Nine and a half metres a second is walking pace.
Play Lemonli Arena — free, in your browser
Lemonli Arena is a fast first-person arena shooter built for the browser. One arena — Reactor Zero, a decommissioned power plant turned into a venue — seven weapons, and a respawn that takes about a second. The whole thing is a loop you can learn in thirty seconds and spend a very long time getting good at: take a weapon, take the middle, take a fight, die, and be back in it before you have finished being annoyed. Running is the slow way to move. Speed comes out of the air: steer across your own momentum while airborne and you accelerate, kick off a wall to change direction, slide off a ledge and keep every metre of it. The arena is three levels deep with a six-metre pit in the middle of it, and the two best items in the game are at the top of the exposed part and the bottom of the dangerous part. Play it alone against bots at three difficulties, or send a friend a four-character code and fight them directly — browser to browser, no download, no account.
Click the arena to lock the mouse. You start with the Tacker, whose ammunition regenerates, so you are never standing there unable to shoot back.
Running tops out at 9.5 metres a second and that is the slowest you should ever be moving. Hold jump to keep bouncing, and while you are in the air hold a strafe key and turn the mouse the same way. Steering ACROSS your own momentum is what accelerates you — holding forward does nothing at all.
A jump re-pressed within a tenth of a second of touching down is a clean hop and keeps a slice of the speed friction was about to take. Holding the key still hops; it just never pays the bonus.
In the air, near a wall, jump again to kick off it. Two per jump, refreshed the moment you touch the ground. On the ground above 7 m/s, crouch to slide — low profile, almost no friction, and going off a ledge mid-slide keeps everything.
Weapons lie around the arena and every one of them is the right answer somewhere. The Shuck is devastating under eight metres and useless past twenty. The Meridian is the only thing worth holding on a long sightline. The Slugdriver does more knockback than damage, which is a tool, not a weakness.
The Amplifier sits on the reactor skirt in the middle of the map, in everyone’s view, on a 55-second timer. The Carapace is at the bottom of the Sink, six metres down, and the only fast way out of there is a kickplate.
A match ends on the clock or at 25 frags. Set up practice however you like — one to seven bots, three difficulties, any length — but the leaderboard takes one configuration only: ten minutes against three Elite bots. The panel tells you whether what you have chosen counts.
It plays on a phone. Hold it sideways: left thumb moves, right thumb looks, and the FIRE button doubles as a look pad so you can shoot and steer with the same thumb. Aim assist is on by default there and is a slider you can turn off.
Lemonli Arena is a free first-person arena shooter that runs in a browser tab. It is deliberately fast: one map, seven weapons, a one-second respawn, and movement that rewards you for never touching the ground. You can play it alone against bots or send someone a four-character code and fight them directly, browser to browser.
It is free and there is no account. Practice against bots needs nothing at all. A multiplayer match needs one person to press CREATE MATCH and share the code or link it gives them — the other player opens it and is in.
Peer-to-peer over WebRTC. Once two browsers have found each other, gameplay traffic travels directly between them rather than through a server; the only thing our server does is introduce them. One player’s browser is the authority for the match — it decides every hit, pickup and score — and everyone else predicts their own movement locally so it still feels immediate. If a direct connection cannot be opened, which happens on some networks, the match falls back to relaying through the same server and tells you it has.
Because you are running, and running is the slow way to move. Hold jump to keep hopping, and while you are airborne hold a strafe key and turn the mouse the same way. Steering across your own momentum accelerates you; holding forward does nothing. A jump re-pressed the instant you land keeps speed friction would have taken, and a wall kick redirects you without losing any. A good player crosses the arena at more than twice a walking sprint.
Seven, and each one is the correct answer somewhere. Tacker, the sidearm, whose ammunition regenerates so you are never unarmed — three hits in quick succession make it pop for splash. Shuck, eleven pellets and a full second of nothing afterwards. Skelp, sustained fire whose accuracy degrades while you hold it. Cauter, a short beam that melts anything inside ten metres. Slugdriver, more knockback than damage, which is how you boost yourself across the map or shove somebody into a pit. Voidpin, a pull field that sets up kills rather than getting them. Meridian, hold to charge and release to pierce two bodies at range.
Reactor Zero — a decommissioned power plant turned into a venue. It is three levels: a gantry ring near the ceiling with the long sightlines, a core ring at ground level with four bridges to a ledge around the reactor drum, and the Sink, a six-metre pit around the base of the reactor with coolant vents that fire on a cycle. The drum blocks every sightline through the middle on purpose, so no single position covers the whole arena.
The Amplifier is on the reactor skirt at the dead centre of the map, in everybody’s view, on a 55-second timer. The Carapace is at the bottom of the Sink, which is the most dangerous place to be. Overdrive is on top of a turbine in the north hall. Learning those three timers is worth more than learning to aim.
The Elite ones are genuinely difficult and they do not cheat to be. Every difficulty uses the same weapons, the same health and the same map knowledge you have; what changes is reaction time, how fast they can turn, how much error is on their aim, and how well they lead a moving target. They navigate the whole arena, take items on timers, pick weapons by range, and back off to find health when they are hurt.
Yes, held sideways. Your left thumb moves — the stick appears wherever you put it rather than sitting in a fixed corner — with jump and slide beside it, and your right thumb looks by dragging anywhere on the right of the screen. The fire button is also a look pad, so a drag that starts on it keeps shooting while it steers; that one detail is what makes an arena shooter work on glass at all, because otherwise you can aim or you can shoot but never both at once. Even the air-carve works the same way: hold the stick sideways and drag the look in the same direction.
On touch, yes, and it is on by default — a thumb cannot resolve what a mouse can, and no amount of sensitivity tuning changes that. It does two things: it turns the view gently toward someone who is ALREADY near your crosshair and in your line of sight, and it slows your own drag while you are over them so a fast flick does not skate past. It never picks a target for you and it never pulls the trigger. It is a slider in Settings, available on any device, and you can set it to zero.
Yes, for practice only. A ten-minute practice match against three Elite bots posts your score — frags plus bonuses for multi-kills, streaks, long range and pushing someone into a hazard. Multiplayer matches do not rank, because in a peer-to-peer game the host’s own browser is what counts the score.
No. The arena, the weapons, the competitors, the movement rules, the sound, the music and the interface are all original work made for this game. It is inspired by the arena-shooter genre the way any racing game is inspired by racing — at the level of what the game is, not at the level of anyone else’s assets.
All of it, and none of it is an audio file. Every weapon, footstep, impact and explosion is synthesised in the browser as it happens, which is why the game loads instantly. Each weapon has its own voice rather than the same shot at a different volume, so you can tell what somebody across the arena is holding without seeing them. The soundtrack is four layers on one clock that fade in and out with how dangerous the last few seconds have been.
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