HyperRogue: Playing with Hyperbolic Geometry

Eryk KopczynskiUniversity of Warsaw, Poland

erykk@mimuw.edu.pl

Dorota CelinskaUniversity of Warsaw, Polanddcelinska@wne.uw.edu.pl

Marek Ctrnactmarek14@seznam.cz

AbstractHyperRogue is a computer game whose action takes place in the hyperbolic plane. We discuss how HyperRogue isrelevant for mathematicians, artists, teachers, and game designers interested in hyperbolic geometry.

Introduction

a) b) c) d)

Figure 1 : Example lands in HyperRogue: (a) Crossroads II, (b) Galapagos, (c) Windy Plains, (d) Reptiles.

Hyperbolic geometry and tesselations of the hyperbolic plane have been of great interest to mathematicalartists [16], most notably M.C. Escher and his Circle Limit series [4]. Yet, there were almost no attempts tobring more complexity and life to the hyperbolic plane. This is what our game, HyperRogue, sets out to do.We believe that it is relevant to mathematical artists for several reasons.

First, fans of Escher’s art, or the famous Hofstadter’s book Godel, Escher, Bach: an Eternal GoldenBraid [10], will find many things appealing to them. The graphical style of HyperRogue is directly inspiredby Escher’s tesselations, some of the music is based on Shepherd tones and crab canons if the gameplay inthe given area is based on similar principles. As for Godel, there is also one game mechanic reminding of alogical paradox: magical Orbs normally lose their power each turn, but Orb of Time prevents this, as long asthe given Orb had no effect. Does Orb of Time lose its power if it is the only Orb you have?

Second, we believe that exploring the world of HyperRogue is one of the best ways to understandhyperbolic geometry. In typical courses one would learn that, for example, the sum of angles of a hyperbolictriangle is less than 180, but it is not clear how this could be applicable, or what would be the effects forpeople living in the hyperbolic world; even in other existing hyperbolic games and VRs [8, 13, 17] the worldis periodic and sterile. In HyperRogue, players are led to gain intuitions about hyperbolic geometry, and topose questions about how things known from our world would work there. For example, the design of theHive, one of the lands in HyperRogue, incorporates studying war strategies, like army formations, that aremeaningful in wars taking place in hyperbolic plane.

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Third, we believe that game design, or creating interesting maps and rule systems for games, is also akind of art. The first version of HyperRogue had very simple rules: take Chess, but replace the “chessboard”with a tiling of the hyperbolic plane, and give just one piece to the player (player character, or PC); inyour turn you can wait, move to an adjacent tile if it is not blocked by a wall, or attack an enemy on anadjacent tile (destroying it); after your move, each enemy moves (with similar choices). Enemies do not actvery intelligently—they just try to get to the PC using the shortest possible route and do not avoid beingattacked—but they can appear in large numbers. That would not be very interesting in a Euclidean tiling, buthyperbolic geometry makes it fun—not only because it feels very different, but also because it is possible touse the hyperbolic properties tactically, to deal with large groups of enemies. On the other hand, many ofthe traditional game design techniques would not make sense in a virtually infinite world. No Mans Sky ispraised for having 1019 stars in its universe—our game has more space in 200 tiles around the starting pointbecause of using hyperbolic geometry, and one would usually go further during the game. HyperRogueexplores how hyperbolic geometry could be used for interesting gameplay, and how to deal with infinity.The basic game is grid-based and turn-based, but a shmup mode exists to explore gameplay with continuoushyperbolic space and time.

HyperRogue takes much from roguelikes, a genre of computer games that is relatively unknown to themainstream gamers [5].Roguelikes are often viewed as a subgenre of computer role-playing games (CRPGs),however, they have evolved separately from the mainstream; with their focus on gameplay requiring playerskill and positioning instead of following a pre-written story, we view them as sharing more with boardgames such as Chess than with (typically very easy) CRPGs.

HyperRogue follows the roguelike tradition of permanent failure: when one loses the game, they haveto start a new one—from the beginning, except from the fact that they have learnt from their failure, andthis knowledge stays with them. Some players might feel that their game ends when too many enemies aregenerated at the same time, which is a random event not under the control. While it is definitely possibleto fail due to bad luck, the best players complete the difficult Hyperstone Quest, which involves getting 10treasures in every land, with high probability, in roughly two hours. It may take you many tries to win thegame, but then that is because you enjoy the gameplay (otherwise you would not be playing), but you haveto learn, and learning is fun. This could be seen as a metaphor of how we learn mathematics—as shown bythe famous quotes of Euclid himself (There is no royal road to geometry) and Gauss (The enchanting charmsof this sublime science reveal themselves in all their beauty only to those who have the courage to go deeplyinto it.), we have to learn the basic stuff first, then proceed to more complicated topics. 1

Geometry of HyperRogue

HyperRogue uses the order-7 truncated triangular tiling of the hyperbolic plane, also known as the hyperbolicsoccerball tiling. One advantage of this tiling is that it it is similar in spirit to the hex tiling commonly usedin tactical games. This advantage is shared by the more regular order-3 heptagonal tiling; however, theheptagons in that tiling are very big, and less appropriate for a game. HyperRogue allows experimentingwith other curvatures—switching to the heptagonal tiling effectively increases the curvature, while replacingthe heptagons with hexagons leads to the normal Euclidean hex grid, and if we go further by replacingthem with pentagons, we get the positive curvature of the truncated icosahedron (i.e., the usual sphericalsoccerball) or dodecahedron.

The distinction between hexagons and heptagons is important in gameplay—in some sense, the hyper-bolic effects are concentrated on the heptagons. Suppose that the player character (PC) and two enemies arestanding on the vertices of a triangle in the hex grid, as in Figure 2d. We cannot attack any of the enemies,

1 The in-game tutorial serves as an introduction to hyperbolic geometry, with the challenge removed.

Kopczynski, Celinska and Ctrnact

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a) b) c) d)

Figure 2 : Tilings. (a) truncated triangular tiling, (b) heptagonal tiling, (c) triheptagonal tilingused in the Warped Coast, (d) Euclidean hex grid.

because the other one would attack us then. We could escape, but then the enemies move parallel to us, thusrecreating the same configuration. However, if we were actually standing on a heptagon in the hyperbolicgrid, one of the possible moves will make the enemies unable to recreate the configuration, and allow us toattack them one by one. (For completeness: on a dodecahedron the enemies will capture us quickly, andon the soccerball, the only way to avoid capture is to consistently avoid the pentagons; thus, the smaller thecurvature, the easier our situation is.) This is not caused by using our particular tiling, but a general fact ofhyperbolic geometry—there is one shortest path between two points, and if one is forced to avoid that path,they must use another one, which will be an equidistant curve rather than a straight line, and thus it will belonger by a linear factor, rather than an additive constant, as would happen in Euclidean geometry. This isespecially visible in the Land of Eternal Motion, where the tiles fall after someone moves on them, so even asingle pursuer has to take another path, and thus is completely unable to pursue the PC, even though movingwith the same speed.

a) b) c) d)

Figure 3 : Curves: (a) straight lines in Vineyard, (b) circles in Hive, (c) equidistants in IvoryTower, (d) horocycles in Temple of Cthulhu.

The well known hyperbolic curves have their discrete analogs in our tiling. The distance between twotiles is the length of the shortest path between them. A straight line, also called geodesic, is a path p suchthat the distance between tiles pa and pb is always exactly |a− b|. A circle is a cycle consisting of all tiles indistance (radius) r from the given point, called the center of the cycle. An equidistant is a curve consistingof tiles in distance r from the given straight line. A horocycle is a limit circle of infinite radius—a curvesuch that every segment of it is a segment of a circle, with larger segments corresponding to greater radii (thediscrete approximation allows us to give a slightly simpler definition of the horocycle than the usual one).Two curves p and q are concentric if the distance from q is the same for each point in p.

Let ad be the numbers of tiles in distance d from some heptagon in our tiling i.e., the perimeter ofa circle of radius d. We believe this sequence has not been previously studied. The initial values of thissequence are 1, 7, 14, 28, 49, 84, 147, 252, 434, 749... and for d ≥ 5, the following recursive formula holds:

HyperRogue: Playing with Hyperbolic Geometry

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ad+4 = ad+3 + ad+2 + ad+1 − ad, and thus ad = Θ(γd), where γ = 1+√13+√

2√13−2

4 ≈ 1.72208 ≈√

3.This γ is the fundamental constant of our tiling, as the same recursive formula eventually holds when westart from a hexagon, or include the whole area of the circle, instead of just the boundary, and thus all thesesequences are asymptotically Θ(γd); γd is also the ratio of lengths of corresponding segments of concentrichorocycles in distance d, and the limit of the similar ratio for circles and equidistants, as r → ∞. In theheptagonal tiling the respective value of γ is φ + 1 = φ2 = 2.618..., i.e., the sequence grows exactly twiceas fast as the Fibonacci sequence.

What Can We Learn, or How Does Hyperbolic Geometry Affect the Gameplay

The world of HyperRogue consists currently of about 50 different lands. Each land has a specific theme(treasure to collect, enemies to fight), and specific mechanics displaying different aspects of hyperbolicgeometry. Regular straight lines are usually employed as borders between the lands (see Figure 1a), butcurves of large radius (circles, equidistants, and horocycles of infinite radius) are used in some cases. Forexample, Camelot is a large circle without internal markings; players are required to devise an algorithm toreach the center. It is practically impossible to reach the center solely on Euclidean intuitions – by lookingat a small part of a large radius curve it is impossible to tell the exact way to the center, what is the radius,nor which kind of curve it is (their curvatures are almost equal). In a large radius curve, moving into adirection which appears promising takes one back to the edge very quickly. In other cases the consecutiveconcentric horocycles are marked, so that finding the correct direction is easy; for example, in the Temple ofCthulhu every sixth horocycle is marked. Since all horocycles have roughly the same shape, moving towardsthe center of the Temple gives the players an impression of endless descent, a bit like in Escher’s famousAscending and Descending.

A very important aspect of HyperRogue is that the number of tiles in radius r is exponential. Playersquickly learn that it is practically impossible to reach a location they have been before, unless some methodof marking the way has been used. Exponential space is not the only reason why this is difficult – the otherreason is curvature: if you move fromA toB, fromB toC, and fromC toA, the map will usually be rotated;this happens because the sum of external angles of the triangle ABC is not 360. Some time later, they mightbe surprised about one situation where they do return – going back towards the center of a large radius curve.This commonly happens in the Ivory Tower, where artificial gravity pushes creatures towards the straight linebordering the Tower; after ascending in a random way, and descending back to the borderline, one typicallylands very close to their starting point. Each level of the Ivory Tower (levels are marked with alternatingcolors in Figure 3c) is an equidistant curve, giving insight to how a three-dimensional hyperbolic space withgravity might operate – if one floor is two tiles high, and we have two points A and B on some level indistance d along the equidistant, the distance betwen the corresponding points A′ and B′ on the next flooralong their equidistant will be γ2 ≈ 3 times larger. Then, they might be surprised yet again when they finda randomly generated large obstacle on their way to the center of a large radius curve (as happens e.g. in thePrincess Quest) – even though it seems that circumventing such obstacles is impossible (trying other routespushes you back into the obstacle) this can be done with persistence.

The Yendor Quest requires one to return to a location 100 steps away, which is practically impossiblewithout devising some method (γ100 possible directions). Yendor Quest and Camelot are examples of questswhich would be trivial in Euclidean. On the other hand, in the Galapagos one receives a quest which is easyin hyperbolic plane, but hopeless in Euclidean. The player encounters a Baby Tortoise, and has to find anadult of the same species. However, each tile in the Galapagos has 21 binary environmental factors, whichchange smoothly (most of the factors are equal for tiles which are close); and for each of 221 combinationsof the factors, there is a different species. In the Euclidean world, one would have to travel Ω(

√221) tiles

to find the adult tortoise matching a random baby – and that is under (definitely false) assumptions that we

Kopczynski, Celinska and Ctrnact

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know where to go, that each tile contains a tortoise, and environmental factors change quickly. However, inthe hyperbolic world, the task can be completed quite easily, simply by moving towards areas where morefactors match.

Exponential space is also at the core of game design of HyperRogue. The play in roguelikes and similargames progresses from easy to difficult levels; on the easy levels, the player might find some powers orresources (equipment, consumables, XP, etc.), which will be useful on later levels. In this design, unlimitedamount of space on each level leads to grinding, i.e., staying on easier levels for long times in order tocollect large amounts of resources. Allowing grinding is considered a bad design, since it leads to boringgameplay, and modern well designed roguelikes avoid this, usually by restricting the size of levels. However,HyperRogue has to take a different approach. The player’s progress and score is measured by the numberof treasures they have collected; the more treasures they have collected in a given land, the more enemiesappear in this land, thus making it harder and harder to collect more treasures. If permanent equipment orconsumables did appear on the map, it would be possible to grind; for this reason, there are no permanentor consumable resources to be found, other than treasures and Dead Orbs which have very limited uses.One possible solution which combines permanent and consumable powers with infinity is to give powersonly as extra prizes for collecting treasure – since the ability to collect treasures is limited, so are the prizes.The current versions of HyperRogue do not provide consumables in this way, but a permanent effect ofcollecting many treasures in a given land is access to magical orbs (which appear randomly and providetemporary power-ups of various kinds), and also access to more advanced lands.

Even though negative curvature is probably the thing that students remember best about the hyperbolicplane, its effect on the gameplay, or living in the hyperbolic world, appears quite limited, compared toexponential space and its consequences. One land where curvature is featured prominently is the BurialGrounds, where treasures have to be excavated using a magical energy sword. The problem here is that thesword has to be aimed in the specific direction (where the wall is soft), and the PC is unable to rotate theirsword, which just floats in the air next to the PC, maintaining its relative angle to the PC’s movement. Ina Euclidean world, the sword would always face the same direction, but here, we can use the curvature torotate the sword. Understanding that the sword will rotate when we go around a loop, and that the angleof its rotation is proportional to the area inside the loop, is essential for excavating treasures efficiently; theplayers will have to learn this to be successful in the Burial Grounds.

Procedural Generation in the Hyperbolic Plane

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a) b) c) d)

Figure 4 : (a) Zebra pattern, (b) Zebra, (c) Emerald Mine, (d) Dragon Chasms.

The infinite world of HyperRogue is procedurally generated on the fly. In this section we describe themethods used to place terrain features such as walls, trees, or chasms.

HyperRogue: Playing with Hyperbolic Geometry

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Random patterns. The easiest method is to place terrain features randomly: each tile independently be-comes a wall with probability, say, 50%, thus creating a maze. This method yields much more satisfactoryresults than in Euclidean geometry (dead ends are rare) due to the tree-like nature of the hyperbolic plane.This method can be further differentiated by altering the probability, refining the results using a cellularautomaton (the Living Cave), or by placing large obstacles with smaller probabilities.Periodic patterns. Figure 4a depicts a periodic encoding, which we call the Zebra pattern. The hyperbolicplane has been tiled in a regular way with a “triangle” consisting of 7 hexagons and 3 heptagons. Triangleshave been colored into four colors, and for each colored triangle, ten codes have been given to its tiles, adifferent set of ten codes for each color. The coding is periodic, i.e., there is a subgroup HZ of the group Gof isometries of our tiling such that the set of tiles with the same code are exactly its orbits. The code foreach cell can be computed algorithmically.

A single periodic encoding can be used to create many different periodic patterns. Even though theZebra (Figure 4b) and the Windy Plains (Figure 1b) look completely different at the first glance, they areboth invariant under HZ (i.e. isometries which map the encoding into itself also map these patterns intoitself) and thus both can be obtained simply by assigning colors to codes from the encoding above. Therandom pattern mode can be used to try random invariant patterns. The Palace is based on another regularencoding derived from tiling a hyperbolic plane with circles of radius 2 (50 ·4 codes), and several other landsare based on the Emerald pattern consisting of 40 · 4 codes.

The most basic ”unit” that can tile a plane would be a triangle connecting centers of three cells at asingle vertex; such a triangle is formed by two 1/6s of a hexagon and one 1/7 of a heptagon, so the ratioof hexagons to heptagons is 7:3. Any pattern that tiles the whole plane must preserve the same ratio, andtherefore the number of cells in the pattern must be a multiple of 10.

Hyperbolic periodic patterns typically create beautiful tree-like structures. Effects of using a similarprocess in Euclidean geometry are much more trivial – we can only get a kind of checkered or stripedpattern.Fractal landscapes. The diamond-square algorithm [7] can be used to generate realistic looking Euclideanlandscapes; they could be viewed as a two-dimensional generalization of random walk, where we smoothlyassign a random value to each point in the grid 0, n2. Ideally, the fractal landscape should be a randomfunction f : Ω × T → R, where Ω is the probabilistic space and T is the set of all tiles, such that for eachisometry i of the hyperbolic plane, fi given by fi(ω, t) = f(ω, i(t))−f(ω, i−1(t0)) has the same distributionas f . As far as we know, the diamond-square algorithm cannot be easily extended to the whole plane Z2;however, we have found an efficient algorithm working on a hyperbolic tiling [19]. Fractal landscapes areused to generate chasms in the Dragon chasms, and environmental factors in the Galapagos (Figure 1c) arealso generated based on a slightly modified version of this algorithm.Combinations. All these three methods can be combined – in Reptiles (see Figure 1d) a fractal landscape isused to generate the chasms, Zebra pattern is used as a base for the tesselation, and it is randomly decidedwhich of the reptile-shaped floor tiles are actually sleeping reptiles.

Models of Hyperbolic Geometry

The game displays its world in the Poincare model by default. However, it is also possible to experimentwith many other models.

The Minkowski hyperboloid is the set of points (x, y, z) such that z =√

1 + x2 + y2; equipped withthe Minkowski metric, it is the model of hyperbolic geometry used internally by HyperRogue [19]. Poincare,Beltrami-Klein and Gans models can all be obtained from the Minkowski hyperboloid model by viewing theMinkowski hyperboloid from (0, 0,−p), where p = 0 for Klein-Beltrami, p = 1 for Poincare, and p → ∞

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a) b) c) d)

Figure 5 : (a) Band model, (b) conformal square [6], (c) the Hypersian Rug model, (d) conformal spiral.

for Gans. If we assume that the HyperRogue world is actually a three-dimensional hyperbolic space, theground level is an equidistant surface c units under some plane, and we are viewing it from a point g unitsabove the plane, this corresponds to p = tanh g

tanh c . Thus, HyperRogue’s standard 3D display, using the Poincaremodel for the ground level and intermediate values of p for tops of walls and other levels, accurately showshow the situation would look from the bird’s eye, assuming g = c = 1.

One counterintuitive property of hyperbolic geometry is that, even though it may seem that you changeyour movement direction a lot during the game, your path is actually very close to a straight line, exceptthe parts where you were backtracking to a previous location (as happens in the Ivory Tower or during theYendor Quest, for example). The band model [2] is a lesser-known conformal model, corresponding to theMercator projection of a sphere. In this model, a fixed straight line L is mapped isometrically to a Euclideanstraight line. By picking the line L to be the line passing through the starting and ending locations in thegiven game, the player can view their whole path as a single straight band. Another effect can be achievedwith the Poincare half-plane model – if L is mapped to a vertical line in the half-plane model, the wholegame can be seen by zooming the model in or out.

The Hypersian Rug model can be used to play the game on an approximate isometric embedding ofhyperbolic plane in R3, similar to what you get from hyperbolic crocheting [9]. This gives a good insightinto the curved nature of HyperRogue’s world, and how the points close to the edge of the Poincare diskare actually much further away from each other than it appears. Such embedding is shown on Figure 5c,although a static image does not do it justice – it is much better to rotate the model in HyperRogue, and evenbetter to touch a real crocheting or paper model.

Applications, or More than a Game

We believe that HyperRogue is one of the best ways to teach or learn about hyperbolic geometry. Eventhough it does not teach you any mathematical formulas, a very good intuitive grasp of hyperbolic geometrywill be necessary to achieve success in the game, as we have argued in the previous sections. Other thanthe game itself, the built-in map and vector graphics editor could be used by mathematicians and artists,e.g., to find new periodic patterns or new tesselations; this is however currently limited only to tesselationsand patterns derived from the order-3 heptagonal tiling in some way.

It is worth to mention that HyperRogue has potential applications outside of education and art. Hyper-bolic geometry has gained interest in the data visualization and network science communities. Exponentialamount of space allows to easily fit very big trees [12, 14, 11]. Hyperbolic geometry is also intrinsic in scale-free networks [15, 1]. The publicly available source code of HyperRogue contains a very rich set of powerfultools for representing, visualizing, navigating, and performing computations in the hyperbolic plane, bothcontinuous and based on the order-3 heptagonal tiling. These tools are very useful not only for games, butalso could be used as a basis of hyperbolic graph visualization software [3] or efficient implementations ofalgorithms based on hyperbolic geometry.

HyperRogue: Playing with Hyperbolic Geometry

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Acknowledgments

HyperRogue could not achieve its current state if not for the help of its players, constantly reporting bugsand coming up with great ideas for new lands or other features. We would like to especially thank ShawnParrotte for making the music, tricosahedron and wonderfullizardofoz on Steam for many great discussionsand ideas, and Tristan Parker (Sprite Guard) for making a long series of videos about HyperRogue. The fulllist of significant contributors can be found in the in-game credits and on the HyperRogue website [18]. Thiswork is partially supported by the National Science Centre, Poland, grant DEC-2016/21/N/HS4/02100.

References

[1] Thomas Blasius, Tobias Friedrich, Anton Krohmer, and Soren Laue. Efficient embedding of scale-freegraphs in the hyperbolic plane. In European Symposium on Algorithms (ESA), pages 16:1–16:18, 2016.

[2] Vladimir Bulatov. Conformal models of the hyperbolic geometry, 2010. Available online at http://bulatov.org/math/1001/index.html (as of Jan 20, 2017).

[3] Dorota Celinska and Eryk Kopczynski. Programming languages in GitHub: a visualization in hyper-bolic plane. In Proceedings of ICWSM 2017, Montreal, Canada, May 16-18, 2017. To appear.

[4] H. S. M. Coxeter. The non-Euclidean symmetry of Escher’s picture Circle Limit III. Leonardo, 12:19–25, 1979.

[5] David L. Craddock. Dungeon Hacks: How NetHack, Angband, and Other Roguelikes Changed the Course ofVideo Games. Press Start Press, 1st edition, 2015.

[6] Chamberlain Fong. The conformal hyperbolic square and its ilk. In Proceedings of Bridges 2016: Mathe-matics, Music, Art, Architecture, Education, Culture, pages 179–186. Tessellations Publishing.

[7] Alain Fournier, Don Fussell, and Loren Carpenter. Computer rendering of stochastic models. Commun.ACM, 25(6):371–384, June 1982.

[8] Vi Hart, Andrea Hawksley, Elisabetta A. Matsumoto, and Henry Segerman. Non-euclidean virtualreality I: explorations of H3. In Proceedings of Bridges 2017: Mathematics, Music, Art, Architecture, Culture.Tessellations Publishing, 2017.

[9] D. W. Henderson and Daina Tamina. Crocheting the hyperbolic plane. Mathematical Intelligencer,23(2):17–28, 2001.

[10] Douglas R. Hofstadter. Godel, Escher, Bach: An Eternal Golden Braid. Basic Books, Inc., 1979.[11] T. Hughes, Y. Hyun, and D. Liberles. Visualising very large phylogenetic trees in three dimensional

hyperbolic space. BMC Bioinformatics, 5:48, Apr 2004. http://www.caida.org/tools/visualization/walrus/gallery1/.[12] John Lamping, Ramana Rao, and Peter Pirolli. A focus+context technique based on hyperbolic ge-

ometry for visualizing large hierarchies. In Proceedings of the SIGCHI Conference on Human Factors inComputing Systems, CHI ’95, pages 401–408, New York, NY, USA, 1995. ACM Press/Addison-WesleyPublishing Co.

[13] David Madore, 2013. http://www.madore.org/~david/math/hyperbolic-maze.html (Jan 27, 2017).[14] Tamara Munzner. Exploring large graphs in 3d hyperbolic space. IEEE Computer Graphics and Applica-

tions, 18(4):18–23, 1998.[15] Fragkiskos Papadopoulos, Maksim Kitsak, M. Angeles Serrano, Marian Boguna, and Dmitri Krioukov.

Popularity versus Similarity in Growing Networks. Nature, 489:537–540, Sep 2012.[16] Radmila Sazdanovic. Fisheye view of tessellations. In Proceedings of Bridges 2012: Mathematics, Music,

Art, Architecture, Culture, pages 361–364, Phoenix, Arizona, USA, 2012. Tessellations Publishing.[17] Jeff Weeks, 2009. http://www.geometrygames.org/HyperbolicGames/ (as of Jan 27, 2017).[18] HyperRogue website. http://www.roguetemple.com/z/hyper/ (as of Jan 27, 2017).[19] HyperRogue: programming. http://www.roguetemple.com/z/hyper/dev.php (as of Jan 27, 2017).

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