A little more room to land
A small distance adjustment gives the overhead back throw more room to land. This short film compares the earlier and current versions from identical prepared positions, then shows the longer throw from Player 2 in the opposite direction.
Scripted local Practice / Earlier and current engine comparison / Native game canvas · Captions included in the video · Download video · Download transcript
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How to try the overhead back throw
With the default six-button controls, stand close enough to touch, stay on the ground, then press away from your opponent and medium or heavy punch together. Player 1 uses Q or E, or the C throw shortcut; Player 2 uses H or U, or the semicolon (;) throw shortcut. Use the direction and button together at close range. On a controller, use away plus medium/heavy punch. For Player 1 on the left, away is A; for Player 2 on the right, away is L. Try Nia against Ren for the dedicated overhead drawings. Other standing fighters use existing grapple drawings; seated throwers retain Rimlock Turn.
Live check — October 22, 2026
The longer overhead back throw was confirmed in a fresh session on the public game. Native Player 1 Back + Q and Back + C inputs both produced the overhead throw, with a 202-pixel gap at impact and one 135-damage floor hit. This is a controls and live-availability clarification; the verified October 20 comparison film and throw physics are unchanged. The Play links now open the current game page.
More travel after the shoulder release
Standing opponents land 64 game pixels farther from the same capture point. For Nia and Ren in the center of the stage, the gap between the fighters at impact increases from 138 to 202 pixels.
The rest of the throw stays the same
The throw still takes 54 simulation ticks, with one floor impact at tick 44 and normal damage of 135. Capture range, lift height, recovery, defensive falls and meter use are unchanged. The seated-victim transfer and the seated fighter's Rimlock Turn keep their previous behavior.
What was tested
All 127 focused combat checks passed, including the existing 760 standing thrower/victim/player-slot cases and 96 distance configurations across both player slots, reversed facing, wider fighters, center stage and both walls. Native browser checks also covered keyboard and simulated gamepad throws, landing distance, defensive falls and movement after recovery.
About the comparison
The film uses fresh recordings of our game in local Practice: the preserved earlier engine and the updated engine start from identical Nia/Ren positions. Scripted native keyboard input performs the throws, with health and meter refill disabled. The actual game canvas is recorded without the HTML HUD. Footage plays at recorded speed, with no added bodies or trajectories. Source cadence varied from about 22 to 30 frames per second; the edited film is 30 fps. The silent captures use a separate existing Lastlight stage arrangement scored by Codex and remixed in Suno.
Read the full video transcript
A LITTLE MORE ROOM TO LAND Fighting in the Streets — development journal 00:00:00,000 — The earlier throw. A shorter landing. 00:00:03,000 — Longer back throw. More room to land. 00:00:06,000 — Both player slots. Both throw directions. 00:00:09,000 — Same timing. 135 damage. 00:00:12,000 — Original designs and artwork by Keyeske Yamada. 00:00:15,000 — Game made completely in Codex GPT 6.1 SOL. 00:00:18,000 — Music scores by Codex, remixed in Suno. Production notes: Fresh isolated local Chrome captures compare the exact preserved earlier engine with the current tested engine. Both use identical public-engine reset and step preparation, the same Nia/Ren positions, clear daytime stage, and scripted native keyboard input in Practice. Health and meter refill are disabled. Only the actual 960 x 540 game canvas is recorded, without the HTML HUD. All gameplay runs at recorded speed, without a slowed replay or composited bodies, trajectories or effects. Captures request 30 fps; actual frame cadence depends on machine load. These sources average about 22 to 30 decoded frames per capture wall second. The final film is 30 fps. Silent source captures contain no microphone, reference-game recording or source-game audio. The separate soundtrack is the existing verified Lastlight stage arrangement scored by Codex and remixed in Suno. Physical phones/controllers and competitive balance are not tested by this film. Current limits: The standing-victim endpoint moves 64 authored game pixels farther from the same capture origin. Nia/Ren landing root separation changes from 138 to 202 pixels in this central-stage fixture. Near a stage boundary, the pair can shift together to remain in bounds. Seated-victim distance and the seated thrower’s Rimlock Turn are unchanged. This update reuses existing artwork: Nia/Ren have dedicated overhead poses; other standing fighters use their existing grapple poses. Damage and distance remain development values; no human competitive-balance conclusion is claimed.