README.md

abuse.js

A web game built on the art, levels and sounds of Abuse (Crack dot Com, 1995), with our own game mechanics. Rendering is PixiJS v8 (WebGL/WebGPU); everything else is ours.

Play it: asynkron.github.io/AbuseJs

Current state: real Abuse levels load with their lighting, tile layers, objects, ambience, music and tutorial text; the cop runs, jumps, climbs ramps, rides platforms, takes teleporters and walks between levels through the original exit portals. It shoots, and the level shoots back — ants, flyers, juggers, cleaner robots and the boss all think, ant cracks pour more of them into a room, and everything fires the original's own eight projectiles. The levels' sensor-and-gate wiring drives the doors and lifts, and the four special powers do what the scripts say they do.

npm install
npm run assets   # convert assets/original/**.spe -> public/assets  (~2s)
npm run dev      # http://localhost:5173

It opens on a title screen. The wording is the original's own, out of lisp/english.lsp — "Start New Game", "Load Saved Game", and the four difficulties it calls Wimp, Easy, Normal and Extreme, which are the lisp's easy, medium, hard and extreme. Abuse ships set to hard, so its "Normal" really is the default and the two below it are concessions. The setting scales incoming damage and healing (bottom_damage and give_player_health in lisp/people.lsp): on Extreme a 10-point hit lands as 30 and a 10-point pickup heals 2.

The screen also earns its keep: browsers will not start an AudioContext without a gesture, so the game needed a first click anyway. A deep link like #levels/level14 skips it.

Controls: arrows/WASD move, space jump, shift run, mouse aims the torso, X or left mouse fire, 1–8 or Q pick a weapon, C or right mouse holds a special power, down/S or E to use a platform, teleporter or exit portal, V toggles the CRT filter, L toggles level lighting. Everything is reachable from a trackpad — no right button anywhere. Sound starts muted — there is a volume slider top right. Progress is saved at the consoles the levels place, and reloading picks up where you left off. Append a level id to the URL to load it, e.g. #levels/level14 — any id in public/assets/levels.json. It starts on levels/level01, not level00: level00 is Abuse's training level and contains no monsters at all, so starting there makes a game with working enemies look completely inert. #levels/level00 still loads the tutorial.

Layout

assets/original/     Abuse data files, verbatim from apancik/Abuse_2025  (committed, 27MB)
tools/               Node-side converter (run via `npm run assets`)
  spec.ts            SPEC container + record readers - the only place byte offsets live
  lisp.ts            s-expression reader; mines animations out of the .lsp game scripts
  atlas.ts           shelf/grid bin packing + PNG output
  convert.ts         CLI entry point
public/assets/       Generated PNG atlases + JSON  (gitignored, rebuild with `npm run assets`)
src/
  assets/            manifest types + runtime loader
  core/              fixed-timestep loop, input, follow camera
  render/            pooled, culled tile layers + the CRT filter
  game/              level, collision, entities, player, world

Asset pipeline

npm run assets produces, from 283 .spe files and 133 .wavs:

Output	Contents
tiles.json + tiles/*.png	1109 foreground (189 with ramp outlines) and 405 background tiles
chars.json + chars/*.png	3849 sprite frames — 2309 plus 1540 baked colour variants — and 271 characters, one 2048² page
images.json + images/*.png	442 loose images (HUD, fonts, title screens)
levels.json + levels/*.json	125 levels: both tile grids, the typed object list, 5617 light sources
sounds.json + sfx/*.wav	133 samples, 53 named, the 17-entry ambient table
messages.json	The 12 tutorial lines TRAIN_MSG markers show
palette.json	The 256-colour palette plus 25 tint tables

Format notes

These were derived from the original C++ sources and verified against the shipped data. Details live next to the code that uses them; the highlights:

• SPEC container — "SPEC1.0\0", u16 entry count, then {u8 type, u8 nameLen, name, u8 flags, u32 size, u32 offset}. The modern port ignores the legacy link flag, so we do too.
• Images are u16 w, u16 h followed by w*h palette indices. Index 0 is transparent everywhere except background tiles, which have nothing behind them to show through.
• Tile ids are the entry names parsed as integers, not positions — so tile numbering is global and load order does not matter. The file list comes from (load_tiles ...) in the Lisp scripts.
• Foreground tiles are 30×15, background 60×30. A tile is solid exactly when it carries a collision outline; we currently collide against that outline's bounding box, so slopes behave as blocks. The raw outlines ship in tiles.json for doing them properly later.
• Range-compressed arrays are signed at every width. An object-field array is tagged u8 / u16 / u32 by the narrowest type every value in it fits, and the range it is fitted against is signed: direction is -1 or 1 and arrives as a u8 array holding 0x01 and 0xFF. Read unsigned, that -1 becomes 255, and direction < 0 ? -1 : 1 calls it "facing right" — 2227 objects across the shipped levels, mirrored, with the cleaner robots among them walking into the wall behind them and stopping.
• Level cells are u16: & 0x3fff tile id, & 0x4000 "draw after entities" (the overlay layer that puts pillars in front of the player), & 0x8000 has-been-seen.
• Objects are self-describing — a level stores the type and state names that were in use when it was saved, so spawn points and monster placements survive without a hardcoded id table.
• Sprites anchor from the feet: blit at x - xcfg, y - height + 1, mirrored from the opposite edge when facing left.
• A tile is solid exactly when it carries a collision outline, and that outline is a polygon, not a box — 189 tiles are ramps. The converter rasterises each into one solid span per pixel column.
• Objects that carry art are not always visible. Markers, logic gates and ambient sound emitters draw only in the editor, which the converter detects from their draw function.
• Levels reuse physics fields as configuration. AMBIENT_SOUND keeps its repeat delay in xvel, volume in yvel, spread in xacel; NEXT_LEVEL keeps its destination level number in aistate.
• Tints are just palettes. A colour variant is the same sprite indices decoded against a different 256-colour table, so variants are baked at conversion time and are exact.
• Animations are not in the art files. They are def_char forms in the .lsp scripts, using seq/rep/app over frame names. Some — including the player's aiming torso — are only produced by helper functions, so the reader expands those templates too.
• The player is two sprites: legs from art/cop.spe and a torso from art/coptop.spe with 24 aim frames, pinned at bottom.y + 29 - bottomHeight and nudged 4px when facing left.

Mechanics

Behaviour now comes from the shipped .lsp scripts rather than from invention: the AI functions, the weapon table, the explosion clusters and the gate wiring are all read out of assets/original/lisp and cited where they land. The player's feel — acceleration, jump arc, coyote time, weapon selection — is still ours, and says so.

Eight weapons. The status bar has eight slots, the art ships eight lit/dim icon pairs, every weapon has its own 24-frame torso in art/coptop.spe, and the levels scatter ammo for all of them. The slot an ammo icon fills comes from weapon_icon_ai's own table and the amount from the icon's start_hp, which is how the firebomb (3) and the plasma rifle (4) end up the right way round. Picking up ammo for something you were not carrying is also how you get the weapon.

They are real projectiles, not tracers. A grenade arcs and detonates on its first blocked move; a rocket accelerates to 14 and homes on whatever the ±160px search locked onto, and can be shot out of the air because ROCKET is (hurtable T) with 4hp; the firebomb skids along the floor spewing 40 damage over 60px every tick it burns; the disc steers towards the crosshair the long way round, because angle_diff is not a shortest-arc calculation and that spiral is what the shipped weapon does. Only the plasma bolt and the light sabre resolve at the muzzle, which is what the originals do too. Out of ammo the machine gun does not stop, it labours — 3 ticks with, 7 without, which is what "collect ammo to increase firing speed" in the tutorial means. The other seven simply are not there to fire, and none of them fires at all when the muzzle is inside a wall.

Everything shares one target list, the cop included. That is what bmove does — it hits whatever is in the way and spares only the shooter — so enemy fire hits other enemies, and standing next to your own grenade costs you health.

1–8 pick a slot and Q steps through what you are carrying, skipping empty ones. The original says "use the CTRL & INS keys", which is undiscoverable on a laptop. Not the scroll wheel: one two-finger swipe on a trackpad emits a burst of wheel events, so the weapon flickered through every slot the moment you moved your hand, and a trackpad's deltas cannot be reliably told from a real wheel's.

The muzzle is not the player's centre: it comes from the 24-entry small_fire_off table in the original src/cop.cpp, so a shot leaves the actual gun barrel through a full rotation.

Special powers, held on C or the right mouse button — "hold down the right mouse button to use special powers", as the tutorial puts it. The levels place four (POWER_FAST, POWER_FLY, POWER_SNEAKY, POWER_HEALTH). They never expire: special_power is cleared by restart_player and by nothing else, and the one duration in either script — (user_fun SET_FAST_TIME 360) — is commented out in the shipped game, so the charge bar this port used to draw was restoring a line that never ran.

FAST is not a multiplier: while the button is down the cop takes a complete second movement step before the tick's own, so collision and animation happen twice, and it burns an extra tick off the weapon cooldown as well. FLY leaves gravity on and pushes −2 into the vertical velocity every tick (−3 with up held) — the hover is the balance between the two, and letting go is how you descend. HEALTH raises the ceiling from 100 to 200 and grants one top-up; it does not regenerate. SNEAKY fades the cop out and stops anything noticing him, though it does not call off a fight already under way. FAST and FLY also swap in DARNEL's own fast_* and fly_* animation sets, which hide the aiming torso — top_draw_state does not list them.

The creatures think. Ants walk the ceiling, shoot straight down, drop and fight on the floor; ANT_CRACK pours more of them into a room; flyers, juggers, cleaner robots and the two-form boss all run their own scripts. A shooter's aitype is its weapon — the same number picks its tint, its health and the round it fires — so an AI shoots by handing its aitype to the same fire_object the cop uses.

The wall guns are the other half of that. SPRAY_GUN and TRACK_GUN share one character in art/gun2.spe — a 24-frame barrel behind a two-frame shutter — and both wait on (activated), so a level wires them to a sensor, a switch or a gate. The spray gun sweeps a fixed arc and fires on every step whether or not anyone is there; the track gun turns one degree a tick towards a point eight pixels above the cop's middle, fires a burst of three when it has more or less arrived, then looks away for eight ticks. Neither hunts. They are the commonest hostile thing in the game after the ants — fifteen in level01, twenty in level03 — and they are what makes a corridor a corridor.

Deaths are authored, not generic. Nothing in the original puts one stock explosion over everything that dies. A turret throws four fireballs at delays 0,1,2,3 over BLOWN_UP; a flyer throws three on the beat; ROB1 gets eight at fixed offsets across six ticks; a boulder gets four and a light. An ant gets no explosion at all — it comes apart into five body parts that tumble, bounce and settle on the floor, flaming or electric depending on what killed it (get_dead_part reads the otype of the killing shot). All of it plays at the engine's rate, one animation frame per tick, which is a quarter of the simulation's.

Exits announce themselves. The levels put no TRAIN_MSG on their NEXT_LEVEL portals — the original expects you to recognise one on sight — so it was possible to walk past the end of a level without knowing it was there. Come within 46px and it says which level it goes to; stand on it and it says to press down. level00 has five, and the one that finishes the tutorial is at (2655, 1431), at the bottom right past the last sign.

The save console is RESTART_POSITION — the same marker a fresh level spawns you at, which is why using one is literally moving where you restart. Its stopped state is the six-frame idle flicker and running is console_on, so the art already had an activated look to switch to. Press down at one and the level id, your position, health, every magazine and the power you are holding go to localStorage; dying returns you there instead of to START, and so does reloading the page.

Platforms and teleporters read their endpoints out of the level. A lift's two links are its endpoints and an optional third is its enable switch; xacel is how many interpolation steps the trip takes, so a lower number is a faster lift. platform_ai boards you with (set_y (- (y) start_accel)) — 22px above the anchor for the small platform, whose picture is only 15 tall — so the deck is the top of the sprite but the band that counts as standing on it is start_accel either way. Riding carries you continuously rather than in steps, and stepping off keeps the coyote timer alive so a jump off a moving lift works.

Hidden walls chain. A wall is not one object — level01 has 102 blocks of 25hp each — and the thing that makes a room open from one shot is in the original's own lisp. A dying wall calls hurt_radius on itself: 110px for 120 damage from big_wall_ai, 50px for 60 from hwall_ai (lisp/doors.lsp). Against 25hp blocks that is lethal several times over, so the neighbours die and their blasts kill their neighbours. One shot measured into level01 takes twenty-five blocks with it. There is no special case for any of this: the walls are in the same target list as everything else, which is also why the blast catches whatever is standing in it.

They also crack as you shoot them: hwall_damage sets the frame from the health fraction, so the three sect frames are progressive damage rather than an idle animation.

Force fields. The blue "FF" glyphs were the editor's marker leaking into the game: ff_draw opens with (if (edit_mode) (draw)), so FORCE_FIELD's only sprite is never meant to reach the screen. What you should see is four scattered vertical lines from the object down to the floor, in the four colour pairs and widths ascatter_line is called with. ff_ai finds that floor with (try_move 0 (+ (y) 200)), plays FF_SND every fourth tick and shoves the player out with (ff_push (first_focus) 35). All three in level01 are wired to their own switch, so they are off until something turns them on — the gate is (activated), which is true for a field nothing wires and follows the switch for one that is.

Doors block. SWITCH_DOOR and the trap doors carry can_block and a four-state set: stopped is shut, running runs the shutter open, walking runs the same frames back. Collision is tile-based and a door is an object, so until they were given a collision pass of their own a closed door was a picture you strolled through — as were the hidden walls, of which level01 has over eighty. Anything solid that is not a tile now pushes the player out along whichever axis needs the least movement, resolved after the tile pass; doors and hidden walls are thin slabs in corridors, so the shallow axis is always the right one. A lip within 8px of the player's feet is stepped onto instead — the same tolerance the tile collision uses, and needed for the same reason, since hidden walls sit flush in floors and being shoved sideways off one feels like catching on nothing.

The list of solid objects is not can_block: that flag is on more than sixty characters, including every platform, both turrets, the T_REX and NEXT_LEVEL. In the original it means "this can block", with the blocking driven from lisp state, so reading it as "is solid" walls off exit portals and anything else you are meant to stand on.

A door wired to a switch does what the network says. An unwired one opens for whoever walks up to it.

Boulders (BOLDER) are traps, not scenery. bolder_ai in lisp/duong.lsp opens with (if (or (eq (total_objects) 0) (not (eq (with_object (get_object 0) (aistate)) 0)))), so one with no link runs immediately and a linked one waits for its object's aistate. All four in level01 link to a SENSOR sitting between them and the floor — walking under is what springs it. Released, it gains a unit of downward speed a tick, bounces (losing two units each time it lands, and going silent below an impact speed of 3), and does 30 damage within 19px to whatever it rolls over. It is can_block until it drops, so it is solid scenery right up to the moment it is not.

Ladders. LADDER draws with dev_draw, so the object is an invisible marker and the rungs you see are ordinary tiles. The marker and the object it links to are two opposite corners of a rectangle; latter_check_area in lisp/ladder.lsp tests the player against both and records how far below the top they are, which is the only thing climb_handler in people.lsp ever reads. Climbing is not physics — 3px a tick under direct control with no gravity, stepping off at the top within 32px of it, and leaving sideways into a fall. level01 has none; level02 has eighteen.

Teleport doors (TP_DOOR) are neither a pad nor a SWITCH_DOOR. tpd_ai in lisp/teleport.lsp gives them three jobs: slide open when you come near, open the partner at the same moment so you can see the far end gaping, and carry you across while the action key is held. They carry no can_block, so standing in the opening is the point — which is exactly why nothing happening reads as a broken door. The original never mentions the key, so this one prompts.

The signal network is the level's own. Every object carries an aistate, and object_links wires sensors to gates to consumers. The seventeen types that drive it — the six switches, the six gates, the sensors, the doors, the step and the three lifts — each run their real ai function once per tick in level order, which is why a chain of delay gates advances one link per tick instead of settling instantly. Links are stored 1-based (write_links counts from 1) and a link can point either way — a door names its switch, but level00's sensor names the platform it drives — so the index is built in both directions.

Damage and death. 100 health, 30 ticks of invulnerable blink after a hit, and a 120-tick death animation before respawning at START with a full bar. hurt() refuses while the body is already down, otherwise a turret that keeps firing at the corpse restarts the death timer forever and the respawn never gets a tick to run in.

CRT filter

src/render/CrtFilter.ts is a port of streetalien's src/fx/crt.ts. That one is a Canvas 2D present pass — sliced barrel warp, additive ghost blits, a quarter-res bloom buffer, a pre-rendered scanline canvas, gradient overlays — none of which survives a move to WebGL, so this is the same chain of effects in one fragment shader, in the same order and with the same constants:

barrel curvature → convergence ghosting → bloom → scanlines + aperture grille → rolling band → vignette → flicker → rounded tube mask

Costs ~0.07 ms/frame at 1920×1080. Toggle with V.

The grid is locked to the game's pixel grid, and rides the curvature. The rest of the pass is authored against a 960x540 buffer and scaled by crtPixelScale, but the scanlines and grille cannot be: a cycle that is not a whole number of game pixels beats against them and the lines crawl. crtGridPeriod makes one cycle one game pixel — one scanline per source row, one shadow-mask triad per source pixel, which is what a tube does. A cycle is three cells and so needs three device pixels to draw at all; below zoom 3 it grows to the next whole number of game pixels that fits, coarser than ideal but still locked.

The grid is measured in the warped frame, not the flat one. Everything on the glass — mask, beam, rolling band — sits on the curved surface, and a dead-straight grid over a picture that bends reads as wrong immediately.

That only means anything if the pixels hold still, so the scene offset snaps to a whole game pixel (the camera stays fractional, so the follow is still smooth) and sprite positions round the same way. Pixi's own roundPixels is not enough — it rounds to a device pixel, and the world is drawn at an integer zoom, so a sprite can still land a fraction of a game pixel off the grid the tiles sit on.

Measured on a rendered frame at zoom 3, rows grouped by their phase in the 3-device-pixel cycle: 53.5, 53.4, 24.2 at the centre — one row in three darkened, 75% modulation. At the left and right edges that collapses to 2% and 7%, which is the curvature doing its job: the grid is no longer at a constant phase in screen space because it is riding the warp with the picture.

Two deliberate differences from the original:

• Its "crush to half res" step is dropped — this game already renders at an integer zoom with nearest-neighbour sampling, so the pixels are chunky before the CRT sees them.
• Its constants are authored against a 960×540 buffer; crtPixelScale() converts one of those units into device pixels so the scanline pitch and tube radius stay the same apparent size at any window size.

The additive passes (0.24 ghosting + 0.32 bloom) lift the blacks noticeably on Abuse's dark art. That is what the original does, so rather than change its constants there are brightness, contrast and glow sliders in the top right. Glow scales both additive passes together — they are the same physical thing, light from one part of the tube landing on another, and separating them only gives two sliders that have to be kept in agreement. 1 is the authored amount; 0 leaves the picture sharp. The brightness and contrast trims that trim the result. Both default to 1.2. They are applied last and outside the intensity mix, so they also correct the raw image with the CRT toggled off, and they persist in localStorage. new CrtFilter({ intensity }) dials the whole pass back instead.

Lighting

Abuse is dark with pools of light, not evenly lit, and that comes from a static light list stored in every level: an ambient floor (minLight, 35/63 in most levels) plus 58–151 light sources.

src/render/LightLayer.ts accumulates every visible light additively into an offscreen buffer that starts at the ambient floor, then multiplies that buffer over the finished scene. The falloff is ported from calc_light_value in the original src/light.cpp:

dx = |lx - px| << xshift          dy = |ly - py| << yshift
r  = dx + dy - min(dx, dy) / 2                    # octagonal, not circular
contribution = (outer - r) / (outer - inner) * 64

summed on top of minLight and clamped to 63. Two details worth keeping:

• The distance metric is an octagon, not a circle. That faceted edge is part of the look, so it is baked into the gradient texture rather than smoothed into a radial gradient.
• type selects which quadrants the light covers (full ellipse, halves, quadrants), which is how wall-mounted lamps throw directionally. xshift/yshift squash the reach by powers of two, so lights are ellipses.

Costs ~0.2 ms/frame. Toggle with L to see the difference.

One approximation: inner_radius is treated as 0, so a single normalised falloff texture serves every light. It is 1 for 5152 of the 5617 lights (a ~1% error) and 10 for 49 of them. Type 9 — a solid rectangle that overrides everything beneath it — occurs 3 times in 125 levels and is skipped.

Effects the original does not have

Everything in this section is an addition. It is kept behind the same art the original draws — the def_explo fireballs and the 24 tumbling gib sprites are untouched underneath — and the point of all of it is that Abuse's own effects are a fixed sprite sequence and one on/off light, so a killed ant pops into five cardboard cutouts with nothing covering the swap and a JUGGER dies with no visual at all, only a sound.

One rule runs through the lot: it has to read as pixel art. Integer positions, integer sizes, nearest sampling, 1-bit alpha in every generated mask, and colour ramps quantised to six steps. The scene is nearest-neighbour art at an integer zoom under a CRT filter, and a single soft-edged gaussian in the middle of it announces itself as belonging to a different decade.

• Blood (src/game/effects/Blood.ts, gore.ts, bloodArt.ts). There is no blood anywhere in Abuse. Creatures that bleed — the ants, ANT_CRACK, the boss, the two flyers — throw a burst of droplets as they come apart, each body part trails while it tumbles, and each one leaves a mark where it lands. Non-fatal hits spit a few. Marks are a 256-entry ring that darkens through three drying steps and never fades out. Droplets run on the 60 Hz tick rather than the effects subsystem's 15 Hz, because at 15 Hz a spray reads as a dashed line. Red for everything with a pulse, aliens included; tint_palette's red damage ramp is not implemented, so there is nothing for it to clash with. G turns the whole thing off.
• Moving particles (motes.ts). Fire, smoke, embers and debris, with velocity, gravity, drag and a colour ramp. Pooled sprites over one 2×2 white texture, capped at 600 with oldest-first eviction. Particles.ts next door is the real article — exp_ai, a one-shot animation that never moves — and stays as it is.
• Explosion light and particles (blastGlow.ts). One table of five sizes, one line per blast site. The medium row is EXP_LIGHT's own radius and explo_light's own count, so the ordinary do_explo still lights the room exactly as far as the original does; every other row is scaled from it. Deliberately no shockwave ring — an expanding circle is not in Abuse's visual language.
• Weapon light (weapons/glow.ts). Muzzle flashes, a light travelling with anything in flight, and point lights strung along the plasma and sabre beams so they light the corridor they cross rather than only the wall they end at. Rebuilt from the live projectiles every frame rather than registered as timed flashes: a rocket covers 14px a tick and a flash placed at its position is 56px behind it by the next effects tick. Capped at 40 lights a frame.
• Rocket exhaust (weapons/exhaust.ts). A jet of flame at the nozzle and smoke that drifts and expands, over the original's one SMALL_LIGHT_CLOUD per tick.

ExplosionLights grew a decay, a tint, a hold and a spawn delay to carry this, and counts its lifetimes in sim ticks so the falloff has 20 steps rather than 5. Its defaults still reproduce explo_light exactly.

Music

tools/hmi.ts converts the 14 HMI tracks to standard MIDI, ported from src/sdlport/hmi.cpp. HMI differs from MIDI in three ways that matter: offsets instead of chunk headers, note-on events carrying a duration rather than a matching note-off (so note-offs are queued and emitted at the right delta), and an undocumented 0xFE event that gets skipped. Tempo and division are fixed exactly as the engine writes them. All 14 convert: 21601 notes, zero parse errors on read-back.

tools/sf2.ts then lifts the patches those tracks actually play out of the shipped Roland SC-55 soundfont — resolving preset → preset zone → instrument → instrument zone → sample and keeping only the generators that matter for straightforward playback. All 41 patches the music uses resolve, giving 137 samples and 1.2MB of PCM instead of the full 3.1MB font.

src/audio/MusicPlayer.ts schedules the MIDI through WebAudio with the usual lookahead and plays each note from its SC-55 sample, pitched by root key and tuning, honouring loop points and release. If the soundfont fails to load it falls back to an oscillator synth so the music still plays with substitute timbres.

Levels map to tracks by name (levelNN → abuseNN) and fall back to a stable hash. Everything here obeys the mute gate — a muted page loads no music at all.

Not done yet

• Editor-only art can still leak through. FORCE_FIELD was drawing its marker because the converter's editor-only detection looks for a bare (draw), and ff_draw guards it with (if (edit_mode) ...) instead. Other characters may do the same.
• The lvars chunk is not read. tools/convert.ts skips it, so every per-object setting the levels keep there falls back to the scripts' constructor default: create_total, hide_flag, stationary, the jugger's throw velocity, the flyer's burst configuration, delay_time, pulse_speed, reset_time, unoffable. Two visible consequences — every jugger walks, since 21 of the 52 should be turrets and nothing distinguishes them, and GATE_DELAY uses the commonest shipped value rather than its own. Both subsystems take the real values through a seam the moment the converter emits them.
• def_explo is not expanded. It builds eleven characters through eval, so tools/lisp.ts never sees a literal def_char and none of them reach chars.json; the same goes for the 24 gib characters. Their catalogues are spelled out by hand in src/game/effects/sprites.ts and DeathEffects.ts against frames that are all present in the atlas. Teaching the extractor to expand the form would let both tables be deleted.
• Enemies do not come back. Kill one and the level is that much emptier until you reload it; there is no respawn logic beyond ANT_CRACK.
• The full-screen tints are missing. tint_palette and make_view_solid — the red damage ramp, the mine's flash, POWER_FAST's white flash — are present-pass effects and belong in the CRT filter. SNEAKY's "predator" refraction is drawn as a very low alpha for the same reason.
• Thirteen level-logic behaviours are still out. Bombs, mines, lava, teleport pads, TP_DOORs, ladders, pushers, lightning, dimmers, movers, holders and DEATH_RESPAWNER have no implementation; the seventeen switch/gate/door/lift types do.
• 18 addon levels reference tiles that were never shipped — mostly addon/claudio/* and addon/pong/*, plus a dozen stray cells in levels/frabs18 and levels/frabs30. abuse.lsp says as much: claudio's palettes "can only be used with the art files by other authors". Unknown tiles are skipped rather than drawn, so those levels load with holes. All 22 core levels/levelNN are clean.

Things that turned out not to exist

• Tile animation. The next field is 0 on all 1109 foreground and 405 background tiles, and the engine never reads it. Animated lava, teleporters and screens are objects, not tiles.

Deploying

.github/workflows/pages.yml builds the site on every push to main and publishes it to GitHub Pages. The generated assets are gitignored, so CI runs npm run assets against assets/original/ rather than committing the output — the repo holds Abuse's shipped data, not a derivative of it. 23MB and 313 files come out the other end.

vite.config.ts sets base: './' rather than /AbuseJs/, so the same build works at a domain root and under a project path. Every asset fetch in the app is already relative to the document.

Licensing

Abuse's code and data were released into the public domain by Crack dot Com; the sound effects and music are Bobby Prince's and are redistributable. See assets/original/COPYING and AUTHORS.