- Classic
- A single ball bounces through concentric rings, each with a gap. Break through every wall to escape. The default mode: simple, hypnotic and endlessly watchable.
- Accumulation
- The ball has limited time to escape. If it fails, it freezes in place and becomes a new obstacle, and a fresh ball spawns. The arena fills up fast. Can the last one get out?
- Multiply
- Each time a ball escapes the ring it spawns extra balls, so one ball quickly becomes a swarm. Great for explosive, chaotic clips that fill the screen.
- Lines
- Every bounce point is connected to the ball by a line, producing intricate geometric patterns. Part physics, part generative art.
- Paint
- The ball leaves a colourful trail as it moves, gradually covering the circle. A percentage counter tracks how much you have painted. Try to reach 100%.
- Target
- Numbered segments appear on the wall. Hit them in order; each correct hit triggers a break effect, and wrong hits flash red.
- Grow
- The ball is sealed inside a single ring and grows with every bounce, taking up more and more of the space until it can barely move.
- Shatter
- Walls are split into segments with hit points. Each bounce cracks a segment and after enough hits it shatters. Clear a path through all walls to escape.
- Color Match
- The wall is split into coloured segments and the ball changes colour on every bounce. A segment breaks only when the colours match. Clear them all to win.
- Portal
- Colour-matched portal pairs sit on the wall. Touch one to teleport to its twin. After enough uses the portals burn out and the ball breaks free.
- Ball Drop
- A tall board of pegs and bars instead of rings. Balls of different sizes and weights drop from the top and every hit plays a note, big balls low and small balls high, until they all come to rest – or forever with Rain on.
- Bouncing Shapes
- A rectangular box instead of rings. Squares, circles or DVD-style logos travel in straight lines at constant speed and reflect perfectly off the walls; every hit plays the next note of the melody or a note that depends on the wall. Each shape carries a big number that counts down per bounce, flashes, grows a little and changes colour, and several logos at speeds in ratios like 2:3 or 3:4:5 weave a polyrhythm until every number reaches zero – or forever with the countdown off. A logo that hits a corner plays a louder note and lights up the screen.
- Pendulum Wave
- No rings: 5–60 pendulums tuned like the classic pendulum wave, so the slowest swings K times per cycle and every next one once more. In line at the start, they drift into travelling waves, split into two and three groups and snap back in line at the end of every cycle; a centre crossing (or an extreme) plays a note pitched by the pendulum's place in the row, and bobs that align play one chord. Six layouts – a row under a bar, an arc of pivots swinging toward the centre, bobs on radii from the centre or on a rotating polygon, a slowly turning galaxy that draws spiral arms, sliders on rails and balls bouncing on a floor – plus a phasing option that turns the tuning into a Reich-style tempo phase shift.
- Spinning Hoops
- No rings: 1–16 concentric hoops (eight by default, red outside, violet inside) spin together about their vertical diameter, drawn face-on and squashed by the spin so they read as 3D, each carrying one bead that slides without friction. The spin ramps up – steadily, eased or in steps – and every hoop has a critical speed, √(g/R): below it gravity keeps the bead at the bottom, past it the bead climbs to its balance point arccos(g/(Rω²)), higher the faster the spin. Bigger hoops lift first, so the beads climb in strict size order, each lift a tuned bar note pitched by its hoop; a chime ticks every turn, a chord lands when every bead is up, and the counter reads the spin and the beads up. With Return on the spin ramps back down until every bead rests again and the loop starts over seamlessly, ready for Export whole loops; Find Simulation searches for a run in strict size order or one with every bead up within a time.
- Focus Shot
- An elliptical pool table with its two foci marked. A volley of balls – 72 by default, coloured around the hue wheel by launch angle – leaves one focus at the same moment, every way. An ellipse sends every shot from one focus off its wall straight through the other, and every such path has the same length, so the whole volley converges on the other focus one transit later, then back on the first, with a white bloom each time, while every pass narrows the swarm onto the long axis. Refire starts a fresh volley under the flash every few passes, so the clip loops seamlessly; the wall hits run down a pentatonic ladder, every convergence lands a kick, a crack and a chord on a bar line, and Find Simulation puts the convergences on the page's beat or finds the start angle of the longest collapse.
- Metronomes & Polyrhythms
- No rings to escape: 2–400 voices each tick at their own tempo and every tick plays a note. Rings (dots orbiting 1, 2, 3… times per cycle and ticking at 12 o'clock, optionally as rotating polygons), arcs (dots sliding along the chords or semicircles of a circle and ticking at both ends), a grid of metronomes, or a spiral whose tick points line up again every cycle. The tempos follow the harmonic series, an arithmetic BPM series (the Reich-style tempo phase shift) or your own ratio list such as 3,4,5,7. The moment every voice ticks together is computed exactly and lands as a chord and a flash; the run ends after the chosen number of cycles and always lasts the same time, so it fits any clip.
- Bouncing Orbs
- A field of orbs – a square grid, a disc, octagon rings or a hex grid, 33 × 33 = 1089 by default and no upper limit – seen in perspective on a slab or a round plate, every orb bouncing straight up and down on its own spot. In the rhythm model (the default) each orb is an ideal bouncer that keeps its height forever: the field splits into groups – rows, columns, rings, diagonals, a checkerboard or every orb alone – that bounce a whole number of times per cycle: a pendulum wave, 3 against 2, 4 against 3, 3:4:5, a Euclidean ladder, corner to corner or centre outwards. The heights form a travelling wave that morphs through ripples and groups, and at the end of every cycle every orb lands together – IN PHASE. A metronome keeps the beat with a woodblock click and a swinging bar, a pulsing ring or a hopping dot, the cycle snapping to whole bars, and with Melody on every group plays its own note of the scale. The decay model lets the orbs lose energy instead: one property varies across the field – bounciness, drop height, release delay, size, gravity or period – they drift in and out of phase until they rest, and Find Simulation can pick a run of your clip length. Colour them by height, make them glossy, metallic, matte or glass; every landing is a soft note, a sleep sound, a melody composed by the bounces or metal clinks.
- Collision Playground
- No rings: 10 to 2000 orbs of different sizes – mass follows size – bounce around a circle or a square and off each other with elastic collisions, under as much or as little gravity as you like. Every collision plays a soft note pitched by the smaller orb (big orbs low, small orbs high, on a pentatonic ladder snapped to your scale), and only the dozen most energetic collisions of each frame sound, so hundreds of orbs sound like rain on glass instead of noise. Variants: squishy orbs that squash on every impact, a sync start that drops them all from a grid at once, an anti-collision switch that lets them pass through each other at a chosen second, and lollipops on a ring that collide along a circular track.
- Chord Stars
- Chord Stars: balls ride inside one thin circle and each draws a star polygon such as 5/2 or 12/5. A ball bouncing off a circle meets the wall at the same angle every time, so its contact point steps k of n points round the rim and every line it draws sits at the same distance from the centre – as the lines pile up, an inner circle nobody drew appears. Each ball moves at exactly the speed that closes its star after the same drawing time, so all the stars close on one frame with a chord; then the drawing holds, fades and starts again, a seamless loop. Type your own stars, draw a random coprime set, or let Find Simulation pick the best-looking set and fit the loop to your clip.
- Circle Illusion
- No rings to escape: four project.jdm illusions. Lines – N balls each slide back and forth on a diameter of the big circle, ball i at the angle i·π/N with the phase offset i·π/N, so together they form a smaller circle rolling around inside; each ball plays its note when it touches the rim. Rings – concentric rings with one bouncing ball each; the rings turn at different speeds, so the bounces ripple outward in spirals and line up again every cycle. Nested – a circle bouncing inside a circle inside a circle (2–5 layers) with elastic collisions and walls that wobble where they are hit. White spaces – the balls paint the white arena black but bounce off shapes they can never enter, so a hidden picture chosen by the seed is revealed at the end. Everything is deterministic, and the Wobbly Walls slider of the Visual section makes the walls of every ring mode bounce like jelly too.
- Square Battle Royale
- No rings: 2–20 squares with hit points bounce around a box or a circle and into each other. When two collide, the faster one deals damage in proportion to their closing speed; the square that is hit flashes and shrinks a little, and at 0 HP it explodes into shards with a KO callout. An optional safe zone closes in from the eighth second and pushes the survivors together, and heal, shield and speed power-ups appear at seeded times. The last square standing wins under a banner with confetti. Seeded and deterministic, so Find Simulation can search for a battle of a given length.
- Capture the Flag
- No rings: two teams of one to four squares play capture the flag in a box with a base and a flag at each end. A square that touches the enemy flag carries it and scores when it reaches its own base; a carrier hit by an enemy drops the flag where it is – the enemy can grab it again, its own team sends it home. The director nudges rebounds toward each square's goal, the scoreboard shows the captures and the clock, and every capture plays a goal fanfare. The first team to the target score wins, otherwise the better score when the clip ends.
- Fight League
- Fighters from video games, comics, TV shows and movies – Thor, Loki, Captain Falcon, Little Mac, Yuumi, Katarina and fifty-odd more, grouped into divisions so a matchup stays in its genre – duel as balls in a square or round arena. Every fighter carries its own weapon, drawn as a simple vector silhouette: swords sweep on every bounce, hammers fly at the foe and come back, fists punch, guns, bows and wands fire, breath and beams burn. A hit takes HP – the number inside the ball and the bar under it – knocks the foe back and charges the ability meter in the box at the bottom; when it is full, the ability's name flashes for 0.4 s and it fires by itself: lightning, decoys, beams, chokes, shockwaves, summons, bullet time. Play 1v1, 2v2 or a free-for-all; the last fighter or team standing wins, or the side with more HP at the time cap. Seeded and deterministic: Find Simulation finds a run A or B wins, a double KO or a fight of your clip length – and the Forced Winner rigs it.
- Beat Runner
- The project.jdm "realistic gravity in Geometry Dash" rhythm runner, no rings: a square runs along a floor at a constant speed under a scrolling camera. The course is planned on the beat of the loaded song (its detected beat – the same detector as Picture Paint) or of the BPM: for every obstacle – a row of spikes, a pit, a block to jump onto and later drop off – the jump solver takes the flight time of a jump under real gravity with a fixed take-off speed and times the take-off so that the landing falls exactly on a beat. With Auto Jump the square jumps at those times and never fails; without it you jump with Space and a crash restarts the section. Every landing plays the next note with a puff of dust; the finish plays a chord.
- Paddle Keep-Up
- The "Ball Bounce Game with Moving Platform" format, no rings: a ball falls under real gravity onto a platform that slides left and right; a catch launches it back up – higher from the centre, lower and sideways with spin from the edges – so it wanders off the walls and the ceiling, and every catch plays the next note. The auto controller predicts every landing and heads there; its Skill decides how often it arrives early or late, so the misses (and the game over after the allowed ones) are deterministic for a seed. Or move the platform yourself.
- Beat Drop
- A rhythm mode without rings, made for music edits: a portrait scene on a dark gradient where one ball drops and bounces from obstruction to obstruction, and every obstruction flies in from off-screen – from the left, the right, the top or the bottom, never from the side the ball comes from – with a smooth ease and settles a hair before its beat, so the ball lands on it exactly on the beat. The run is planned ahead from the beat it follows (the loaded song's detected beat, or the BPM setting): the take-off speed of every flight is solved so the flight takes exactly the time between two beats, at any tempo and on irregular grids, so every landing is within a fraction of a millisecond of its beat. Six kinds of obstruction – planks, blocks, spring pads (a higher bounce with a boing), wedges (they send the ball sideways), spinning bars (flat exactly at the beat) and big drum pads – squash on impact, glow with the beat and slide away with a fade once the ball has left; the ball squashes and stretches and leaves a motion trail, and every landing throws a ripple and a puff of particles. Landings play synthesised drums – a kick on beats 1 and 3, a snare on 2 and 4, hats on the off-beats, plus each obstruction's own accent – the next note of the melody, or both. Endless scrolling follows the ball down forever; the arena keeps it inside the view. It can never miss a beat, so Find Simulation just picks a seed and times the clip to the beats it covers.
- Beat Machines
- Two kinetic music machines that loop forever. In the marble xylophone, ten rainbow bars sit under ten tubes: each marble leaves its tube at exactly the moment that lets gravity land it on its bar on the beat, rebounds through the gap to the floor, rolls to the lift, rides up and rolls back along the top rail into its own tube. On the staircase one ball hops from step to step, one identical arc a beat, every landing a note, then drops into a hook and rides the return track back to the top just in time for the next phrase. The tune is an original seeded phrase, a scale run, a list you type or the melody you load.
- Double Pendulum Harp
- No rings: one to four double pendulums – or triple pendulums – swing from a pivot in the middle of the video, integrated step by step (an adaptive fifth-order Runge–Kutta scheme whose sub-steps shorten wherever the swing gets violent), so the chaos is real physics and the energy holds for the whole clip. Up to 24 harp strings stand across the playfield, vertical or radial; every bob that crosses one plucks it – the string vibrates and plays its note, tuned to the scale of the Custom Sound section across one to four octaves – while the last bob draws a long rainbow trail. Several pendulums start a hair apart and fly apart after a few seconds (the butterfly effect); sparring hangs two side by side whose bobs collide elastically, every hit a percussive note and a flash. Arm lengths, masses, gravity, friction and the start angles (or a seeded random start) are all adjustable, and the run ends with the clip or never.
- Square Racing Grand Prix
- The project.jdm marble-race format, no rings: 2–16 named racers – the Teams roster's names, colours and emoji – drop from a start grid down a long vertical track generated from the seed. Rows of pegs, funnels, spinners, pinball bumpers, turbo dash pads, narrow gates and swap zones (the first racer through arms one, the second swaps places with it) shuffle the order; every obstacle a racer hits plays its own note, every overtake a rising chime. The camera follows the leader or frames the pack, a mini-map shows the whole track, the standings list positions and gaps, and the finish brings a fanfare, a podium and confetti. Loop the track for several laps, switch on a cup to keep F1 points across races, or pick a staged winner.
- Bullseye
- The geraldbounces "bulleye!!" format, no rings to escape: a portrait field with a dartboard target – 3–10 concentric rings in dartboard colours – lying at the bottom. A launcher at the top fires 1–30 balls one after another through a short field of pegs and bumpers (Chaos decides how many stand in the way). The ring a ball lands in scores – 10 for the centre, less further out, nothing off the target – with a popup and a running total, and the ball sticks where it landed, so later shots can bounce off earlier ones. Pegs play notes of your scale like a keyboard from left to right, landings thud lower the further out they are, and a centre hit is a BULLSEYE! with confetti, a fanfare and half a second of slow motion. The target can slide left and right, a rigged Perfect Shot is steered into the bull, and the final banner shows the total and the best shot. Seeded and deterministic, so Find Simulation can search for a run of your clip length.
- Sound Vortex
- The geraldbounces "sound vortex, pew" format, no rings to escape: a whirlpool seen from above – a funnel of 6–24 concentric sound rings over glowing spiral arms, with a hole in the middle. One ball after another enters at the rim with a sideways speed and spirals inward under a central pull that grows toward the centre, plus a little drag; it takes the Spiral Time to reach the hole, whirling faster and faster on the way. Every ring it sinks past plays the next note of your scale – melody, instrument, hit sample and beat lock included – so each ball is a rising glissando and the staggered balls weave arpeggios. The hole swallows it with a pew, a fast downward pitch sweep, and a splash; with the loop on it comes back at the rim. The balls shrink with depth for a 3-D feel, and every run is deterministic, so Find Simulation can pick a seed for your clip length.
- Glass Smash
- The geraldbounces glass format, no rings: a portrait shaft of horizontal glass panes stands between the ball and a doorway marked HOME. The ball falls and every landing cracks the pane below it – a procedural crack grows from the impact point – and plays the next note of your melody or, without one, a scale degree by row; on its last hit a pane shatters into shards with an accented note and a glass-break sound, and the ball crashes through to the next pane. After the last pane of a stage the camera scrolls down to the next one: more panes, thicker glass, panes that slide left and right and panes with holes the ball must miss. The final stage ends with the ball rolling into the doorway and a celebration. Every run is deterministic, so Find Simulation can pick a seed for your clip length.
- Colour Sort
- A sorting machine: 360 balls in four colours start packed in the red core of a bullseye of turning rings and move as a constant-speed gas. Every ring is a row of arcs with gates between them, and a gate is a one-way colour filter: it opens outwards only, and never for balls of the ring's own colour. So red can never leave the core, orange gets past the red ring but stops at its own, green makes it one ring further and blue goes all the way out to the outer band – the mix sorts itself into a bullseye while the amber counter climbs to 360 / 360 sorted with a long, suspenseful tail. Every gate pass plucks its colour's note in A major pentatonic, the last ball sorted lands a warm completion chord, and a remix pulls every ball back into the exact first frame under a soft noise wash, so a recording of whole cycles loops seamlessly. Pick the colours and the balls of each, the gates and their width, the rings' spin, the rule (or reverse it), contacts or a ghost gas for thousands of balls – and let Find Simulation search for a sort within a time limit, the colour that finishes last or a final ball on a bar line.
- Conveyor Belt
- A conveyor belt runs across the top of the field and drops a ball into the arena below every few seconds – Gerald respawns, again and again. Pick the arena: concentric rings with rotating gaps that every ball has to escape on its own (the rings never break, and a second belt carries the escaped balls out of the field), a bowl that fills up until it spills over, or a peg field that sorts the balls into bins. Freeze on Landing turns every ball that lands into an obstacle for the next one, so the pile grows; Variety mixes sizes and colours. Every bounce is a note of your scale, the belt hums and clicks, and the counter keeps score – Loaded 17 / Escaped 4. In Classic and Multiply the same respawn timer drops in a new ball every few seconds. Seeded and deterministic, so Find Simulation can pick a run of your clip length.
- Power Layers
- The oddplayground power-layers format, no rings: a navy portrait playfield with a glowing ceiling bar in its upper third and, from mid-screen down, a dense stack of 20–800 thin rainbow layers – the layers between the ball and freedom. One white ball bounces between the ceiling and the top of the stack with a slight seeded drift. Every impact destroys as many layers as the current power – they shatter into coloured particles and the stack drops – and the power then doubles, follows Fibonacci or the primes, grows by one, or is drawn from the seed (chaos: some hits destroy dozens, others change nothing). Two rainbow pills show the rule, the power and the level, every level plays the next note of your scale, a big hit adds a chord and a whoosh, and when the last layer goes the ball falls through the bottom to freedom. Every bounce takes the same time, so a run lasts the hit count times the bounce period – Find Simulation says so, or searches the chaos seeds for your clip length.
- Multipliers
- A tall board the camera scrolls down, always following the lowest ball. Every row is split into 2–4 gates: count gates (x2, x3, x5) clone each ball that passes – up to a ball cap you choose, from 50 to 2000 –, speed, size and damage gates stack multipliers on it with no upper limit, ÷2 gates absorb every second ball and release gates hold a pile on a door that opens in bursts. Splitter pegs, kicking bumpers, funnels and blockers with hit points (the damage multiplier wears them down faster) sit between the rows, every hit is a note on a pentatonic plinko piano, and the HOME zone at the bottom counts the arrivals live until the final “N Gerald made it home”. A ball that grows wider than the board outgrows it and ends the run with a celebration. Set a target count and Find Simulation looks for a seed whose final count lands within 5 % of it. The same multipliers float as pickup orbs in the ring modes (Ball section → Multipliers).
- String Battle
- The oddplayground WEB DOMINION duel: 2–6 numbered balls bounce inside one thin ring on black, and every wall bounce anchors a glowing thread from the impact point to the ball, so each ball drags a fan of threads behind it (the oldest detach and fade). Cut: crossing an enemy thread snaps it with a pluck and costs its owner a life; Touch: the threads are lasers that burn whoever touches them; Collide: the slower ball of every collision loses a life. A ball at 0 lives shatters like glass and its threads dissolve; when two are left and one is a cut from elimination the finale speeds everything up and the halos strobe, and the last ball standing wins – with slow motion on the final cut when the camera's slow motion is on. The neon style turns the threads into endless lines that paint moiré art across the whole canvas, with a jelly ring and glitch bars. Every seed replays exactly, Find Simulation searches a battle's length or its winner, and a team roster lends the balls its colours and names.
- Territory
- The oddplayground pong-wars battle: a tile map split into 2 or 4 team regions, every team's balls bouncing inside its own colour. A ball passes through tiles of its own colour and bounces off any other, converting the tile it hits – so every bounce pushes the border, and the live percentage bar under PICK A SIDE swings with it. Every team can have a power: the vortex curves its path and drags a whirl whose spiral arms convert enemy tiles, the bomber arms every few seconds and blows on its next bounce off an enemy tile, taking every tile within its reach (with a shock ring, debris and a jolt of the board), the painter dashes straight through enemy territory painting a trail, and the ghost passes through enemy tiles and converts a 3×3 block on every wall bounce. The balls collide with each other, the optional dotted grid deflects them, the last five seconds speed everything up, and when the countdown runs out the team with the most tiles wins – with slow motion when the lead flips in the finale and the camera's slow motion is on. Every seed replays exactly, Find Simulation searches for a run your chosen team wins, the Forced Winner rigs one, and a team roster lends the teams its colours and names.
- Maze Escape
- oddplayground's maze reels (“who else thought that was blood”): a seeded perfect maze with glowing green walls on near-black – a red entrance slot in the top wall and an exit gap in the bottom wall. 1–8 balls drop in one after another and work their way through physically (a downward pull, perfectly elastic walls), steered by a brain: pure bounce, a wall follower or an explorer that prefers the corridors it has not visited. Every cell a ball passes is painted red, every wall hit is a note that climbs as the ball nears the exit, and the first ball out wins – with a distance-to-exit bar per ball in the HUD and optional fog over the unvisited cells for suspense. Find Simulation times the run or picks the winner.
- Land Claim
- A land-claim battle: columns of blocks stand on the inside of a square, hexagon or circle wall, and two or more competitors – a Teams roster of countries gives them their flags, names and colours – bounce their balls around inside at a constant speed. Under the knock rule a ball that hits a column takes its top block: the block flies off in the hitter's colour and counts for it, and every eighth block a competitor knocks adds another ball of its colour at the knock point, so a lead snowballs into a swarm. The claim rule paints the blocks where they stand instead, and the steal rule lets a hit take a rival's block back – the land sways until the clock runs out. The battle ends when the wall is taken or at its duration, and the most blocks wins: DOMINATION past 60% of the land, SUCH A CLOSE BATTLE when the top two are within 5%. Every seed replays exactly, Find Simulation searches for a chosen winner, a close battle or a run that ends at a chosen second, and the Forced Winner favours a colour by aiming its rebounds at the land still to take.
- Journey
- The geraldbounces commute format – "Gerald bounces through his commute", "let him out!": a column of stages the ball clears one after another while the camera scrolls down. Rings is a compact Classic escape (3–9 rings with rotating gaps; the ball drops down a chute into the core), Glass a few Glass Smash panes that crack on every landing and shatter, Pegs a Ball Drop peg field whose rows play a rising scale, Multipliers two or three rows of gates (x2 DMG, x1.5 SPEED, x1.25 SIZE) that power the ball up for the rest of the trip, Funnel a converging funnel, Bullseye a landing target that scores 10–100 before its trapdoor opens, and HOME the doorway with confetti and the total time. Every stage change shows a banner and plays a swoosh, a mini-map beside the column shows how far Gerald has come, and every note goes through your instrument, scale, beat lock, hit samples and melody. Build the route in the Journey block (sizes, order, add and remove) or let the seed draw a random one; every run is deterministic and always reaches HOME, so Find Simulation can pick a seed for your clip length.