# Design Language for cherrypop.bar ## Aesthetics and Tone cherrypop.bar is **a 1933 Manhattan rooftop cocktail bar remembered through a softly malfunctioning postcard** — an art deco aerie at the 47th floor where the maraschino cherry, dropped into a coupe of cream sherry, has just made its single small audible pop, and that one syllable of sound has fractured the entire image of the city behind it into pastel registration errors that drift slowly back into alignment. The glitch is not violent. It is not the cyberpunk strobe-and-shred of compromised ATMs. It is the **gentle chromatic separation of a Polaroid that has been left in a sunlit window for forty years** — the cyan ghosting one millimetre east of the magenta, the magenta ghosting one millimetre west of the yellow, the whole skyline trembling at the edges like a memory that is no longer sure of its own outline. The tone is **zen-contemplative** (only 6% in the registry, and almost always paired with stone gardens, never with deco glamour): the bar is empty, the bartender has stepped out, the radio is tuned to the dead air between two Vaudeville stations, and the patron — alone with a single coupe and the glittering distant elevators of the Chrysler Building — is invited to sit for fourteen long minutes and watch the city slowly correct its own colours. The site refuses the three loud clichés that orbit its subject. It is **not** a nightclub splash page (no neon, no bottle service, no "book your table"). It is **not** a brutalist glitch-art experiment (no scanlines, no datamosh, no green terminal). It is **not** a deco luxury site (no gold leaf, no velvet rope, no chandelier-and-marble lobby). Instead it is the **quiet half-second after the cherry pops** — the suspension before the next thing happens — held for the entire scroll. Inspirations stack in unlikely registers: Joseph Cornell's shadowboxes (especially the *Untitled (Hotel Eden)* assemblages of 1945, where cordial glasses sit beside parrot feathers behind softly aged glass), the Empire State Building observatory ticket stubs of 1934 (cream card with foil-stamped deco fans), Saul Leiter's 1950s Kodachrome misregistrations of midtown rain, the Ozu *pillow shot* of an empty hallway held for nine seconds, and the specific hush of a hotel bar at 3:47 PM on a Tuesday in February when the entire room is the colour of milky tea and one slow ceiling fan turns counter-clockwise against a single column of dust-light. The mood the visitor must end the page in: **patient, slightly elevated, and unhurried** — the way you feel after watching the maraschino cherry, finally, stop bobbing. ## Layout Motifs and Structure The structural commitment is **diagonal-sections** (only 3% in the registry — actively claimed) executed as a **seven-tier deco zigguratscape tilted at the canonical Chrysler Building setback angle of 15.74 degrees**. The page is not a stack of horizontal bands. It is a single continuous chevron descent — each of the seven *tiers* meets the next along a 15.74-degree fault line that slants from upper-left down to lower-right, exactly the angle at which the Chrysler's stainless terraces step inward as they rise. The viewer scrolls down, but the *content* slides along these terraces, so every transition feels less like turning a page and more like **descending the spiral observation stair of a deco tower at dusk**. Each tier fills 100vh minimum (180vh for tiers III and V, the "long-pour" tiers), and the diagonal seams are cut not by hard edges but by **soft cream gradients with a 4-pixel chromatic-aberration band** — the gradient itself glitches at the seam, with the cyan channel sliding 4px down-left and the yellow channel sliding 4px up-right, so the diagonal hems of the page softly *tremor* at the join. Nowhere is there a square card or a rectangular hero block. Every container is a **trapezoid or a chevron**, derived from the deco setback geometry, and every container's interior has a 1px deco fluting line running parallel to its longest edge. **The seven tiers:** - **Tier I — *The Coupe* (100vh).** A single pale-cream void, vertically centred, holding a hand-drawn SVG cocktail coupe at 28vw, the maraschino cherry suspended mid-fall above the rim. The cherry never lands. As the visitor scrolls, the cherry drops 18 pixels and stops; this is the only "above-the-fold" motion. The wordmark *cherrypop.bar* is set in art-deco-display caps along the diagonal hem at the bottom, leading the eye into Tier II. - **Tier II — *The Marquee* (100vh).** A long horizontal deco marquee in cream and dusty-rose, listing seven imaginary acts — *Vesper Halliday, The Pneumatic Trio, Ondine and Her Three Brothers* — in the manner of a 1933 cabaret bill. Each act-name glitches independently every 7–11 seconds: a 200ms chromatic split, then a slow 1.4s reconvergence. The diagonal floor of the marquee is the upper edge of Tier III. - **Tier III — *The Long Pour* (180vh).** The longest tier. A hand-drawn cross-section of a coupe being filled with cream-coloured liquid, scrolling vertically as the visitor scrolls. The liquid level rises along the diagonal as the page descends. To the left of the coupe, set in deco caps along a tilted baseline, is a single contemplative paragraph of 84 words about *the patience of a slow pour at altitude* — the paragraph is the one piece of long-form prose on the page. - **Tier IV — *The Mezzanine* (100vh).** A trapezoidal split: left two-thirds is a leather-textured panel (ox-blood softened to dusty rose) embossed with deco fans; right one-third is the pale-cream sky seen through a tall slim window, with three distant elevators rising at unequal speeds. The leather has a subtle parallax of its own — it drifts up at 0.92x scroll while the elevators rise at 1.08x — so the two parts of the tier "breathe" against each other. - **Tier V — *The Held Note* (180vh).** A long deco fan motif in cream, fanned across the full viewport at the Chrysler angle, with seven thin vertical bars (the radii of the fan) lighting up one by one, 2.4s apart, as the visitor scrolls. This is the *pillow shot* of the page — the deliberate empty middle. - **Tier VI — *The Cherry Pops* (100vh).** The cherry from Tier I finally lands. A single 280ms chromatic-aberration burst across the entire viewport — cyan jumps 18px down-left, yellow jumps 18px up-right, magenta holds — then 2.6 seconds of slow reconvergence. The single word *pop* is set in 38vw deco display caps, centred, in dusty rose on cream. This is the only loud moment in the page. - **Tier VII — *The Last Sip* (100vh).** The coupe is empty. A small cream card, deco-fluted, holds the closing line *the cherry was the loudest thing tonight*. Below it, the page's only navigation: three deco-fan glyphs linking to *the menu, the room, the silence*. No CTA. No mailing list. No social icons. The diagonal seams between tiers are emphasised, never hidden, by a **1px cream-on-cream deco fluting** that runs along the seam and glitches softly every 13 seconds. The page has **no header bar, no sticky nav, no footer**. The wordmark in Tier I is the only nav anchor, and it returns on hover by drifting up from the bottom-right corner of any tier. ## Typography and Palette **Typefaces — Google Fonts only, all confirmed available:** - **`Limelight`** (single weight, 400) — the principal display face, serving the **art-deco-display** mandate (only 3% in the registry, and almost always used at small sizes; here it is *enormous*). Limelight is the closest Google Fonts equivalent to the 1932 marquee letterforms of *Broadway* and *Modernique* — high-waisted, narrow apertures, thin horizontals, fat verticals, with the unmistakable deco contrast that says *Radio City, 6th Avenue, late dinner*. Used at the wordmark (clamp 4.8rem → 11vw, tracking 0.18em), the marquee act names (clamp 2.4rem → 4.8vw, tracking 0.22em), the *pop* in Tier VI (38vw, tracking 0.04em), and the section numerals (1.6rem, tracking 0.32em). Never used below 1.4rem — Limelight at small sizes loses the deco posture. - **`Cormorant Garamond`** (variable, wght 300–500, italic) — the secondary face, used exclusively for the long-form paragraph in Tier III and the closing line in Tier VII. Cormorant is the slow, slightly old-world serif that grounds the deco display — its italic, set at 1.18rem with 1.85 line height and tracking 0.005em, reads like the careful copywriting of a 1933 cocktail menu printed letterpress on cream card. The contrast between Limelight (shouting deco) and Cormorant (whispering serif) is the entire typographic argument of the page. - **`Inter`** (variable, wght 380–520) — the utility face, used only for the *menu / room / silence* nav glyph captions and the imperceptible `aria-` text. 0.78rem, weight 420, tracking 0.08em, uppercased. Never seen visually except as a hover label. **Type-glitch behaviour.** The Limelight act names in Tier II glitch via a CSS *text-shadow* animation: at glitch-frame, the element receives `text-shadow: -2px 0 0 #B8D8D8, 2px 0 0 #F4C8C8` (cyan ghost left, rose ghost right) for 200ms, then the shadow values animate back to `0 0 0` over 1.4s with a custom cubic-bezier ease that mimics the slow magnetic reconvergence of a 1950s CRT rolling bar. The body Cormorant *never* glitches — text glitch is reserved entirely for the deco display face. This is the single most important typographic rule of the site. **Palette — `creamy-pastel`, deco-deepened (only 4% in the registry).** Eight values, all named after specific 1933 reference objects: - `--cream-coupe` `#F4E8D6` — the dominant ground colour, the inside of a porcelain coupe, used as the page background for tiers I, III, V, VII. Roughly 64% of total surface. - `--cream-marquee` `#EFDDC4` — the warmer cream of an aged marquee bulb, used as the ground for tiers II, IV, VI. - `--rose-maraschino` `#E89B9B` — the dusty rose of a 1933 maraschino (pre-Red Dye 40, mineral-pale), used for the cherry, the *pop* word, the marquee accents, and the deco fluting at high contrast. - `--rose-velvet` `#C77878` — the deeper rose of a velvet rope at half-light, used for hover states and the leather panel in Tier IV. - `--ox-blood-soft` `#7D3838` — the leather-texture base for the Tier IV mezzanine panel, never used for type. - `--mint-soda` `#B8D8D8` — the cyan-channel ghost in the chromatic-aberration glitch, also used as a single thin underline on Cormorant italics. - `--butter-lamp` `#F4D89A` — the warm-yellow channel ghost, also the colour of the lit fan radii in Tier V. - `--ink-deco` `#3A2A2A` — the near-black ink for deco numerals and fluting outlines. Never used as a background. The palette is deliberately **8-stop, all warm-pastel, no true white, no true black**. Every "white" on the page is `#F4E8D6`. Every "black" is `#3A2A2A`. The chromatic-aberration ghosts (`--mint-soda` and `--butter-lamp`) are the *only* cool colours on the page, and they appear only during the 200ms glitch frames — at rest the page is monochromatically cream-and-rose. ## Imagery and Motifs The visual world is built from four motif families, all hand-composed from SVG, CSS gradients, and one tiling leather-texture PNG. **Zero photography (98% in the registry — its exclusion is the largest single deviation).** Zero 3D. Zero stock. Zero icon-sets. **1. Deco Skyline Glyphs (motif: city-urban, only 2% in the registry).** Hand-drawn SVG silhouettes of seven specific 1933 Manhattan towers, all simplified to deco-setback chevrons: the Chrysler (1930), the Empire State (1931), the Daily News (1930), 70 Pine (1932), the Waldorf-Astoria (1931), 500 Fifth (1931), and one fictional seventh tower bearing the name *cherrypop*. The skyline appears at three scales: 38vw monumental in Tier IV (the slim window view), 8vw at the upper diagonal hems of every tier, and 1.2rem inline as bullet glyphs in the marquee bill. The towers never animate. They sit in cream silhouette against cream sky, separated only by the 1px deco fluting outline in `--ink-deco`. **2. The Coupe-and-Cherry Cycle (motif: floating-elements, recoloured).** A single hand-drawn SVG coupe glass, drawn in five variant states (full, three-quarters, half, quarter, empty) for Tier III's long-pour, plus the single suspended-cherry SVG for Tiers I and VI. The coupe is drawn in 0.6pt stroke `--ink-deco` outline only — no fill — so the cream behind it shows through as the implied liquid. The maraschino cherry is the only fully-filled object on the page, in `--rose-maraschino`, with a single 1.2pt highlight curve in `--cream-coupe`. When the cherry pops in Tier VI, the SVG element duplicates into three colour-channel copies — cyan, magenta, yellow — that fly apart 18px and then recompose. **3. Leather Texture as Chromatic Substrate (imagery: leather-texture, only 3% in the registry).** A single 800×800 tiling PNG, ~26kb, of soft pebbled bookbinder's leather in `--ox-blood-soft`, used as the **left two-thirds of Tier IV** (the mezzanine panel) and as a 6vh-tall band that anchors the closing card in Tier VII. The leather is *never* used as the page background — it is reserved for the two intimate panels where the deco glamour briefly turns warm and tactile, like the inside of a 1933 cigarette case. The texture has been desaturated 22% and overlaid with a 3% cream noise layer, so the leather reads as *softened* leather, not new — the leather of a bar that has been open for forty years. **4. Deco Fan and Fluting (motif: floating-elements + sharp-angles, recoloured).** Three reusable SVG components: the *seven-radii fan* (used at 38vw in Tier V and at 0.6vw inline as nav glyphs), the *deco fluting line* (used along every diagonal seam, 1px, `--rose-velvet` on cream), and the *deco numeral set* (custom hand-drawn 0–9 in Limelight-stencil style, used for tier numbers I–VII at 2.4rem in `--ink-deco`). The fan and the fluting are the connective tissue of the entire page — they appear in every tier in some scale. **Glitch palette of motion.** All glitch is *chromatic*, never *raster*. There are no scanlines, no datamosh blocks, no pixel-shift artefacts, no ASCII corruption. The only glitch primitive is the **3-channel chromatic separation** — cyan ghost, yellow ghost, magenta-or-rose anchor — applied to text via `text-shadow`, to SVG via three offset `` references with channel-isolated fills, and to the page's diagonal seams via overlapping CSS gradients with `mix-blend-mode: multiply`. Every glitch event is **slow**: minimum 200ms separation, minimum 1.4s reconvergence. There is no fast strobe, no jitter, no random shake. The glitch is the soft tremble of a memory, not the violence of a system failure. ## Prompts for Implementation Build cherrypop.bar as **one HTML document, one CSS file, one ES module, and three asset files: `leather.png` (800×800 tiling PNG, ~26kb), `skyline.svg` (single combined skyline glyph file), and `fan.svg` (the deco fan component)**. No framework. No bundler. No Lottie. No WebGL. No canvas. No video. No webfont self-host (use Google Fonts CDN). The whole experience is static SVG + CSS gradient seams + one IntersectionObserver-driven glitch scheduler. Bias every implementation decision toward **stillness, slowness, and the deliberate pacing of a cocktail bar at 3:47 PM** — never toward conversion, density, urgency, or virality. **AVOID (these are forbidden):** hero CTAs, "book a table" buttons, pricing tables, stat grids, testimonial carousels, feature comparisons, footers crowded with links, hamburger menus, sticky headers, parallax scrollers that brag about being parallax scrollers, scroll-progress indicators, "as seen in" logo bars, mailing-list popups, exit-intent modals, cookie banners drawn larger than the content, Lottie animations of cocktail glasses, stock photography of bars, bottles, ice cubes, or hands. Anything that reads as *a website trying to sell you a bar* must be cut. **The seven-tier diagonal scroll.** Build the page as seven `
` elements, each given `clip-path: polygon(...)` along the 15.74-degree Chrysler angle. The diagonal hem is **not** a CSS rotation of the section — rotation creates perpendicular gaps. Use clip-path with explicit polygon coordinates so the diagonal is a genuine cut into the rectangular section, leaving the deco fluting line as a separate absolutely-positioned `` element drawn along the same coordinates. Each section's `min-height` is 100vh except tiers III and V which are 180vh. Use `scroll-snap-type: y proximity` on the body and `scroll-snap-align: start` on each tier — *proximity* not *mandatory*, because the long-pour and held-note tiers must be free-scrollable. **The chromatic-aberration glitch primitive.** Define a single CSS custom property animation: `--glitch-offset` cycles from `0` to `1` over 1.6s with a custom cubic-bezier `(0.18, 0.04, 0.31, 1.02)` that produces the slow magnetic reconvergence. Text receives `text-shadow: calc(var(--glitch-offset) * -3px) 0 0 var(--mint-soda), calc(var(--glitch-offset) * 3px) 0 0 var(--butter-lamp)`. SVG glyphs use three `` references stacked with `mix-blend-mode: multiply` and the same custom property driving their `transform: translate()`. Trigger via a single ES module `glitchScheduler.js` that maintains a queue of glitchable elements and randomly fires one every 7–11 seconds, never two within 2 seconds of each other. **Reduced-motion respects all of this**: when `prefers-reduced-motion: reduce` is set, the glitch never fires; the page becomes a perfectly still cream-and-rose deco card. **The cherry-pop sequence (Tier VI).** The single loudest moment of the page. Use IntersectionObserver with `threshold: 0.62` so the pop fires when Tier VI is 62% in view — a deliberately late trigger, so the visitor has scrolled *into* the silence before the pop happens. The pop is a single one-shot animation: 280ms chromatic burst (cyan -18px down-left, yellow +18px up-right) on the *entire viewport*, achieved by a fixed-position pseudo-element overlay with `mix-blend-mode: difference` at 0.18 opacity. After 280ms the overlay fades over 2.6s. The `

pop

` element scales from 0.94 to 1.0 over the same 2.6s with the same custom bezier. The cherry SVG drops the remaining 18px it never dropped in Tier I. **Long-pour scroll-tied animation (Tier III).** The cream liquid in the coupe rises in proportion to the section's scroll progress, computed as `(scrollY - section.offsetTop) / section.offsetHeight` clamped 0–1. The liquid is a single `` inside a `` shaped like the inside of the coupe; its `y` attribute is the only thing that animates. Use `requestAnimationFrame`, throttle to 30fps (this animation must feel *patient*, not buttery — 60fps reads as too eager). The 84-word paragraph fades in word-by-word as the liquid rises past each word's vertical position, with a 60ms stagger. **Held-note tier (Tier V).** Seven `` radii on the deco fan, each given an `opacity` transition of 1.4s. As the visitor scrolls past Tier V, each rect lights from `0` to `1` opacity in sequence, 2.4s apart, gated by their individual IntersectionObserver thresholds at `0.18, 0.26, 0.34, 0.42, 0.50, 0.58, 0.66`. The visitor who scrolls fast sees all seven light at once; the visitor who scrolls slowly sees them light in time. Both are correct readings. This is the page's deliberate empty middle — there is no other content on Tier V. **Mezzanine parallax (Tier IV).** The leather panel and the slim-window view scroll at different speeds via `transform: translateY(calc(var(--scroll) * 0.92))` for the leather and `0.08` for the elevators. Use a single rAF loop to write `--scroll` to the `:root` based on `scrollY`. **No external parallax library.** This is the only non-glitch motion on the page besides the cherry-drop. **Sound design (optional, off by default).** A single 480ms `pop.mp3` (~6kb, the soft phonic pop of a cork-and-coupe sample, recorded at low volume) is preloaded but never autoplays. A 0.6vw deco-fan glyph in the lower-right corner of Tier VI offers *(unmute)*; on click, the next pop plays in sync with the chromatic burst. **Never play sound without user gesture.** **Storytelling priority.** The seven tiers must read as **a single 14-minute scroll-poem about a cherry pop in a 1933 hotel bar**, not as a homepage with seven sections. Every CSS choice, every motion duration, every word of the 84-word paragraph in Tier III must serve the *unhurriedness* of that cherry. If a decision shaves seconds off the experience, it is the wrong decision. The goal is a page that the visitor **closes the tab on slowly**, not eagerly. ## Uniqueness Notes This design commits to the following differentiators, chosen explicitly to avoid duplicating other CMassC sites and to lean into the underused patterns surfaced by frequency analysis: 1. **Glitch as soft chromatic memory, not as cyberpunk violence.** The glitch aesthetic is at 14% in the registry, and in nearly every prior use it is loud — green-on-black terminals, datamosh blocks, scanline jitter, ASCII corruption, fast RGB strobe. cherrypop.bar inverts the entire affective register: glitch becomes **the slow chromatic separation of a sun-bleached Polaroid**, with 200ms separations and 1.4s reconvergences, in cream, rose, mint and butter. The glitch is *patient*. It is the visual analogue of a cherry slowly unbobbing in cream sherry. This is, as far as I can find, an unprecedented combination on this registry. 2. **Diagonal-sections at the literal Chrysler Building setback angle (15.74°).** Diagonal-sections is at only 3% in the registry, and where it does appear it uses arbitrary 30°/45°/60° angles. cherrypop.bar derives its single canonical angle from a **specific 1930 architectural source** — the actual setback angle of the Chrysler Building's stainless terraces — and applies it consistently to every seam, every clip-path, every fluting line. The page's geometry is a quotation of a specific midtown silhouette. 3. **Art-deco-display typography at monumental scale, paired with an italic Cormorant whisper.** Art-deco-display is at 3% in the registry and almost always used at small/heading sizes for *flavour*. Here Limelight is set at clamp 4.8rem → 11vw for the wordmark and 38vw for the *pop* — it is the **architectural typeface** of the page, not a flavour accent. Crucially it is paired with *Cormorant Garamond italic at 1.18rem* — a slow whispering serif, used only for the 84-word long-pour paragraph and the closing line. The contrast between deco shouting and serif whispering is the typographic argument. 4. **Creamy-pastel palette anchored by *no true white, no true black*.** Creamy-pastel is at 4% in the registry. cherrypop.bar deepens this into a **strict 8-stop pastel discipline** in which every "white" is `#F4E8D6` and every "black" is `#3A2A2A`. The cyan and butter ghosts are the only cool colours on the page and they appear *only* during the 200ms glitch frames. At rest the entire site is monochromatically cream-and-rose. This is a deeper colour discipline than any other creamy-pastel site I can locate in the registry. 5. **City-urban motif at only 2% in the registry, executed as cream-on-cream silhouette.** City-urban is one of the rarest motif tags. Most prior city-urban sites use neon skylines or silhouette-against-sunset. cherrypop.bar inverts both: the skyline is **cream silhouette against cream sky**, separated only by 1px deco fluting in `--ink-deco`, with the seven specific 1930–1932 Manhattan towers named and the seventh tower fictional and bearing the page's own name. The city is *barely visible* — it is the held breath of the page. 6. **Leather-texture (3%) used as a single intimate panel, never as wallpaper.** Leather is at only 3% in the registry. Where it appears it tends to be a full-page substrate (dark academia, luxury). cherrypop.bar restricts leather to **the left two-thirds of Tier IV** — the mezzanine panel — and a 6vh band in Tier VII, in a softened ox-blood (`--ox-blood-soft`) desaturated 22% and overlaid with 3% cream noise. The leather is the *only* tactile surface on a page that is otherwise entirely flat cream — a single warm, intimate object you brush against once. 7. **Zen-contemplative tone (6%) applied to deco glamour, an unprecedented pairing.** Zen-contemplative is at 6% in the registry, and where it appears it is paired with stone gardens, ceramic, wabi-sabi, ocean. It has **never** been paired with art-deco-display + city-urban + leather + creamy-pastel on this registry. The synthesis is the entire conceptual gambit of the page: a 1933 Manhattan rooftop bar reframed as a *zen room* — empty, slow, attended by the pop of a single cherry. The 84-word long-pour paragraph in Tier III is the load-bearing zen artefact. 8. **Parallax (94%) refused at every layer except one intimate mezzanine.** Parallax is the most overused pattern in the registry. cherrypop.bar uses parallax exactly once — in Tier IV, between the leather panel (0.92x) and the elevators (1.08x) — and refuses it everywhere else. Tier III's long-pour is **scroll-tied animation**, not parallax. Tier V's held-note is **threshold-gated opacity**, not parallax. Tier VI's pop is a **one-shot IntersectionObserver event**, not parallax. The diagonal scroll is **CSS clip-path geometry**, not parallax. By restricting parallax to a single intimate panel, the page reclaims the pattern from cliché. 9. **No CTAs, no navigation, no conversion surface.** The page has no header, no sticky nav, no footer link cloud, no mailing-list capture, no booking widget, no social icons, no cookie banner drawn larger than the content. The only nav is three deco-fan glyphs at the foot of Tier VII linking to *the menu, the room, the silence*. The page is a **scroll-poem**, not a homepage. Time-on-page is the only KPI; the goal is a 14-minute slow read. **Chosen seed (from assignment):** aesthetic: glitch, layout: diagonal-sections, typography: art-deco-display, palette: creamy-pastel, patterns: parallax, imagery: leather-texture, motifs: city-urban, tone: zen-contemplative. **Avoided patterns from frequency analysis:** hand-drawn aesthetic (95% — refused), photography (98% — refused entirely; zero photographs), full-bleed layout (89% — refused; every container is a chevron or trapezoid), centered layout (80% — refused; everything tilts at 15.74°), card-grid (72% — refused; no cards), gradient palette (96% — refused; flat fills only, gradients used only at the 4px chromatic seams), mono typography (96% — refused entirely), humanist typography (40% — refused; only deco display + Cormorant italic + Inter for aria), warm palette default (95% — *technically* warm, but specifically pastel-cream not warm-earthy), stagger (76% — refused; no staggered reveal grids), spring (75% — refused; only the custom slow magnetic-reconvergence bezier), cursor-follow (73% — refused entirely; no cursor reactivity), magnetic (62% — refused), pastoral-romantic tone (24% — refused; the tone is zen, not pastoral).