Connected products. Observable progress.

Music that travels without flattening the games.

The shared client, station catalogue and first two original presenter shows have moved beyond planning. Bubbles has a stable puzzle-game music dock; Fighter preserves authored combat and cinema priority; SHOALSHOT streams through its existing fishing-game audio owner; Protocol 11 builds on its Jukebox and original soundtrack. Each integration keeps its own controls and release responsibility.

The latest available client is 1.2.0. Supported 1.0.0 and 1.1.0 pins remain valid. Availability, installation, deployment and browser interaction are recorded separately below, with exact source revisions and explicit limits. Bubbles remains an owner-preview release with native editorial held; emulated browsers do not prove physical iPhone behaviour or human listening quality.

Let the music lead people back to the games.

Game-linked radio discovery and aggregate analytics have shipped. Visits, playback starts, audible progress and referrals answer different questions; the existence of that instrumentation does not prove an audience or justify a ranking. SHOALSHOT installs the new telemetry-capable client, while other consumers retain earlier supported versions.

Publishing original game soundtracks as proper albums remains open in FM #243. Existing recordings can use the established catalogue workflow, with game-specific covers, source provenance, shared-track associations and clearly labelled alternate versions. New content should help listeners discover the game that produced it.

Inclusive station discovery and continuous All Stations/My Mix remain open in #242 and #244. Fighter’s current station shuffle and SHOALSHOT’s manual Shuffle are real features; neither completes a shared, automatically refreshed mix of music and speech.

Give people a reason to keep listening.

Dead Air Department and Smoko Circuit are published curated shows. Their technical release is distinct from a repeatable autonomous production operation and from human judgement of acting, comedy and pacing. Topical satire, evergreen material and recurring characters should coexist, with correction, expiry, provenance, spending and fallback handled by the owning programme.

The next useful evidence is material people choose to hear again. Producing more audio, adding another provider or collecting playback events does not by itself establish entertainment value.

A playable game still has to feel good.

Protocol 11’s progress is substantial, including its playable Journey and native radio. Current player reports still identify automatic hand reordering and shifting targets, unclear layoff destinations, insufficient Flaming feedback and desktop scrolling that hides laid-down groups. The latest issues #215, #216 and #218 remain open; earlier layout repairs do not justify calling them resolved.

Interaction should support a predictable consecutive play, clear legal destinations and stable geometry on desktop and phone. Inspecting those root behaviours matters more than preserving an immature implementation or adding another cosmetic highlight.

Make the first impression and the return visit count.

The four phone games have installation-discovery work tracked. A useful install action, platform guidance and recognition of installed or dismissed state are the outcome; a PWA manifest alone does not help someone find it.

Woodhouse #19 coordinates the promotional-image reset. Each game needs imagery that makes its own experience appealing. Strong earlier poster or card-night concepts can be improved with correct branding; identical templates and technically valid metadata are insufficient creative proof.

Achievement, holographic and unlock work remains tracked across the games. Rewards should make an earned moment satisfying in the game’s own visual language, with meaningful earning conditions. This review found no completion receipts for the installation, artwork or reward programmes.

The factory’s job is to turn this into better products.

Woodhouse now represents the shared radio relationship using the existing dossiers, dated statuses, capability review and evidence. Historical reviews remain dated, and unrelated projects are not given a fresh delivery claim. The same records serve readers and agent facts.

The useful next moves sit with their existing owners: Protocol 11 interaction correctness; FM soundtrack publishing, station mixing and entertaining programming; then discoverable installation, persuasive artwork and satisfying rewards. Reuse should make each product stronger while preserving independent identity, offline behaviour and release gates.