SHAKE / SWIPE / SPACE
Phone shaking, vertical swipes, vertical mouse drags and the space bar all create the same strike input. Short, even movements make collisions more stable.
A deliberately ridiculous 60-second BARZINE LAB rhythm game: shake a phone, swipe vertically or hammer the space bar to smash two balls together, build a combo and earn an all-American title.
The KINTAMA name is the joke; the input and sound engine are real. Motion sensors, Pointer Events, the keyboard and Web Audio drive the game. Keep the collisions in time, but watch the PAIN-O-METER and give the equipment an occasional rest.

The KINTAMA name is the joke; the input and sound engine are real. Motion sensors, Pointer Events, the keyboard and Web Audio drive the game. Keep the collisions in time, but watch the PAIN-O-METER and give the equipment an occasional rest.
A deliberately ridiculous 60-second BARZINE LAB rhythm game: shake a phone, swipe vertically or hammer the space bar to smash two balls together, build a combo and earn an all-American title.
Phone shaking, vertical swipes, vertical mouse drags and the space bar all create the same strike input. Short, even movements make collisions more stable.
Every collision adds points. Evenly timed consecutive hits extend the combo, while JACKPOT adds a bonus when it appears.
Continuous hard play raises the meter. Stop briefly and let ICING TIME cool it before pressure ends the run.
Web Audio synthesizes the game sound. Voice callouts are optional; the game continues when Speech Synthesis is unavailable.
Use a short travel distance at one steady speed instead of one huge shake. Treat the collision sound as a metronome.
Push for a few seconds, then stop. Let the PAIN-O-METER fall before starting the next rush.
Establish one tempo immediately and protect the combo. Do not chase JACKPOT at the cost of regular collisions.
BEST SCORE is stored in localStorage when the browser allows it. This is not an audio or WAV export tool. Private browsing, another browser or cleared site data may not retain the record.
Start from one preset or one pattern, then adjust only the part you can hear changing.
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