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IK Edit and bone contacts

Open Build > IK Edit or press Ctrl+K while your avatar is visible. The shortcut is configurable in Preferences and restores a minimized panel; pressing it again leaves the current edits open. In a focused script editor, Ctrl+K retains its line-comment command. This is a local, temporary authoring tool: it freezes the avatar’s skeletal animation output, draws its skeleton through the mesh, and lets you adjust the displayed pose. Closing the window resumes animation playback and discards the temporary pose. Contact authoring reads simulator objects and exports script source. Animations > Create an animation from this pose opens the related native animation creator, with keyed posing and .anim save/import preparation. The ik_edit viewer command toggles the same tool. The shared Block tab strip separates Projects, Bindings, Virtual bones, Animations, and Display, in that order. Options and the two export buttons stay in a shared bottom panel across the authoring tabs, outside their scrolling content. General options (World/Local space, Symmetry, Reset pose and the script IK mask) sit on the left. The four limb activations form a two-column block on the right: left/right hands above left/right feet. Its import icon copies active script contacts. Bindings opens first; selecting a saved row selects its source. Link to a prim, Link to a bone and the edited-prim shortcut belong to the selected-bone card, immediately below its name. They append a binding to the profile chosen in the selector immediately before these buttons. This selector and the profile card below stay synchronized. The IK settings section starts collapsed, containing avatar-frame transforms and chain controls; bone reset and attachment distance remain directly accessible. The profile selector, smoothing and paste controls use compact rows so the first associations fit in the default window without scrolling. Binding names share a full line with the target pencil. Influence, orientation following, copy and deletion are grouped below, with deletion at the right edge. Only the selected association exposes its offset/contact fold. Search the list by source or target name; multiple words can match both names together. Filtering never changes the pose or exported data and clears when switching profiles or completing target designation.

The Projects tab contains the project selector and Create a new IK project menu, available from the initial screen. The menu offers Blank project, From an object or attachment, Import a local file, and Import a notecard. For a blank project, confirm its proposed New IK project name, then choose Create a new IK profile and confirm the proposed New IK profile name. Names are selected for immediate replacement by typing. Cancel creates nothing. Empty projects contain no implicit profile. Projects remains available from the empty editor; Bindings permits first-profile creation, and the remaining authoring tabs become available after confirmation. Existing saved projects remain available through Projects and Load an IK project. Each import receives a fresh local identity; the currently open project is saved before switching to the imported one.

IK profiles group bindings, smoothing and base animation layers below the selected-bone inspector. The plus asks for a new profile name before creating it; duplicate uses the adjacent icon. The pencil renames a profile and changes its script selector. Each profile previews only its own bindings and animation stack. Duplication copies binding calibrations and animation settings independently; shared virtual controls retain their identities. Copy a binding with its row icon, then paste it into the selected profile. Its referenced virtual hierarchy is copied with fresh control IDs. Deleting a profile retains bindings shared by other imported profiles and remaps their slot references.

The Animations tab has its own profile selector and edits that profile’s base animation stack. Drag the grip to reorder layers; the arrows remain available. Native joint priorities apply, with the higher row winning ties. Each layer keeps its enabled state and numeric/slider frame. Live-animation suppression belongs to the stack. These layers are calibration references, not commands to play animations on other viewers. Priority and inventory-drop reminders are available on hover instead of permanent instructional rows.

An IK project groups a complete set of profiles for one creation, for example Motorcycle or Glasses. Its read-only name is centered above the tabs. All management controls live inside Projects: use its selector or list to load an account-local project, and its adjacent icons to create, save or reload. File/notecard exports belong to each project row; imports and draft recovery are also here; the shared footer contains only IK controls and the two runtime clipboard exports. The Projects tab lists saved projects with left-aligned names, a highlighted current selection and a name filter. Click a project’s name to save the current work, load that project and open Bindings. Each row has right-aligned Rename, Duplicate, Export file, Notecard and Delete icons, in that order. File export opens a local save dialog and preserves the complete project, including current unsaved edits when exporting the open project. These actions apply to that row without changing the open project or its working pose. Rename/duplication asks for a name inline. Notecard exports the complete project, including all profiles, animations, frames and their order. Deletion asks for confirmation and removes only that local project. Deleting the open project clears its editor; other projects stay open. Existing inventory notecards remain independent copies. A new project starts without any profile; duplication copies all existing profiles, bindings, virtual controls and animation settings under a new project identity. Project titles do not change the profile keywords used by object scripts.

Target object, inside Projects, associates the whole project with a linkset. Choose the object by clicking it or any of its child prims, or use the single object currently selected in Edit. Worn body attachments work too; HUDs and avatars are excluded. Escape cancels designation without changing the project. Selecting a replacement updates all profiles and virtual-control parents together, retaining their offsets, rotations, weights and animation settings. It does not require sitting on that object or any IK script.

Named prim targets resolve by exact, unique name within the chosen linkset (for example Left and Right on another motorcycle). Seated avatars and their attachments are excluded from that object’s members. Missing/duplicate names remain unresolved rather than following the previous object’s prims; a warning identifies this state. Late property replies resolve them automatically. Scene picks capture the containing object root and the link name, preserving the exact prim frame and all calibration. A root pick uses _ROOT_. Unknown names finish loading before the binding can be exported. These references survive project saves and script exports; external targets keep their own root. Unknown property names are fetched in batches of at most four per 250 ms, with bounded linkset traversal. Only references to the project’s source object follow its replacement; other target objects retain their root UUIDs. The chosen object and its name are saved with the project and duplicated with it. If it disappears, the project remains available for choosing a replacement.

Named projects are stored locally per account and autosaved in the background after changes, at most once per second while open, with a final close flush. Switching, creating or importing another project saves the current work before replacing it. The save button writes immediately; reload reads the last stored project. Unfinished unnamed work is preserved as its own local project before a switch. A malformed/missing destination leaves the current editor intact. Names are labels; UUID filenames prevent path characters in a title from selecting a folder. The local catalogue contains up to 128 projects.

The Project row in the shared footer exchanges .block-ik.json files and inventory notecards. The project includes all profiles, binding calibrations, virtual controls, animation order/frames, suppression settings and selected profile. Restore local draft can recover an older unnamed draft; the adjacent cross keeps the current work instead. File exchange also provides portable snapshots. The notecard save icon creates a Block IK - card in the inventory’s Notecards folder. File and notecard loading are in the new-project menu above the tabs. Both formats carry the same versioned project, bounded to 64 KiB. Inventory writes happen only on request.

Animation references use original inventory item IDs, so moving a folder or item does not break them. The project also retains the asset ID and name. Item references are fetched once when needed; missing or trashed animations stay in their saved position with their frame and can be replaced using the pencil. Animation assets are not embedded and their permissions are unchanged. Project files and cards contain editor data; they are separate from the compact scripted rig export below.

Copy complete IK script copies the configured companion LSL source. Copy IK data copies a ready-to-paste LSL declaration, string RIG = "…";, containing the rig JSON definition: bound bones, targets, contact/position/rotation offsets, influence, orientation following, activation and virtual controls with their parent hierarchy and motion. Both buttons briefly show Copied after a successful action, without moving the footer. A copied binding briefly shows a check in place of its copy icon. It uses the same escaped declaration as the complete script; legacy prim contacts are converted to that format too. Replace the custom script’s existing RIG declaration with this line. Its JSON has no session envelope. A custom publisher supplies discovery, session/multipart transport and runtime timing, following rig-contacts.lsl. Virtual controls can be exported before assigning a bound bone. Empty or invalid exports are disabled.

The authoring editor works without any LSL script, seat activation message or incoming IK definition. It starts with its own empty contact list. In the shared Options footer, Ignore script IK while editing is on initially: it hides received constraints locally while their scripts and target updates continue normally. Turning it off shows them again; closing the editor restores their current effects. Editor constraints remain active under this mask. Import active script bindings explicitly copies current script contacts into editable authoring data without replacing existing authored bindings. No animation-stop, script-stop or script-activation message is sent.

Create a new IK project > From an object or attachment starts scene designation. Click any prim of the source linkset, or use the single prim already selected in Edit. Sitting is unnecessary. Escape cancels designation; the pending-request cross cancels a transfer. The source must contain the current IK companion. The Block bridge updates to version 1.33 to relay this explicit targeted request.

The viewer requests a fresh full declaration using a dedicated nonce and zero cache hint. All declared profiles, bindings and virtual controls create a new project named after the object, with exact offsets, weights and source-relative parents. Temporary runtime masks do not rewrite the declaration. Editor-only animation references cannot be recovered from the compact object payload; file/notecard project imports retain them. Source deletion, region changes, closing the editor and a 45-second timeout retire the request. Partial, stale, wrong-source or malformed replies leave the current project intact.

The temporary authoring session is isolated from active avatar constraints. It accepts only the selected source, uses the existing four-per-second request budget, retains at most an 8 KiB declaration within the normal global budgets, and releases its data after import/cancellation/expiry. Automatic discovery still ignores unused objects. Reading a declaration neither activates IK nor changes an existing runtime session. No object inventory or script source is read.

Author a contact

  1. Start the animation you want to adjust (for the motorcycle, sit and enter the ready/riding phase), then open IK Edit.
  2. In Display, show only the bone sets you need. Select a named joint by clicking its skeleton point or searching the filtered bone list, then open Bindings. The selected source bone is highlighted in a themed card at the top, with its two direct binding actions. Selecting a source or bone target from a saved association reveals its display group when needed, without activating an inactive contact. Translation arrows and plane handles appear by default. Hold Shift to hide them and drag a point freely in the camera plane. Hold Ctrl for rotation rings; Ctrl-dragging the point itself turns it about the camera axes. Ctrl takes precedence if both keys are held. There is no Gizmo switch. World uses scene axes; Local follows the selected bone’s orientation. This space selector is in the shared Options footer and also applies to virtual bones. Bound rotation keeps the contact target fixed. Unbound, parented rotation pivots at the selected joint and carries its contact point with it. Numeric position and rotation fields remain in the explicitly labelled avatar frame. Hold Alt to use the normal camera controls. Click anywhere along a visible bone segment to select its origin joint: upper arm selects the shoulder, forearm selects the elbow. Hover highlights the segment and shows its name; selected segments are teal. Terminal joints also show their canonical tip. Point handles stay selectable and take priority near an articulation. Shaft clicks select only; use the point or gizmo to manipulate the pose. Virtual parent connectors select their node. The same shaft clicks work when choosing a bone target for a binding. The teal ring marks the selected bone’s contact point. Show handles shows large effectors and labelled bend diamonds for activated limbs only. Hand/foot grips and their manipulation axes stay directly on the joint/contact. Shift-drag a grip to pose the limb, or select it and use the gizmo. Clicking a grip does not change calibration. Bone-target picking uses the real skeleton points. Ctrl temporarily selects rotation: hold it before grabbing a rotation ring, or Ctrl-drag the effector point itself. An already grabbed axis/ring keeps its operation until released. Elbow/knee diamonds stay at their actual bend targets, with larger hit areas and a visible connector. Shift-drag a diamond to choose the bend plane while the hand/foot target stays fixed. Selecting it shows translation arrows at the bend target. Ctrl exposes rotation rings centred on the actual elbow/knee joint; the rings orbit the bend target without changing the hand/foot orientation. The grabbed gizmo operation stays fixed until release. Numeric bend-target fields appear when selected. Symmetry, also in the shared Options footer, mirrors subsequent edits onto the canonical left/right counterpart across the avatar’s XZ plane. Rotations and contact offsets use both bones’ rest frames, rather than negating Euler angles. Existing opposite-side edits are replaced when a mirrored edit is committed; turning symmetry off leaves each side independent. Reset this bone resets its counterpart too while symmetry is on. Central bones are not paired. The shared Options footer has separate activations for the left/right hand and foot. Enabling one reveals its bone group and handles and expands its chain: hands can recruit the torso/chest/collar; feet can recruit the pelvis above the hip. A reachable target uses the limb alone; more distant targets can rotate the body without stretching segments or translating bones. Full-strength contacts sharing body joints are reconciled together within the solver’s iteration limit. Partial influences retain their single local-transform blend. The selected source card’s chain-root selector in Bindings can restrict the influence explicitly. Export the updated script to keep the selected roots in game. Imported and existing pins retain their explicit roots when disabled and re-enabled. For independent handlebar contacts, select mShoulderLeft for mWristLeft and mShoulderRight for mWristRight: the arms then leave the torso’s animation unchanged. Broader roots remain available for deliberate body-assisted reach. Finger chains keep the animation’s knuckle bend plane as their contact moves, including when a locked wrist limits their influence to the finger itself. This plane follows the hand’s orientation instead of using an arm’s outward elbow direction. Explicit bend targets still take precedence. Global smoothing is always visible at the top of Bindings. Its Activation duration and Release duration apply to every existing binding and new associations. Both default to 0.2 seconds; zero is immediate. Imported rigs keep their authored durations until these controls are edited; a notice identifies imports with different durations across bindings. The selected bound bone’s card always shows its Attachment distance, the maximum distance in metres between the animated contact and its target before starting (0 means unlimited). Measure the animation without that binding’s own correction. Other active contacts can bring it into range: a wrist pin can therefore enable a nearby finger contact, without making proximity self-latch. Distance defaults to zero and remains independent for each binding. The object script chooses when to request activation; the viewer adds no activation delay. It starts the entry fade as soon as the target is available and within the radius. Obsolete delay fields in installed data are discarded. Once active, the distance gate stays latched until release. These settings are exported in each binding’s activation object (distance, ease_in, ease_out), including the global durations in each binding so existing companion scripts and compatible observers read the same values. They apply in game; pose editing stays immediate. At full influence, an oriented parent contact retains its frame while child contacts solve below it. For example, an index chain starting at a bound wrist can bend the index without rotating that wrist away from its own target. This applies to both authoring and live playback; a partially influenced or position-only parent keeps its remaining freedom. Parent protection starts with its entry fade, keeping that fade continuous instead of changing the child’s chain when full influence is reached. During live playback, shared body assistance recovers toward the current animation as its reach permits, while maintaining the hand/foot contacts. An earlier correction does not permanently add another torso lean when the creation changes or restarts its animations. Disabling removes the effector/bend markers. These apply constraints; Show handles in Display only controls visibility. Disabling a limb removes its own correction without erasing calibration. It can still follow shared body rotations driven by other active contacts; disabling all contacts restores the frozen animation pose. The editor still pauses animations globally until it closes. A subsequent manual edit starts at the displayed joint, keeping its chosen parented/detached mode; it updates/reactivates that bone’s association when one exists. An unbound edit changes the local pose without enabling a hand/foot pin. Enable the limb switch explicitly to hold its contact in place. Selecting the bone, refreshing targets or adjusting strength alone never reactivates a disabled contact. Re-enabling the limb switch restores IK with its body-assisted chain. Association rows own activation and influence; the contact editor’s Pose tab does not repeat them. Native animation authoring keeps its own controls because it has no Bindings tab. Script contacts can be imported explicitly as separate editable bindings. Display offers independent torso/head, extended spine, face, arm, leg, finger, wing, tail, hind-leg and other sets. Click the selected group labels to hide/show them, or use All, None, or the Human preset (torso, arms and legs). The filters hide skeleton segments, joint/pole handles, selected highlights and gizmos, and narrow the bone list. They never change bindings, weights or enable states. The Human preset is active initially. The four extra Bento spine pivots are hidden in it; torso/chest lines connect through them to the visible human parents. Their transforms stay in the actual skeleton and animations. Enable Extended spine or All when those additional joints are needed.
  3. Manual rotation of an unbound bone pivots that joint; its children follow, including children already edited in this session. It never solves or moves the ancestors. Unbound movements solve the chosen chain once and retain its local pose, rather than creating a permanent target. Explicit bindings and enabled limb handles continue to hold their targets. Leave Detach unchecked in Bindings to move through an ancestor chain without stretching it. Choose its root in the selected source card. Two-segment chains use an analytic solver; longer chains use bounded CCD (at most twelve joints and sixteen sweeps), with body-assisted canonical limbs as above. Checking Detach instead directly changes the bone’s local transform, including translations; this works for the pelvis, facial joints and other bones for which preserving a limb chain is inappropriate. Descendants follow. All bones with a parent start with Detach unchecked, including the torso/chest, neck/head, fingers and face. Releasing or reselecting a bone never detaches it automatically. Existing saved constraints retain their explicit mode. The skeleton root has no parent: it remains freely movable, and its Detach checkbox is unavailable and unchecked.
  4. In free manipulation, hold Ctrl and drag the selected joint’s point to rotate it. Horizontal and vertical movement turn around the camera’s up/right axes. Bound contact targets stay fixed; unbound children follow their rotated parent. Releasing Ctrl during the drag switches back to translation without a jump. Position-only IK keeps the selected joint’s animated local articulation. Enable the rotation-arrow button (Follow rotation) on the binding row to match the target rotation as well as its position; its tooltip explains the position-only alternative. Editing the rotation fields enables that option. Click a value to type it, or drag the value horizontally. Ctrl-drag enables orientation automatically and updates these fields too. Rotation fields are XYZ degrees in the avatar’s frame, composed in the LSL-compatible ZYX order. The selected source card in Bindings groups its link actions on one row, then Avatar frame (collapsed initially) and IK settings. Position in metres and rotation in degrees share aligned XYZ columns. Bind to a prim and Bind to a bone add an association, including another target for the same source joint. Each association row has its own Offsets and contact section, closed initially, with target-relative position/rotation (Target frame) and source contact calibration (Bone frame). Select a row’s bone to edit that association with the gizmo or avatar-frame fields; the pencil replaces only that row’s target. Weight, orientation and activation are independent per row. The chain root and Detach share a row; attachment distance and bone reset share the next. The import icon in the shared Options footer provides the explicit script-contact import action, with a tooltip. Options stay visible while scrolling or changing tabs and are disabled during target designation to preserve the locked source. IK Edit has no separate Pose tab; the native animation creator keeps its own posing page.
  5. Each binding’s contact point is measured in bone-local metres before joint scale. It defaults to the bone pivot. Adjust its numeric XYZ values for the worn mesh when another contact location is useful. Changing the contact point keeps the currently displayed bone in place. The ring is the point to align to the handle. Ankles also offer Use sole point, starting at (0.08, 0, -0.05); calibrate it for the worn foot mesh and footwear. Calibration changes only that association. Simultaneous targets for one bone are blended by their authored weights and runtime fades; total strength is capped at 100%. One joint cannot occupy incompatible targets simultaneously. Target dependencies resolve first, and oriented contacts are converted to joint-origin targets using each binding’s material point and the avatar’s actual joint scale.
  6. Click Bind to a prim or Bind to a bone below the selected source. Click the exact prim in the world or a bone on your own skeleton. The source stays selected while choosing the target. A successful click creates the association immediately, preserving the source’s authored pose. Use the row’s pencil menu, then Prim or Bone, to replace its target; Escape leaves target picking and preserves the existing association. A self-reference, missing target or dependency cycle is rejected without changing it. Other-avatar target selection is not offered in this authoring interface. Virtual control points can also be clicked as bone targets. IK Edit and the object Edit tools may remain open together. If exactly one prim is selected in Edit, Use edited prim: … offers it directly; use Edit linked for a child prim. Scene designation leaves the object Edit selection unchanged. The scene picker remains available for a virtual control’s prim parent in Virtual bones. A unique link name, such as Left or Right, resolves that link again after copying the creation. The picker retains that name automatically; the duplicate name field is removed. Each external target retains its own object root UUID and link name in the exported data. Object manipulator handles have precedence where the world handles overlap; window controls remain above both skeleton and object handles.
  7. New associations follow both position and rotation. Moving/rotating the bound bone edits its metric target-relative offset; moving/rotating its target carries that bone. One target per bone replaces the previous association. The Bindings list selects, enables and deletes associations. A missing target releases the affected constraint until it becomes available again.
  8. Each saved association row reads left to right: activation, source bone, target name, target pencil, Target strength slider/numeric percentage, and delete. Clicking the source selects its bone. Clicking a prim name opens object Edit and selects that exact linked part for moving/rotating; IK Edit stays open. Known prim names update from object properties, with a loading label while the name is unavailable, rather than displaying a UUID. This display name does not rewrite the script’s link-name/UUID resolution. Set strength from 0 to 100%. At 0% no correction is applied; 100% applies the full solution, subject to reach. Intermediate values blend solved local rotations/positions with the base pose, preserving IK segment lengths. This is an influence weight, not a linear percentage of world-space distance. It affects both position and orientation.
  9. The footer has two export actions. Copy complete IK script copies the full companion with every saved association, virtual hierarchy, animation, offsets, contact points, chain roots, poles, orientation/mode choices, weights and enabled states. Copy IK data copies the equivalent string RIG = "…"; declaration for direct use in a custom publisher. Disabled associations retain their calibration and authored weight in the script’s initial disabled-bone list. Paste the whole result into the root prim’s companion script. Individual fields have no separate clipboard buttons. Runtime activation policy belongs to the LSL companion or the creation’s main script; it is not an editor setting. The supplied templates keep their EXTERNAL_CONTROL field for that choice. Editing and previewing do not depend on it.

Reset this bone in the selected source card in Bindings removes its edit; Reset pose in the shared Options footer removes all edits. Native animation creation keeps these controls and its chain/space choices in Pose because it has no Bindings tab. Closing and reopening starts afresh. Teleporting or logging out exits the mode. Other avatars continue animating. An unreachable IK target is clamped without stretching; residual errors above 5 mm are displayed. IK has no anatomical joint limits. Canonical extended limbs use shared body assistance, while short shoulder/hip roots isolate each limb. Incompatible contacts can still leave residual error; inspect the resulting pose.

Compose an animation pose

In Animations, add one or more inventory animations, or drag an animation from Inventory onto the section. The picker loads the standard Animations folder and searches already known animations, including inventory links. For a custom folder, open it in Inventory or drag its animation directly. Animation assets load through the ordinary cache and background asset streamer. Unavailable assets contribute no pose and show their loading/error state. The authoring stack is bounded to sixteen entries.

Each row has enable, move-up/down and remove controls, plus an independent frame slider and adjacent numeric field. Typing a frame and dragging its slider address the same sample; values are clamped to the clip’s last frame. Native animation files store continuous key times without their original frame rate. The editor explicitly uses 30 fps, beginning at frame zero; the final inspection frame clamps to the asset duration. These are exact samples, without looping back at the endpoint or applying playback easing.

Native per-joint priority takes precedence. For equal priorities, the higher row wins; moving a row up therefore increases its precedence. Rotation and position remain separate channels, so a rotation-only layer does not hide another layer’s position track. Unkeyed bones retain the frozen base pose. Layer frames and asset data stay unchanged when reordered.

Exclude current avatar animations starts from the shaped rest skeleton, preserving mesh joint offsets and scale, instead of the frozen live pose. This option affects the local authoring preview; it sends no animation-stop messages and does not reset the AO or the simulator’s playing animations. Turning it off restores that frozen base. Closing IK Edit resumes the existing animation pause clock. The selected animation samples are applied before IK, so saved prim contacts still constrain the final pose. These layers are temporary authoring tools; the companion publishes bone contacts, while the creation’s existing scripts remain responsible for runtime animation selection and phase changes.

Install the script on the motorcycle

Click Copy complete IK script and paste the entire result into one LSL script in the root prim. It uses rig-contacts.lsl for every configuration, including simple prim contacts. Keep the vehicle’s main script. The exported RIG JSON retains bound bones, target objects/links, metric position/quaternion offsets, contact points, roots, bend planes, orientation following, strength, activation and virtual controls. Use unique link names for reusable targets: copying/rezzing a creation changes its UUIDs. Missing or duplicate named links release their targets. Every binding and virtual parent identifies its target independently:

{"kind":"link","object":"source","link":"Left"}
{"kind":"link","object":"01234567-89ab-cdef-0123-456789abcdef","link":"Grip"}
{"kind":"link","object":"01234567-89ab-cdef-0123-456789abcdef","link":"_ROOT_"}

object is the target object’s root UUID, or "source" for the publishing object’s current root. The latter survives copying/rezzing without rewriting JSON in LSL. The exact, case-sensitive _ROOT_ token always means the root; it never searches for a child named _ROOT_. Other names must match exactly one member of that object’s linkset. Different objects may use the same name. A profile can combine any of these per-binding targets; its slot list, offsets, contact points, smoothing and activation are unchanged. No target grouping or child prim UUIDs are needed in the declaration.

The viewer resolves names for occupied/worn declarations and the open editor. It asks for missing properties at most four times in each rolling second. The available queries leave on consecutive frames instead of waiting 250 ms each, so small cold linksets resolve sooner with the same traffic budget. There are at most three attempts per prim in each finite lookup, then it stays quiet. Known names are reused. Every member name, including the root, uses an individual ObjectSelect/ObjectDeselect read. A read immediately releases its temporary server selection, never deselects a prim already selected in Edit and never changes local object selection or transforms. The four-per-second budget counts reads; an unselected prim read sends two small messages. Topology changes, or a new declaration with unresolved names, can start one fresh lookup; unchanged profiles/state updates do not. Fresh replies replace metadata without dropping unrelated verified contacts. Received name changes update the map. Project saves and binding copies retain the same root/link pairs, including while metadata is loading. Each viewer bounds this session cache to 64 objects and 1,024 prims (256 prims per object, names at most 256 UTF-8 bytes). Editor targets, the local seat and local attachments take priority over observer metadata when admitting objects and scheduling queries; existing entries stay stable within each priority. Missing, duplicate, deleted, unlinked or out-of-region targets release only their dependent constraints. _ROOT_ targets need no property query. Retiring declarations or changing regions drops unused metadata. The companion transmits definitions unchanged; it performs no link-name lookup or JSON target rewriting.

The script defaults to EXTERNAL_CONTROL = TRUE, for a phase-controlled motorcycle main script. It starts released, asks that main script for its state, and accepts:

llMessageLinked(LINK_SET, -190018108, "on", NULL_KEY);
llMessageLinked(LINK_SET, -190018108, "off", NULL_KEY);

Use FALSE for a standalone creation that should activate whenever its rider is seated on it or its owner wears it. Creators decide when contacts apply by sending these messages; they define how each contact works through the exported definition. Per-bone conditions use "off mWristLeft" / "on mWristLeft" (substitute any configured bone). A global phase "off" overrides them; global "on" retains those individual conditions. The publisher’s disabled-bone list is bounded by the configured definitions and resets when the script resets. Every global off/on cycle creates a fresh activation epoch, even when the viewer receives both messages between frames. Restarting discards the old fade, release correction and body seed, matching a fresh seated activation. It does not restart unrelated avatar animations. Repeated on messages while already enabled preserve the current activation. Per-bone mask cycles also reset their own envelopes without restarting other bones’ timers. Use a newly exported complete companion script for the activation-epoch header; the viewer requires it. The existing RIG data can retain default parameters.

Definitions are sent in bounded multipart messages; there is no continuous script pose stream. LSL compilation and behaviour on a real motorcycle require human validation in Second Life.

Named IK profiles

RIG is the single declaration of virtual controls, binding targets, offsets, weights, contact geometry and entry/release parameters. Its optional profiles array selects subsets of those shared bindings by a short keyword:

"profiles": [
  {"name":"drive", "bones":["mWristLeft","mWristRight"]},
  {"name":"gas_only", "bones":["mWristRight"]}
]

Bindings can belong to several profiles; their data is declared only once. Up to 16 profiles and 16 bindings are supported. Keywords contain 1–64 ASCII letters, digits or underscores; profile members must be unique existing bones. With profiles present, only the selected profile’s bindings may run. Without profiles, on/off controls the ordinary complete rig.

llMessageLinked(LINK_THIS, -190018108, "profile drive", NULL_KEY);
llMessageLinked(LINK_THIS, -190018108, "profile gas_only", NULL_KEY);
llMessageLinked(LINK_THIS, -190018108, "off", NULL_KEY);

Send a command only when the gameplay/pose mode changes. Repeating the current selection is idempotent. State changes arrive through the separate bridge IK relay. There is no periodic discovery or lease-renewal request in a live session. Reloading the same definition does not release contacts or restart entry smoothing. A switch from drive to gas_only releases only the left hand through its configured ease-out; the right hand keeps its existing contact and fade clock. Switching back starts the left hand’s own entry conditions again. Each binding has a source-owned generation counter, so a viewer can detect reactivation even if the intermediate release packet was missed. A complete off/on cycle also retains the fresh global activation epoch.

Keep EXTERNAL_CONTROL = TRUE when the main script chooses modes. On sync, reply with its current profile or off. With FALSE, an eligible source starts with the first declared profile (or all bindings without profiles). Standing, detaching, source deletion, teleport and lease expiry still release effects. New viewers retrieve the declaration and the current selection together.

No animation name, UUID, inventory permission or animation-state observation participates in this selection. The main script plays its normal animations for every viewer and chooses the IK keyword separately. IK Edit posing stays independent of these runtime commands; imported profiles survive calibration, retargeting and both exports. Virtual controls retain their source clock while switching profiles. To restart every active contact, explicitly send off followed by the desired profile.

Deeper protocol, offline-validation, and contributor-depth sections are omitted here so this page stays readable.