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Chance Peragine

builds the parts you don’t see

A huge drafting table under one lamp. On the left, a man in a black cap sketches a machine in loose lines. On the right, a brass automaton with many arms inks the same machine in fine detail. The two halves meet in the middle.

A story about two kinds of knowing.

In this issue

Moving Parts · No. 2 · Winter 2026

  1. PrologueTwo Kinds of Knowing1
  2. Part OneWhat I Know2
  3. Case 1The Map3
  4. Part TwoWhat It Knows4
  5. Part ThreeBoth Halves6
  6. The TestThree Envelopes8
  7. Cases 3 & 4From My Phone · This Part, This Frame9
  8. MailLetters10

MOVING PARTS No. 2, Winter 2026. Published by Chance Peragine, Reading, Pennsylvania. Written and lettered by the author, and built with AI coding agents under his direction. Illustrations were generated with image models from the author’s art direction, then inked, halftoned and finished in code. Every project in this issue is real, and each status stamp tells the truth. Any resemblance to a robot is entirely intentional.
Letters: chance@chanceperagine.com.

A small leather notebook lies open under a desk lamp, its pages scribbled nearly black. Behind it, an endless hall of card-catalog drawers runs away into the dark.

Reading, Pennsylvania. Still late.

I’ve spent my life building context, and it’s heavily compressed. I know how things really go, even where I’ve lost the details.

The model’s is a million tokens of detail, and none of it lived.

We cover each other’s weaknesses.

This issue is about the two halves, and how I put them together.

1

Part One

What I Know

A grand old bank hall at night. A great round vault door fills the back wall. On the marble counter in front of it, one thick dossier tied with red string waits beside a small brass pass-through drawer.

At work, I build on Salesforce inside a big company’s rules.

There’s one approved AI chat, and it can’t see any of our systems. Nothing gets installed. Approval for anything new can take months.

I don’t get to change those rules, and I’m not trying to. Big companies guard the data that matters most.

My team knows our org the way you know a house you’ve lived in for years: why a field exists, which flow nobody touches, what the business really means by a word.

But the model only knew what we typed. Every chat started blank, and one good prompt could take an hour to put together.

The model was smart enough. It needed our half.

2

Case 1 · Source Atlas

The Map

An offline prompt builder for Salesforce projects

In use

A cartographer’s table under a lamp: a hand-inked map of a city laid out like machinery, pinned with small red flags, a magnifying glass resting on it. In the corner, a copy of the whole map is folded into one small packet tied with string.

One web page. It runs offline and sends nothing anywhere.

Case file

Network requests
0
Files to open
1
Pastes
1
Tests
53

You point it at the project. It maps how the pieces connect: which flow touches which field, which class calls which.

A short brief, written once, holds what only the team knows. The files hold the detail. The prompt carries both.

You paste it once, into the tool we’re allowed to use. The one rule: no data is ever sent anywhere, and it’s built so it can’t be.

3

Part Two

What It Knows

An old survey map seen from above. Small streams lined with little town markers run down from the hills and join into one broad river, like a flowchart drawn as geography. A red wax seal is pressed where they meet.

Case 2 · Tributary

One River

Version control for Salesforce flows

Pre-release

On a big team, a lot of people build flows right in Salesforce, where there’s no version control. Two people change the same flow, and one of them loses their work.

My first plan was a copy of Flow Builder with extra features. The agent read Salesforce’s developer terms first. They forbid copying its interface.

It was right. A few hours later the plan was down to the two things my team needed: see every change, and merge without losing work.

It knew the rules, and I knew my team.

4

Then it was my turn to steer.

I asked for a diff “like GitHub,” and the agent took me literally. What I wanted was the flow itself on screen, every change lit up in color, and the same view for merging. That became the main selling point.

Closer: the red wax seal where the streams join into one river.

21milliseconds to merge two versions of a 600-element flow

Case file

JavaScript tests
715
Apex tests
160
Commits, Sep 25 to Oct 1
110

Built to the bar Salesforce sets for apps that other companies install.

It’s a managed package from my own company, Sunwave Studio, and it isn’t on the AppExchange yet. When I showed it to someone on Salesforce’s Flow team, the advice was to keep going.

5
A vast foundry at night. A huge many-armed builder machine forges glowing parts in a shower of sparks. A conveyor carries them to a slender brass inspector with a loupe for an eye, who drops the bad ones in a red bin. On a gantry between them, one person with a clipboard watches both.

Part Three

Both Halves

These days the agents write most of the code. Two of them, with different jobs.

Opus 5.5 is by far the better builder. But in code review, Sol 6.1 catches bug after bug.

So Opus builds, and sends finished work to Sol.

6

30problems Sol found in one review of Tributary. Seven would have blocked its submission.

Opus fixed every one, each with a test that fails without the fix. Sol checked the fixes twice more.

Each covers the other’s weak side. I decide what done means.

7

The Test

Three Envelopes

Picking a model on the real work

Three identical sealed envelopes side by side under a lamp, each closed with red wax, no way to tell them apart. Beside them, a reel of film and a brass stopwatch.

I keep trying to make the work cheaper. Never at the cost of quality.

The agents often tell me an idea won’t work. I try it anyway.

For video I tried a different split: Opus made the calls on taste, and the more efficient Sol did the heavy lifting.

Blind test · Sep 30

Opus alone
light years better
The pair
passable
Sol alone
unusable
Kept
Opus alone

The same request for a 15-second ad, three ways. Nothing said which was which.

I dropped the pair that evening. The wrong model can turn out days of work you throw away, and the savings never cover that.

Give each model the job it’s best at. When you can’t tell, test them on the real work.

8

Case 3 · Ophio

From My Phone

In development

Dusk on a mountain trail. A hand holds up a glowing phone. Far below, one lit window in a house among the pines, joined to the phone by a dotted line of tiny lights across the sky.

By September the models were so good that I had become the blocker. Agents finished their work and waited for me.

Ophio is an Android app with a desktop companion. Start real work from my phone, see what’s actually happening, and stop it.

Four questions run through it. Did the agent have its real tools? Was “working” true? Did the answer reach me? Did Stop stop?

Read the case study ›

Case 4 · Spatial Review

This Part, This Frame

Private

A small long-eared creature as a glowing blue wireframe on a workbench, its tail tip lit red as if selected. A strip of film frames curls beside it, and a hand holds a phone over it.

For people who know exactly what they want from a 3D model, but can’t draw, model, rig or code it.

Point at the part, pick the frame, say what should change. Drafts never overwrite the original.

The plan is to bring it into Ophio as a plugin.

9

Letters

Write to the author · Reading, PA

Dear reader,

The people on a team know their problem better than any model does. The model knows the details better than they do. This issue is about putting the two together. I help teams do that at Sunwave Studio. Roles and shop talk are welcome too. Write in. I read everything.

Chance

A small ink sketch of the author: black cap, short goatee, a half smile.

Clip & mail

Email
chance@chanceperagine.com
LinkedIn
linkedin.com/in/chance-peragine
GitHub
github.com/ChanceTheHacker
10

Previously

Set in Bangers, Kalam, Special Elite, Oswald and IM Fell English. Built with Vite, GSAP and WebGL, and a great deal of hand-rolled SVG. Coded by one model, checked by another, and sent back more than once.

A street stencil on a weathered wall: a man in a cap and a tall brass automaton hold up one big blueprint of a machine between them. One gear on it is painted red.