What the engine can do
WORKS
Not test cases: films, characters and materials made with Tórculo. The conformance suite’s cases are separate, under Cases.
Radiointermisión and its bestiary: © José Luis Saorín Ferrer, all rights reserved.
Watch the whole film beside its pliego
RADIOINTERMISIÓN
A short film written entirely as a .mesa pliego and printed on Tórculo: two commentators, a block of flats, a derby and two adverts. Every shot is a poster: condensed type as architecture, three flat colours and the paper, and always something turning into something else. Run v4 of the gx interpreter, with voice, music, ambiences and effects.
The title is woven on the dial band: RADIO on the left, INTERMISIÓN coming in pass by pass. 
The balcony shout, a column of condensed type over the courtyard at night. 
GOL GOL GOL: each word is a goal; the O, the ball. 
“Blue on the inside”: the watercolour stain leaves the letters in reserve. 
The advert, knitted stitch by stitch, with the talking clam. 
The light well, from overhead, in blue pencil. 
Two hands, two radios, the same dial: the commentators’ mirror. 
The commentators face to face; the word VECINALES swallows them. 
The stands: hands as flat silhouettes, the triptych’s register. 
PAUSA PUBLICITARIA: the stamp that cuts the broadcast. 
The VAR prawn comes out of the cool box. 
The two neighbours and the sentence that covers them. 
The girl and the striker, one running thread across the green. 
The unbranded block: the loom goes mad.
THE BESTIARY
The film’s character sheets: each figure is a piece with a skeleton, views, faces, hands, cycles and boil, pen-drawn by the plate engine. The pliego calls them by name; the engine moves them with craft.
The captain: five views on the same skeleton, and the turn in action.
The blue-and-white commentator: hands and poses.
The striker: run and kick cycles.
The top scorer, turning.
The fair-haired girl.
The advert’s blue squid.
The Brazilian clam.
The courtyard sets.
COLLAGE
Photos, cut-outs and photo puppets with scissor edges, shadow and pins, moved from a pliego. The last one was written by a small model, Claude Haiku, while testing the documentation for agents.
Material: Charlie Chaplin (Hartsook, c. 1915), Isadora Duncan (1903) and Annabelle Moore in Edison’s Butterfly Dance (1894), from Wikimedia Commons, public domain; the Underwood typewriter (1945), from Wikimedia Commons, CC BY-SA 3.0. Voices: takes from Radiointermisión.