it, which reads as two objects. */
+    ${''}
     float behind = smoothstep(-0.03, 0.05, dist - distToBlocker);
     float shadow = exp(-across * across) * behind * reach;
 
     float fan = fbm(vec2(ang * 8.0, dist * 0.5 - t * 1.8));
     float dust = warped(vec2(ang * 2.0, dist * 0.7), t * 0.4);
     float spread = smoothstep(0.85, 0.05, abs(ang));
-    /* The fan is a population too, even though it is continuous rather than
-       counted: how far apart its light and dark run is how much one ray differs
-       from the next. Both ends travel toward the midpoint, so a variance of 0
-       is an even wash and a variance of 1 is exactly the pair this always had. */
+    ${''}
     float rv = clamp(uVariance, 0.0, 1.0);
     float lit = spread * mix(mix(0.85, 0.2, rv), mix(0.85, 1.5, rv), fan) *
       mix(0.75, 1.15, dust) * falloff(dot(v, v), 0.8);
     return lit * (1.0 - shadow * 0.82);
   }
 
-  /* Curtains on a drifting horizon. */
+  ${''}
   float aurora(vec2 q, float t, vec2 qp, float reach) {
-    /* The curtain waves harder where the pointer is, rather than being lifted
-       by it. An aurora is a sheet with an amplitude, and a swell only raised
-       the whole thing locally, which is a bump in a line. Multiplying the
-       amplitude bends it instead: the folds deepen and the ridge travels
-       further, which is what an aurora does when it is disturbed. */
+    ${''}
     float agitate = falloff((q.x - qp.x) * (q.x - qp.x), 1.5) * reach;
 
-    /* A curtain stands. It does not hang.
-
-       A falloff symmetric about the ridge is a band with a wavy center line,
-       and vertical noise on a band is an equalizer. An aurora has a sharp lower
-       border where the field lines reach their lowest and light that thins
-       upward from it, so the top and the bottom cannot be the same function:
-       cut hard below, drawn long above.
-
-       Two of them, offset and at different depths, because a single sheet reads
-       as a decal and what makes the real thing look like drapery is one curtain
-       seen through another. */
+    ${''}
     float lit = 0.0;
     for (int i = 0; i < 2; i++) {
       float f = float(i);
-      /* Two octaves, not a warp. A warp folds the domain back on itself and
-         puts high frequencies in the ridge, and against a hard top edge every
-         wiggle becomes a spike: the first pass came out a mountain range. What
-         an aurora has is a long undulation with a few folds in it, which is
-         what a low fundamental and one overtone give. */
+      ${''}
       float ridge =
         ((noise(vec2(q.x * (0.55 + f * 0.2) + f * 4.0, t * 0.3)) - 0.5) * 1.7 +
           (noise(vec2(q.x * (1.3 + f * 0.4) + f * 9.0, t * 0.45)) - 0.5) * 0.55) *
           (1.0 + agitate * 2.0) +
         f * 0.22;
-      /* **The sheet stands on the ridge rather than hanging from it, and that
-         inversion is the whole difference between an aurora and a landscape.**
-         A hard edge with mass under it is a mountain silhouette: one unbroken
-         ridge line across the frame with a striped solid below it. A curtain's
-         lower border is its sharpest, brightest line, and what rises from it
-         thins and breaks into rays. */
+      ${''}
       float depth = q.y - ridge;
-      /* Sharp, but not a cliff: the edge is where the light stops, and a step
-         narrower than a pixel is an aliased line rather than an edge.
-
-         **The border's sharpness varies along it.** A line of even weight reads
-         as drawn rather than lit however it wanders. A real lower border is
-         hard where the sheet faces us and diffuse where it turns away, so the
-         crispness is drawn from the same slow noise the folds are. */
+      ${''}
       float crisp = mix(0.04, 0.3, noise(vec2(q.x * 0.8 + f * 5.0, t * 0.15)));
       float edge = smoothstep(-crisp, crisp * 0.5, depth);
-      /* Steep, so the curtain thins instead of filling everything above the
-         border. At 1.5 it still stood at a fifth a whole unit up, which with
-         the bundles over it painted a solid wall of stripes from the border to
-         the top of the frame. A curtain is mostly the bottom of a curtain. */
+      ${''}
       float rise = exp(-max(depth, 0.0) * (2.9 + f * 1.1));
-      /* Stretched along the fall, so the striations are the vertical rays a
-         curtain is actually made of rather than texture on a stripe. Not
-         stretched harder than this: at 0.35 a ray held one value for its whole
-         length, which is a picket fence however the bundles are shaped. */
+      ${''}
       float rays = fbm(vec2(q.x * (9.0 + f * 4.0), q.y * 0.9 - t * (2.2 + f)));
 
-      /* A rim along the top edge. The brightest part of a curtain is the line
-         where the field lines end, and without it the sheet fades in from
-         nothing and reads as fog with stripes rather than as something with a
-         boundary. Wide enough to see: at k = 26 this was two pixels and might
-         as well not have been there. */
+      ${''}
       float rim = falloff(depth * depth, 7.0) * 0.45;
 
-      /* **A curtain is not the width of the sky.** Running edge to edge is what
-         made the ridge read as a horizon: a horizon is continuous and a curtain
-         is not. Broken into lengths by a slow mask, with real gaps between
-         them, it becomes some number of curtains rather than one long one. */
+      ${''}
       float lengths = smoothstep(0.2, 0.66, noise(vec2(q.x * 1.15 + f * 13.0, t * 0.12)));
 
-      /* Rays clump. Straight fbm is evenly spaced striping, which is a picket
-         fence whatever else is done to it, and the floor under it lit the sheet
-         everywhere so the rays only ever read as texture on a solid band.
-         Pushing the midtones apart leaves bright bundles with real gaps
-         between them, and the low floor is what lets the gaps be gaps. */
+      ${''}
       float bundles = smoothstep(0.34, 0.86, rays);
 
-      /* The curtain is a draped sheet, so it is bright where a fold turns edge
-         on and nearly out where it faces us. A narrow range here is a band of
-         even brightness, which is the other half of what made it read flat. */
+      ${''}
       float foldNoise = noise(vec2(q.x * 1.5 + f * 7.0, t * 0.25));
 
-      /* Bundles and folds are what a curtain is made many of, so both answer
-         variance about their own midpoint: at 0 an even sheet, at 1 the
-         clumping and the deep folds this was tuned to. */
+      ${''}
       float av = clamp(uVariance, 0.0, 1.0);
       float bundled = mix(mix(0.85, 0.1, av), mix(0.85, 1.6, av), bundles);
       float folded = mix(mix(0.775, 0.15, av), mix(0.775, 1.4, av), foldNoise);
@@ -293,130 +181,40 @@ export const FRAGMENT = `#version 300 es
     return lit;
   }
 
-  /* Light traveling in lanes, at speed.
-   *
-   * The one shape here that is about motion rather than about a form. Each lane
-   * carries a trail with its own speed, length and phase, so the field reads as
-   * something passing rather than something standing.
-   *
-   * The wrap is deliberately outside the frame. A trail restarting is a pop, so
-   * the travel runs to plus and minus 1.8 while the visible field ends nearer
-   * 1.2, and the reset happens where nobody is looking.
-   *
-   * The pointer is an obstacle: lanes bow around it and slow through it, the way
-   * anything moving past a body does. Pushed outward in proportion to the offset
-   * rather than by its sign, because a sign is a discontinuity and a
-   * discontinuity in a displacement is a crease.
-   */
+  ${''}
   float streaks(vec2 q, float t, vec2 qp, float reach) {
     float near = falloff(dot(q - qp, q - qp), 1.6) * reach;
     vec2 s = q + vec2((q.x - qp.x) * near * 1.1, 0.0);
 
-    /* Three lanes are visited, not one, and that is the fix for a square edge.
-
-       Each lane draws its speed, phase and length from a hash of its index, so
-       every one of them is at a different point in its cycle. Sampled from the
-       single lane a fragment falls in, the whole strip changes state at the
-       boundary and the field acquires a hard vertical line at every lane edge:
-       measured at 23 straight edges across the frame, and at a tilt of 90 the
-       same count arrives horizontal, which is what says they belong to the
-       shape's own axes rather than to the screen.
-
-       Visiting the neighbors and weighting each by its own distance is the same
-       answer particles already uses for the same reason. The weight reaches
-       zero between centers, so nothing is left to step.
-
-       **Few lanes, and not all of them carry anything.** A streak is an event,
-       and a field of simultaneous events is a texture. A dead lane contributes
-       nothing anywhere rather than being cut off somewhere, so it costs the
-       three lane blend nothing. */
+    ${''}
     float laneF = s.x * 1.6;
     float base = floor(laneF);
 
     float lit = 0.0;
-    /* Three lanes, which is what the widths support. The tail spreads to at
-       most 0.15 and lanes sit 0.417 apart, so one lane out carries about a
-       fiftieth and the lane that drops out of the visited set, two out, is
-       around a ten millionth. That dropped lane is where a step could appear,
-       and it is the whole reason this loop is not a single lane. */
+    ${''}
     for (int k = -1; k <= 1; k++) {
       float id = base + float(k);
       float within = laneF - (id + 0.5);
 
-      /* Speed, length, width and spacing all scale from a common resting value,
-         so a variance of 0 is a rank of equal streaks at one speed rather than
-         a special case. Phase is never scaled: lanes sharing a phase march in
-         lockstep, which is not a uniform population but a broken one.
-
-         Clamped, and the upper half of that is not defensive tidying. These are
-         mix() calls, so a value past 1 extrapolates rather than exaggerating:
-         at 1.6 the length term reaches zero and beyond it goes negative, which
-         makes exp(-behind / len) grow instead of decay and the lane becomes a
-         full-height white bar. Measured at 2, the frame held 93 apparent lanes
-         and six straight edges. There is nothing above 1 worth reaching, the
-         resting spread already being fourfold in speed. */
+      ${''}
       float v = clamp(uVariance, 0.0, 1.0);
       float alive = step(0.42, hash(vec2(id, 97.0)));
       float speed = mix(1.3, 0.55 + hash(vec2(id, 11.0)) * 1.5, v);
       float phase = hash(vec2(id, 29.0));
-      /* Long enough that the trail dominates the head, which is what the shape
-         is named for, and no longer: a plume that stays bright for two and a
-         half units is a searchlight, and the frame is two units tall. */
+      ${''}
       float len = mix(0.85, 0.5 + hash(vec2(id, 47.0)) * 0.8, v);
 
-      /* **The lane is periodic, not a single streak that is put back when it
-         runs out.** With fract() over a fixed span of 3.6 a head left the top
-         at 1.8 and was moved to -1.8, taking whatever of its tail was still on
-         screen with it. That span is only off screen while the frame is small
-         enough to sit inside it, and the visible half-extent is
-         (|sin tilt| * aspect + |cos tilt|) * scale, which reaches 1.97 at a
-         tilt of 45 and 2.0 at a scale of 2. Past that the removal happens in
-         plain view, which is the popping.
-
-         Making the field periodic in y removes the event rather than moving it
-         out of sight: heads sit at every integer of u and the whole rank slides
-         through, so there is no frame in which one is created or destroyed and
-         no scale or tilt at which that becomes visible.
-
-         The gap is the distance between successive heads in a lane, and it is
-         what density is made of. It varies too: lanes alike in spacing read as
-         a grid however much else about them differs, and it has to exceed the
-         tail length, or a streak's tail reaches the next one's nose and the
-         lane reads as a dashed line rather than as separate things
-         traveling. */
+      ${''}
       float gap = mix(4.2, 3.2 + hash(vec2(id, 59.0)) * 2.2, v);
       float travel = phase + t * speed * 1.8 / gap;
       float u = s.y / gap - travel;
       float w = fract(u);
-      /* **A streak is one solid, not a brightness curve times a fixed width.**
-         Drawn separably it is a dart, and that is what these were: along the
-         lane the light stopped over a fifth of a unit, across it the lane kept
-         its full width the whole way, and the level sets of such a product meet
-         at a point. Straight edges and an apex, which is a paper dart.
-    
-         So each term carries its own width. The tail leaves the head narrow and
-         spreads as it falls behind, and the front is a round cap rather than a
-         full-width wall cut off across the lane. Together that is a teardrop,
-         which is the silhouette the thing actually has. */
+      ${''}
       float across = within / 1.6;
-      /* Narrow across the lane. Lanes sit 0.417 apart and a sigma of 0.15
-         overlapped both neighbors, so the frame came out a blue wash with no
-         streaks in it at all. Length against width is what makes a streak read
-         as a streak: at a ratio near four these were stubby rods with rounded
-         ends whichever way they tapered, and the fix for that is proportion
-         rather than another change of profile. */
+      ${''}
       float wide = mix(0.045, 0.03 + hash(vec2(id, 71.0)) * 0.04, v);
 
-      /* **A comet is a nucleus with a coma, and a plume behind it.** A round
-         cap the width of the body with the body widening behind it draws a bulb
-         on a shaft; tapering the front instead draws a hairline that reads as a
-         scratch. The fault common to both is a head glow computed from the
-         distance *in front of* a head only, which never puts a round bright
-         thing at the head at all.
-
-         The glow is centered on the head, measured to whichever head is nearer
-         along the lane, so it is symmetric about the nucleus the way a coma
-         is. */
+      ${''}
       float behind = (1.0 - w) * gap;
       float ahead = w * gap;
       float toHead = min(ahead, behind);
@@ -426,33 +224,15 @@ export const FRAGMENT = `#version 300 es
       float nucleus = exp(-near2 / (2.0 * nose * nose));
       float coma = exp(-near2 / (2.0 * (nose * 3.0) * (nose * 3.0))) * 0.42;
 
-      /* The plume opens fast and fades fast, and is never as bright as the
-         head. A tail that holds its brightness for its whole length is a
-         streak of paint; what makes a comet read is that almost all of the
-         light is in the first tenth of it.
-    
-         The onset is what keeps it continuous across a head. The plume exists
-         only behind, so its value would step from nothing to something at the
-         nucleus; ramping it in over a seventh of its own length puts that
-         transition under the brightest part of the coma, where there is nothing
-         left to see. */
+      ${''}
       float onset = 1.0 - exp(-behind / (0.15 * len));
 
-      /* **The straight edge was a min().** Clamping the plume's width with
-         min(nose * (1 + behind * 3), 0.16) saturates at a constant value of
-         behind, and a constant behind is a straight line across the lane: above
-         it the width was fixed and below it grew, and the kink between the two
-         drew a hard diagonal through the frame. A cap on a quantity that varies
-         along one axis is a cap along a line, which is the one shape this thing
-         must not have.
-    
-         An exponential approach reaches the same limit without ever having a
-         corner, so there is no line to see anywhere. */
+      ${''}
       float spread = nose + (0.11 - nose) * (1.0 - exp(-behind * 1.3));
       float tail = exp(-behind / len) * onset *
         exp(-(across * across) / (2.0 * spread * spread)) * 0.5;
 
-      /* Slowed where the pointer is, which is the other half of an obstacle. */
+      ${''}
       float weight = mix(1.0, 0.5 + hash(vec2(id, 83.0)) * 0.95, v);
       lit += (nucleus + coma + tail) * alive * weight * mix(1.0, 0.45, near);
     }
@@ -460,51 +240,18 @@ export const FRAGMENT = `#version 300 es
     return lit * mix(0.55, 1.35, grain) * falloff(dot(q, q), 0.42);
   }
 
-  /* Broad bands rolling under a warp.
-   *
-   * The softest shape here, and the only one with no filaments in it at all:
-   * where braid and threads are made of lines, this is made of gradients. The
-   * warp is what stops it sliding: bands moved by phase alone travel sideways
-   * like a barcode, and bands moved through a warped domain roll.
-   *
-   * The pointer drags them. Bowing the phase toward it bends the crests without
-   * changing how many there are, which is what a surface does when something
-   * pulls across it.
-   */
+  ${''}
   float waves(vec2 q, float t, vec2 qp, float reach) {
     float pull = falloff(dot(q - qp, q - qp), 1.2) * reach;
-    /* **The warp was eating the waves.** At an amplitude of 2.4 against a band
-       frequency of 1.7 it swung the sine's argument by about four radians,
-       which is more than a whole period: the wavefronts were destroyed rather
-       than bent and what came out was turbulence. It read as marbled paper, and
-       at a low scale it filled the frame with near white.
-    
-       A tenth of that bends the fronts and leaves them fronts. */
+    ${''}
     float warp = warped(vec2(q.x * 0.5, q.y * 0.4), t * 0.3) - 0.5;
     vec2 w = q + warp * 0.32;
 
-    /* Two systems crossing, lit where they agree, which is what the shape is
-       named for.
-
-       **And the frequency has to be high enough to be a wave at all.** At 2.3
-       the period is 2.7 in shape units against a visible half height of 1, so
-       less than one crest fitted across the frame: there was nothing periodic
-       to see, and every version of this that looked like anything looked like
-       it because the warp was making clouds. Around 8 puts five crests across
-       the frame, which is a wave field rather than a single swell.
-
-       The two are deliberately not harmonic. Close but unequal frequencies beat
-       against each other, and the slow traveling interference that produces is
-       the thing worth watching. */
+    ${''}
     float a = sin((w.y * 8.1 + w.x * 2.3) - t * 0.9 - pull * 1.4);
     float b = sin((w.y * 5.3 - w.x * 3.4) + t * 0.6 + pull * 1.0);
 
-    /* **Added, these two make a lattice, not a wave field.** Equal amplitudes
-       crossing at an angle give a regular grid of lobes, which came out as
-       bubble wrap and got worse the more of it fitted on screen. Waves are
-       lines. So one system carries the fronts and the other only varies their
-       brightness along their length, which is what a real swell does: the
-       crests stay crests and are taller in some places than others. */
+    ${''}
     float band = a * 0.5 + 0.5;
     band *= mix(0.45, 1.0, b * 0.5 + 0.5);
 
@@ -512,52 +259,23 @@ export const FRAGMENT = `#version 300 es
     return pow(band, 2.2) * mix(0.55, 1.2, grain) * falloff(dot(q, q), 0.4);
   }
 
-  /* Luminous threads, woven to a pinch.
-   *
-   * Five curves at different frequencies and speeds, each a thin bright line
-   * rather than a band: what makes this read as woven is that they cross, and
-   * what makes it read as one object rather than five is the pinch, where every
-   * amplitude narrows at once and the whole weave gathers.
-   *
-   * The pointer is the pinch, which is the interaction this shape is for.
-   * Carrying it along drags the gathering point with it and the threads open
-   * behind and close ahead.
-   */
+  ${''}
   float threads(vec2 q, float t, vec2 qp, float reach) {
     float pinchAt = mix(0.0, qp.x, reach);
-    /* Narrowed, not collapsed. At 0.88 the amplitude and the spacing both fell
-       to a tenth and all seven threads landed on the same line, which is a
-       bright blob rather than a gathering: what a pinch has to preserve is that
-       there are still threads in it. */
+    ${''}
     float gather = 1.0 - falloff((q.x - pinchAt) * (q.x - pinchAt), 1.1) * 0.6;
 
-    /* Seven, and every one of them the same thread.
-
-       What makes a weave read as a weave is that the strands are alike and only
-       their phase differs, which is also what makes it a wave rather than a
-       wobble. Given its own amplitude, height, thickness and brightness from
-       hashes, each becomes one of seven unrelated squiggles that happen to
-       share a frame.
-
-       So one amplitude, one thickness, one weight, one frequency, and the
-       phases fanned evenly across a turn. Alike, they cross at regular
-       intervals instead of at coincidences. */
+    ${''}
     float lit = 0.0;
     for (int i = 0; i < 7; i++) {
       float f = float(i);
       float phase = f * (6.2831853 / 7.0);
 
-      /* Evenly spaced, and the spacing collapses at the pinch along with the
-         amplitude: threads that only narrow still run parallel through it,
-         where threads that also converge actually gather. It closes less than
-         the amplitude does, so they draw together without stacking. */
+      ${''}
       float lane = (f - 3.0) * 0.17 * mix(1.0, gather, 0.65);
       float amp = 0.34 * gather;
 
-      /* A second harmonic at a third the frequency and a third the amplitude,
-         which bends the long run of each thread without breaking it into
-         wiggles. Low and quiet is the difference between a wave with character
-         and a wave with noise on it. */
+      ${''}
       float y =
         lane +
         sin(q.x * 1.5 + t * 0.55 + phase) * amp +
@@ -565,23 +283,12 @@ export const FRAGMENT = `#version 300 es
 
       lit += falloff((q.y - y) * (q.y - y), 24.0);
     }
-    /* Quiet grain. At the old depth it was texture on the threads rather than
-       air around them, and a wave with grain on it is a wobble again. */
+    ${''}
     float grain = fbm(vec2(q.x * 2.0, q.y * 2.0 - t));
     return lit * mix(0.85, 1.12, grain) * falloff(dot(q, q), 0.4);
   }
 
-  /* Points adrift, and pushed aside.
-   *
-   * One per cell of a coarse lattice, jittered off center so the lattice never
-   * shows, and drifting on its own small orbit. Nine cells are visited because a
-   * point near a boundary has to be drawn by its neighbors too, which is what
-   * stops them popping in and out at the seams.
-   *
-   * The pointer repels. Pushing along the offset rather than by its sign keeps
-   * the displacement smooth, and it is the one response here where the reader
-   * is plainly moving things rather than lighting them.
-   */
+  ${''}
   float particles(vec2 q, float t, vec2 qp, float reach) {
     float lit = 0.0;
     vec2 cell = floor(q * 2.6);
@@ -602,23 +309,10 @@ export const FRAGMENT = `#version 300 es
         at += away * push * 0.55;
 
         vec2 off = q - at;
-        /* Size varies with the rest, or a field whose members already differed
-           in brightness and in how fast they wandered is still made of one
-           object repeated. Nine cells are visited here, so unlike a streak lane
-           a mote may be broader as well as tighter without leaving an edge
-           anywhere. */
+        ${''}
         float grade = mix(52.0, 52.0 * (0.62 + hash(c + 5.7) * 0.95), v);
 
-        /* **Round, because a particle is round.** Stretching a mote along a
-           direction drawn per mote is not motion, it is orientation, so a field
-           of them reads as grains of rice pointing every which way rather than
-           as particles at all. Motion, if it is ever wanted here, has to come
-           from the direction each mote is actually traveling, which is the
-           wander above rather than a hash.
-
-           The halo stays. An order of magnitude wider and a tenth the strength,
-           so a mote sits in the field rather than on top of it: a hard little
-           disc on a dark ground is a pixel, and light has a neighborhood. */
+        ${''}
         float core = falloff(dot(off, off), grade);
         float halo = falloff(dot(off, off), grade * 0.16) * 0.1;
         lit += (core + halo) * mix(0.8, 0.35 + a * 0.9, v);
@@ -627,30 +321,7 @@ export const FRAGMENT = `#version 300 es
     return lit * falloff(dot(q, q), 0.4);
   }
 
-  /* Ink in a viscous medium, drawn through by where the pointer went.
-   *
-   * **The wake is one stroke, not eight marks.** A vortex per trail point,
-   * rotating the sample around its own center, draws eight discrete swirls fading
-   * in place: a row of blobs rather than anything a hand had done. The marks are
-   * a polyline. Distance is measured to the nearest *segment*, age is
-   * interpolated along it, and what a reader sees is a continuous stroke however
-   * far apart the samples fell.
-   *
-   * **And the displacement runs along the stroke, not around it.** Pushing the
-   * sample down the tangent is advection: the pattern is carried the way the
-   * hand went, which is what stirring looks like. Rotating it around a point is
-   * a whirlpool, and eight whirlpools is a washing machine.
-   *
-   * The marks arrive oldest first, so consecutive indices are consecutive in
-   * time. In the ring they are not, and a segment drawn across the wrap joined
-   * the newest mark to the oldest with a bright bar through the middle of the
-   * field.
-   *
-   * Nine, not eight: eight committed marks and the live head, which is held
-   * outside the ring so that committing appends rather than overwrites. A
-   * zero-length segment between the newest mark and the head is skipped below,
-   * which is what makes the commit invisible.
-   */
+  ${''}
   float flowWake(vec2 at, mat2 turn, vec2 shift, out vec2 push) {
     push = vec2(0.0);
     float wake = 0.0;
@@ -661,11 +332,7 @@ export const FRAGMENT = `#version 300 es
       if (a.z >= 1.0 || b.z >= 1.0) {
         continue;
       }
-      /* The marks arrive in screen space, and the field is sampled after a
-         rotation, a scale and a parallax shift. Compared without carrying them
-         through the same three, the wake sits somewhere else entirely: at a
-         tilt of 42 and a scale of 1.7 it landed most of a frame from the
-         cursor, which is what read as offset rather than as lagging. */
+      ${''}
       vec2 pa = turn * (a.xy - shift) * uScale;
       vec2 pb = turn * (b.xy - shift) * uScale;
       vec2 ab = pb - pa;
@@ -676,39 +343,20 @@ export const FRAGMENT = `#version 300 es
       float t = clamp(dot(at - pa, ab) / len2, 0.0, 1.0);
       vec2 off = at - (pa + ab * t);
 
-      /* Elongated along the stroke, not round about it.
-      
-         A circular falloff makes the wake a tube of even thickness, which is
-         what a pipe looks like and not what a stirred medium does. Ink pulled
-         through a liquid smears the way the hand went: it reaches further along
-         the direction of travel than across it. Weighting the along component
-         down stretches the ellipse into that direction, and costs one dot
-         product. */
+      ${''}
       vec2 tangent = ab * inversesqrt(len2);
       float alongOff = dot(off, tangent);
       float acrossOff = dot(off, vec2(-tangent.y, tangent.x));
       float shaped = acrossOff * acrossOff + alongOff * alongOff * 0.3;
 
-      /* Squared, so a wake thins as it dies rather than switching off. */
+      ${''}
       float life = 1.0 - mix(a.z, b.z, t);
       float w = life * life * falloff(shaped, 3.2);
       wake += w;
       push += (ab * inversesqrt(len2)) * w;
     }
 
-    /* Limited, because an unbounded displacement folds and a fold is a crease.
-    
-       Where the map from sample to displaced sample stops being one to one,
-       neighboring samples land on the same value and the pattern piles into a
-       hard bright line: a caustic, which is what a sharp diagonal with a bright
-       wedge beside it always is. The sum runs over eight segments of unit
-       tangents, so near the stroke it reached several times the width of the
-       falloff it was displacing across, and folded every time.
-    
-       The falloff is about a third of a unit wide, so the displacement has to
-       stay under that for the map to stay monotone. Saturating rather than
-       clamped: a clamp is a corner, and a corner in a displacement is the same
-       crease by another route. */
+    ${''}
     float mag = length(push);
     push = mag > 0.0 ? push * (0.24 / (0.9 + mag)) : vec2(0.0);
     return wake;
@@ -717,88 +365,29 @@ export const FRAGMENT = `#version 300 es
   float flow(vec2 q, float t, mat2 turn, vec2 shift) {
     vec2 push;
     float wake = flowWake(q, turn, shift, push);
-    /* Already limited inside, so it is applied whole. */
+    ${''}
     vec2 p = q + push;
 
-    /* The field is warped by itself twice over, which is what gives a liquid
-       its folded look: each sample is displaced by the field's own value, so
-       structure gathers into sheets rather than staying a cloud.
-
-       Big shapes first, detail on top of them. At twice these frequencies every
-       octave landed small enough that the frame filled edge to edge with fine
-       crumple at one density: marbled stone, and it looked the same at every
-       scale, gain and bloom because there was no large form for any of them to
-       act on.
-
-       Isotropic noise cannot make a current, so anything wanting one has to
-       carry a direction, and that is a bigger change than this shape wants. */
+    ${''}
     float ink = warped(p * 0.55, t * 0.55);
     float sheet = warped(p * 1.1 + vec2(3.1, 1.7), t * 0.35);
 
-    /* Voids, not an even swatch. With a floor under each term the lowest the
-       field can reach is a quarter lit, so every fragment lands in the same
-       middle band and there is no structure to look at.
-
-       And a slow large mass over the top, thresholded rather than merely
-       varied: a gentle modulation over a field that is lit everywhere is still
-       lit everywhere, and what a liquid needs is somewhere it simply is not.
-       The empty parts of the frame are what give the full parts a shape. */
+    ${''}
     float mass = smoothstep(0.24, 0.72, noise(vec2(p.x * 0.45 - t * 0.1, p.y * 0.4 + t * 0.07)));
-    /* The void floor sits well above zero. At a low scale the mass noise varies
-       less across the frame than the frame is wide, so a reader can sit inside
-       one void and see almost nothing: measured at scale 0.5, which came out
-       near black. Empty has to mean faint, not absent, or the shape can
-       disappear entirely at a setting the property explicitly allows. */
+    ${''}
     float body = mix(0.05, 1.4, ink) * mix(0.4, 1.2, sheet) * mix(0.22, 1.45, mass);
 
-    /* The resting state matters more than the stirred one: most readers never
-       move the pointer, and a shape that is dark until touched is a shape most
-       people never see. With the voids in, halving an untouched field takes it
-       to a dim murk that reads as wet rock, so the wake lifts from a resting
-       level that is already worth looking at. */
+    ${''}
     return body * (0.85 + clamp(wake, 0.0, 1.0) * 0.5) * falloff(dot(q, q), 0.55);
   }
 
-  /* Light through moving water, focused into a web.
-   *
-   * **A caustic is where a wavefront folds, not where it is bright.** Sampling
-   * a noise field and lighting the high parts gives clouds; what makes the
-   * pattern on a pool floor is that the surface bends light and neighboring
-   * rays land on the same spot. The cheap stand-in for that is the *zero* of a
-   * displaced wave sum rather than its peak: 1 - |sum| is thin and bright
-   * exactly where the sum crosses, which is the fold.
-   *
-   * abs() puts a derivative discontinuity along each of those lines, and here
-   * that is the drawing rather than a fault: a caustic edge is genuinely sharp,
-   * which is the whole reason it reads as light rather than as fog.
-   */
+  ${''}
   float caustics(vec2 q, float t, vec2 qp, float reach) {
-    /* The pointer is a stone in the water: the surface it disturbs is a ring
-       of extra phase, so the web tightens around it rather than brightening. */
+    ${''}
     float dropD = length(q - qp);
     float drop = falloff(dropD * dropD, 1.4) * reach;
 
-    /* The layers are the population, and the pool says which of their cells are
-       bright. Three depths of fold, each at its own frequency and carrying its
-       own weight in the sum, are three sizes of the same thing, and the slow
-       depth over the top is how far the lit part of the pool is from the dark
-       part. Each travels toward the middle of its own spread, so a variance of
-       0 is one scale of web lit evenly from edge to edge and a variance of 1 is
-       exactly the water this was tuned to.
-
-       The total weight is the same at either end, three layers of 0.78 being
-       the 1.0, 0.78 and 0.56 they spread into, so evening them out does not
-       also dim the frame.
-
-       The grain is left out of it. It is the texture on the light rather than a
-       member of anything, which is the same reason threads keeps its.
-
-       Clamped, and the upper half of that is not tidying: these are mix()
-       calls, so a value past 1 extrapolates rather than exaggerating. The near
-       layer's frequency runs 2.05 - 0.55v and the far layer's weight 0.78 -
-       0.22v, so at 2 the near web is drawn at 0.95, under half the scale it was
-       tuned at, and past 3.5 the far layer's weight crosses zero and that layer
-       lights everything the folds are not. */
+    ${''}
     float cv = clamp(uVariance, 0.0, 1.0);
 
     float lit = 0.0;
@@ -806,8 +395,7 @@ export const FRAGMENT = `#version 300 es
       float f = float(i);
       vec2 p = q * mix(2.05, 1.5 + f * 0.55, cv);
 
-      /* Warped by the field's own value, so the wavefronts bend the way a
-         surface does rather than sliding as a rigid pattern. */
+      ${''}
       vec2 w = p + vec2(
         noise(p * 1.25 + vec2(t * 0.42 + f * 4.0, 0.0)),
         noise(p * 1.1 - vec2(0.0, t * 0.36 + f * 7.0))
@@ -818,49 +406,23 @@ export const FRAGMENT = `#version 300 es
       lit += pow(fold, 7.0) * mix(0.78, 1.0 - f * 0.22, cv);
     }
 
-    /* **The pool has a lit part and a dark part.** Three layers of folds at one
-       density fill the frame edge to edge and every version of it looks the
-       same: bright everywhere carries the same amount of information as dark
-       everywhere. A slow depth over the top decides where the light is getting
-       through, so the web has somewhere to be faint and the eye somewhere to
-       start. */
+    ${''}
     float pool = smoothstep(0.2, 0.78, noise(vec2(q.x * 0.55 - t * 0.09, q.y * 0.5 + t * 0.06)));
 
-    /* And the stone brightens what it disturbs as well as bending it, or the
-       only evidence of a pointer is a phase shift nobody can see. */
+    ${''}
     float dim = warped(q * 0.7, t * 0.2);
     return lit * mix(0.55, 1.25, dim) *
       mix(mix(0.75, 0.25, cv), mix(0.75, 1.25, cv), pool) *
       (1.0 + drop * 0.9) * falloff(dot(q, q), 0.4);
   }
 
-  /* A lattice in perspective, lit at its nodes.
-   *
-   * **The one shape here that is not weather.** Everything else in this set is
-   * a fluid, a light or a sky, and a design system is none of those: it is a
-   * structure, regular, with the interesting part at the joints. So this is
-   * drawn rather than simulated, and it is the only one with straight lines in
-   * it on purpose.
-   *
-   * Perspective is a divide, not a matrix. Scaling the grid by 1 / (1 + depth)
-   * makes the cells shrink with distance and the whole thing recede, which is
-   * the entire trick and costs one division.
-   */
+  ${''}
   float lattice(vec2 q, float t, vec2 qp, float reach) {
-    /* The pointer lifts the plane nearest it, so the lattice crowds where a
-       reader is looking. A structure answers by changing its spacing, which is
-       the only thing about a lattice that can move without breaking it. */
+    ${''}
     vec2 away = q - qp;
     float near = falloff(dot(away, away), 1.8) * reach;
 
-    /* **A ground plane, not a mirrored one.** Dividing by abs(p.y) makes two
-       floors meeting along y = 0, which reads as a bowtie with a crease down
-       the middle rather than as anything receding. Dividing by the distance
-       below a horizon is the actual projection: one plane, cells shrinking as
-       they approach it, and nothing above it to fold back.
-    
-       It travels as well, so the structure arrives rather than sitting still.
-       Perspective and motion together are what say the plane is a plane. */
+    ${''}
     float below = max(1.45 - q.y, 0.14);
     float depth = 1.0 / below;
     vec2 g = vec2(
@@ -869,61 +431,23 @@ export const FRAGMENT = `#version 300 es
     );
     vec2 cell = fract(g) - 0.5;
 
-    /* The rails, thinner the further back they are, so the grid does not turn
-       into a solid sheet at the horizon. */
+    ${''}
     float rail = min(abs(cell.x), abs(cell.y));
     float lines = falloff(rail * rail, 24.0);
 
-    /* The joints, which is where a lattice is actually a lattice, and brighter
-       than the rails between them: a grid of even weight is graph paper. */
+    ${''}
     float node = falloff(dot(cell, cell), 26.0) * 2.1 * (0.6 + near * 0.9);
 
-    /* Faded toward the horizon, or the cells pile into a solid sheet exactly
-       where they are smallest. */
+    ${''}
     float far = smoothstep(0.0, 0.55, below) * smoothstep(3.4, 1.3, below);
 
     float dust = warped(q * 0.9, t * 0.25);
     return (lines * 0.5 + node) * far * mix(0.7, 1.2, dust) * falloff(dot(q, q), 0.42);
   }
 
-  /* Cells, lit along the seams between them.
-   *
-   * **Provenance as a picture.** A Voronoi field is a set of territories, each
-   * one everything nearer to its own point than to any other, and the drawing
-   * is not the cells but the boundaries: where two claims meet is exactly
-   * what Trace is about. Nothing here is lit except the disagreements.
-   *
-   * The wall is the second nearest distance minus the nearest, which is zero
-   * on the boundary and grows into the interior. It is a genuine distance, so
-   * it needs no epsilon and produces no crease.
-   */
+  ${''}
   float fracture(vec2 q, float t, vec2 qp, float reach) {
-    /* The territories are the population, and how far each site wanders off its
-       own cell center is the whole of what makes one differ from the next: the
-       rates are already shared, so the spread is the amplitude and nothing
-       else. At 0 every site sits at its center and every claim is the same
-       size, which draws the lattice this is a Voronoi of: a grid. That is the
-       answer rather than a collision with the shape above, which is a structure
-       in perspective lit at its joints where this is a set of claims that
-       happen to be equal.
-
-       **The alternative is a shared phase, and it is the wrong uniform.**
-       Keeping the swing and collapsing a and b would leave every site on the
-       same orbit, which is not a set of equal territories but one territory
-       repeated and the whole field sliding rigidly under it. The lanes in
-       streaks say the same thing about a phase from the other side.
-
-       At 0 the seams hold still, which is what a set of equal claims looks
-       like and not a shape that has stopped: the grain still travels over them
-       and the pointer still shoves the sites near it apart, so the one thing
-       that moves a territory is something arriving.
-
-       Clamped for the usual reason, that these are interpolations, and here
-       there is a hard edge as well as an ugly one. Nine cells are visited, so
-       the two nearest sites have to be inside them: the swing reaches
-       0.42 * v * sqrt(2) of a cell at its corner, which passes a whole cell at
-       v = 1.68, and past that a site can be nearer than anything the loop
-       looked at and the seam snaps along the lattice it was drawn to hide. */
+    ${''}
     float fv = clamp(uVariance, 0.0, 1.0);
 
     vec2 g = q * 2.1;
@@ -937,14 +461,12 @@ export const FRAGMENT = `#version 300 es
         vec2 o = vec2(float(i), float(j));
         vec2 id = base + o;
 
-        /* Each site drifts on its own small orbit, so the seams breathe rather
-           than the whole field sliding. */
+        ${''}
         float a = hash(id) * 6.2831853;
         float b = hash(id + 41.7) * 6.2831853;
         vec2 site = o + 0.5 + 0.42 * fv * vec2(sin(t * 0.5 + a), cos(t * 0.42 + b));
 
-        /* Sites near the pointer are pushed away from it, which opens the
-           cells there: a territory answers by giving ground. */
+        ${''}
         vec2 world = (id + 0.5) / 2.1;
         vec2 shove = world - qp;
         site += normalize(shove + 0.0001) * falloff(dot(shove, shove), 2.4) * reach * 0.5;
@@ -962,17 +484,7 @@ export const FRAGMENT = `#version 300 es
     float wall = second - first;
     float seam = falloff(wall * wall, 17.0);
 
-    /* **Not every seam is lit the same.** At one brightness the field is a
-       mosaic of equal cells, which is a texture; what makes a set of
-       territories read is that some borders are contested and most are not. A
-       slow field decides which, and the dark stretches give the lit ones a
-       shape.
-
-       Which is the second thing variance answers for here, from the other
-       direction: how far apart the contested borders and the quiet ones are
-       lit. Both ends travel toward the midpoint, so a variance of 0 is that
-       mosaic, every border at one brightness, and the paragraph above is a
-       description of what asking for no variance gets rather than a fault. */
+    ${''}
     float contested = smoothstep(0.24, 0.8, noise(vec2(q.x * 0.6 + t * 0.07, q.y * 0.55 - t * 0.05)));
 
     float grain = warped(q * 1.3, t * 0.3);
@@ -981,50 +493,27 @@ export const FRAGMENT = `#version 300 es
       falloff(dot(q, q), 0.42);
   }
 
-  /* The sampling frame, the shape branch, and the ramp from field to color. */
+  ${''}
   void main() {
     vec2 p = uv * 2.0 - 1.0;
     float aspect = uResolution.x / max(uResolution.y, 1.0);
     p.x *= aspect;
 
-    /* **No global response, parallax included.** Every named interaction is a
-       promise about what the pointer does, and translating the whole field is
-       not any of them: a consumer asking for a light asked for a light, not for
-       a light and a lean. Small is not the test.
-
-       What answers the pointer is each shape, in the terms it is made of, and
-       the three generics for a consumer who asks for one. */
+    ${''}
     vec2 q = p;
 
-    /* **The tilt is an angle on the screen, not in the sampling space.**
-     
-       p.x is stretched by the aspect before anything is rotated, so a
-       rotation applied here is a rotation in an anisotropic space, which is a
-       shear. Working it through: a feature along the shape's own x axis sits
-       where q.y = 0, which is p.y = -tan(a) * p.x, and since p.x is aspect
-       times the screen's x the slope a reader sees is aspect * tan(a). At a
-       widescreen 1.78 a tilt of 14 drew at 23.9 degrees, and the same number
-       drew differently in every box the component was put in.
-    
-       Solving aspect * tan(a) = tan(tilt) gives the angle to rotate by. The two
-       argument atan is what makes 90 work: tan blows up there, while
-       atan(1, 0) is exactly a quarter turn. */
+    ${''}
     float want = radians(uTilt);
     float a = atan(sin(want), cos(want) * aspect);
     mat2 turn = mat2(cos(a), sin(a), -sin(a), cos(a));
     q = turn * q * uScale;
 
-    /* The pointer, carried into the same frame the shapes are drawn in, so each
-       one can answer it in its own terms. */
+    ${''}
     vec2 qp = turn * uPointer * uScale;
 
     float t = uTime * 0.06;
 
-    /* A shape answers for itself only when nothing else has been asked for.
-       Given a generic response, its own is switched off rather than layered
-       under: two answers to one gesture is how a shared zoom and a shared glow
-       got here in the first place, applied identically to every shape and
-       saying nothing about any of them. */
+    ${''}
     float own = uInteraction == 0 ? uReach : 0.0;
 
     float d = 0.0;
@@ -1052,20 +541,10 @@ export const FRAGMENT = `#version 300 es
       d = fracture(q, t, qp, own);
     }
 
-    /* Bloom as an exponent on the field rather than a term inside each shape.
-       Every shape is a density that falls off, so a power tightens or spreads
-       that falloff and one control means the same thing in all of them. */
+    ${''}
     d = pow(max(d, 0.0), mix(2.0, 0.5, clamp(uBloom, 0.0, 1.0))) * uGain;
 
-    /* The generic answers, for a consumer who has asked for one.
-    
-       All three are functions of distance from the pointer and nothing else,
-       which is exactly what makes them generic and exactly what makes them say
-       less. The light option lifts what is lit and puts a floor under itself so
-       there is something at the cursor over a dark field. The shadow option is
-       that gesture inverted, which suits a bright field where a lamp would be
-       invisible. The ripple option is the one with a clock in it, so it keeps
-       moving after the pointer has stopped. */
+    ${''}
     if (uInteraction != 0 && uInteraction != 4) {
       vec2 toCursor = p - uPointer;
       float near = falloff(dot(toCursor, toCursor), 3.0) * uReach;
@@ -1081,18 +560,14 @@ export const FRAGMENT = `#version 300 es
 
     d *= mix(0.65, 1.35, smoothstep(-1.0, 1.0, q.y));
 
-    /* Rolled off rather than clipped. A hard clamp flattens the core into a
-       plateau of one value, which is what makes a bright shader look like a
-       sticker; this compresses toward one and keeps the gradient inside it. */
+    ${''}
     float lift = 1.0 - exp(-max(d, 0.0) * 1.15);
 
     vec3 rgb = mix(uGround, uHaze, smoothstep(0.0, 0.16, lift));
     rgb = mix(rgb, uGlow, smoothstep(0.10, 0.46, lift));
     rgb = mix(rgb, uPeak, smoothstep(0.40, 0.72, lift) * 0.6);
 
-    /* Dithered before the buffer quantizes. A falloff this soft spans a few
-       hundred 8-bit steps across a screen, and without a sub-step of noise it
-       paints as visible rings. */
+    ${''}
     float dither = (hash(gl_FragCoord.xy) - 0.5) / 255.0;
     color = vec4(rgb + dither, 1.0);
   }