#219: fleet capacity is a built, supplied thing rather than a researched
one. The eight fleet-size doctrines are gone; capacity is one berth free
plus one per Fleet Office standing. An office charges every 25s for the
vessel in its berth, priced off that vessel's own build cost so an expensive
hull is expensive to keep, and drawn from its own store the way a gas burner
draws gas. An office that cannot pay goes dark, its vessel is scuttled, and
the player is told through the same queue quest lines use - which reaches
them on a planet surface too.
An empty berth is idle rather than starved: an office is only failing while
there is something in it to fail, and holding it disabled would leave a
berth that could never be crewed and so could never be paid for again.
Ships have no hit points and a shield absorbs a hit wholesale, so the lost
vessel is scuttled rather than damaged - otherwise a shielded hull would
survive its own eviction.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_019AJMdB7iuHuLFZM1aBu3GD
Three events get a sound: a shot leaving a gun, a vessel dying, a structure
coming down.
The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py
generates all three from scratch, and is committed alongside them. The
ticket asked for free sources and the good ones are in its comments
(Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0),
but a generated sound has no licence to track, no attribution to keep, and
no binary in the repository whose provenance nobody can check a year from
now. It also makes the sounds DATA: too sharp a shot is a number in that
file and a re-run, not a hunt through a library. Dropping in a pack file
later means replacing a .wav and nothing else.
A voice POOL, not a player, because these overlap constantly - a fleet
firing is several shots inside one shot's length. Twelve voices, and when
they are all busy the one furthest through its own sound is recycled, which
is the one with the least left to lose.
Parented to the tree root, for the reason that matters: every one of these
sounds is started by something that is being freed on the same frame. A
dying ship cannot own the sound of its own death.
Levels are per sound rather than shared - a shot fires constantly and a
death happens once, so equal volumes are not proportionate ones - and shots
get a little pitch spread so a stream of them does not flatten into one
machine-gun note. The deaths get none: a wobbling explosion sounds broken
rather than varied.
The test goes at the failures a play-through would hide for weeks: firing
three times the pool size must leave exactly the pool's worth sounding and
no leaked voices, and the ship-death case is checked from a node that really
has been freed on that frame.
#130 asked for the hull to break away from the fleet, drift a few metres,
and go up further off with something more explosive than a light animation.
The wreck is a separate node rather than the Ship staying alive to animate,
and that is the load-bearing part. A dying Ship still in the tree is still
an Area2D in the player_ships group with live weapon components - it would
keep firing, keep being fired at, keep counting as a target, and keep
colliding on the way out. So the ship's own lifecycle is untouched: it
leaves the fleet, emits destroyed, and is freed on exactly the frame it
always was. What is left behind is scenery, and the test pins that.
The explosion at the end was also the quieter of the two the game has.
Killing an enemy was made deliberately loud by #87 while losing one of your
own kept the base class's twelve-particle default - the reward louder than
the loss. It is now the bigger of the two.
#135 is the same scene from the other end: the prologue's convoy flies its
escorts on the corners of the box, which is the exposed part of it, and the
debris belt can take all four. With no interceptor left, the only hulls the
vortex could spare were holds, and the player flew out of the prologue in a
carrier. Two guards now: one interceptor is put back into the convoy at the
top of the vortex, where a vessel appearing among ten being thrown around a
black hole is not something anyone will catch; and the handover checks the
TYPES it hands over rather than only the count - one surviving carrier is
also a fleet of one, and it is not the fleet a new game starts with.
Everything lived in one flat directory, so a diff gave no clue what area it
touched and finding the file you wanted meant knowing its exact name. Twelve
folders now, grouped by what a thing IS rather than what type it is - a
vessel's definition, its component scenes and its upgrade resources sit
together, because that is the set you read when you change one of them.
buildings core controllers enemies logistics planets
resources shaders surface ui vessels vfx world
332 files moved and every res:// reference rewritten - 306 files touched,
including the autoload and main-scene paths in project.godot. Nothing renamed:
this is purely where files sit, so the diff is a pile of pure moves and no
behaviour is buried in it. ui_theme.tres, icon.svg and web_shell.html stay at
the root, where Godot and the export preset expect them.
Verified three ways, because a suite alone would not have caught all of it:
the full 117 pass, the web export builds clean, and the game renders.
The export is why that matters. The FIRST export after the move failed with
"Attempt to open script 'res://GameState.gd'" - the old path - while
project.godot on disk plainly said res://core/GameState.gd. That is this
project's documented Android FUSE mtime trap: Godot served a cached copy of a
file whose content had changed. A `touch` fixed it. Nothing in the test suite
would have found that, because the suite runs from a copy on a native
filesystem - the one place the bug cannot happen.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
