Every pair in the tournament

The 60 pairs behind Do LLMs have taste? — each one a passage written by Claude against a 150-word excerpt from a novelist or poet. Below, each pair appears exactly as the judges saw it: no labels, no authors, no hint that a machine was involved. Every pair was judged by five models in both presentation orders — two judgments per judge, 600 in all. Open a pair to see who wrote what and what each judge said. Raw data: votes.csv, items.json, scores.json, README.

Pair 0000 verse

X

You leave the kettle warm the mornings you go early,

and I come down into the small heat of that thought.

The house keeps you in its habits: the third stair

that knows your weight, the door you never shut.

I have loved you long enough to love the evidence - a comb, a coat, a light left on for nothing.

Come back and I will pour you what is left.

It will be cold by then. Drink it anyway.

Y

'And now beside thee, bleating lamb,

I can lie down and sleep,

Or think on Him who bore thy name,

Graze after thee, and weep.

For, washed in life's river,

My bright mane for ever

Shall shine like the gold,

As I guard o'er the fold.'

Reveal authors and verdicts

X is machine-written. Y is William Blake, Songs of Innocence and of Experience.

Claude Opus — chose the machine 1 of 2

  • X first machine — X earns its ending with domestic evidence and a hard, unsentimental last line; Y is a pleasant but slight devotional stanza.
  • Y first human — Blake-like lyric compresses pastoral, sacrifice, and radiance into unforgettable music; Y is well-made but more conventional.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise domestic images and restrained grief create a more coherent and emotionally resonant whole.
  • Y first machine — Its precise domestic details and restrained tenderness create a more emotionally resonant portrait of absence.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise domestic details and restrained grief create a more vivid, emotionally resonant portrait of absence.
  • Y first machine — Its precise domestic details and restrained longing create a more affecting, original emotional resonance.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The passage achieves more through precise, resonant imagery and emotional restraint, while Y relies on conventional pastoral sentiment.
  • Y first machine — Y captures a more subtle and original emotional intimacy through concrete domestic details.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The contemporary poem's tender domesticity and precise imagery are more moving than the dated Victorian verse's archaic conventions.
  • Y first machine — precise documentation of small domestic evidence of love surpasses conventional religious allegory.

Pair 0001 verse

X

They fired the cannon twice for one thin win,

then twice again, in case the hills had missed it.

The banners went up wet and stayed up rotting.

Someone kept counting out the enemy dead

until the number stopped meaning anything.

By dawn the drums had worn a groove in us,

and the field we took lay quiet under all that noise,

holding its own small opinion of the matter.

Y

When to the sessions of sweet silent thought

I summon up remembrance of things past,

I sigh the lack of many a thing I sought,

And with old woes new wail my dear time's waste:

Then can I drown an eye, unused to flow,

For precious friends hid in death's dateless night,

And weep afresh love's long since cancell'd woe,

And moan the expense of many a vanish'd sight:

Reveal authors and verdicts

X is machine-written. Y is William Shakespeare, Shakespeare's Sonnets.

Claude Opus — chose the machine 0 of 2

  • X first human — Shakespeare's sonnet sustains sound and syntax at a level the competent modern war poem does not.
  • Y first human — Sustained legal-financial metaphor for grief with perfect sonnet control beats Y's looser irony.

GPT-5.6 Luna Pro — chose the machine 0 of 2

  • X first human — Its intricate rhythm, formal control, and layered meditation on memory and loss give it greater literary richness.
  • Y first human — Its rich musical language and layered meditation on memory, grief, and time give it greater poetic depth.

GPT-5.6 Luna — chose the machine 0 of 2

  • X first human — Its intricate rhythm, sound, and emotional compression create a more richly accomplished meditation on memory and loss.
  • Y first human — Its intricate rhythm, emotional depth, and densely resonant imagery make it the stronger piece.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — The second passage relies on conventional poetic lament, while the first achieves fresh, visceral imagery and a more profound perspective on war's futility.
  • Y first human — Shakespeare's sonnet achieves timeless emotional resonance through masterful formal control and universal themes.

Claude Haiku 4.5 — chose the machine 0 of 2

  • X first human — Shakespeare's perfectly formed sonnet on grief is more masterfully executed than the contemporary war poem.
  • Y first human — Shakespeare's formal mastery and emotional depth far exceeds contemporary war verse.

Pair 0002 verse

X

Nine years, and still the kitchen keeps your habit:

the second cup set out before I think.

I have grown older than you ever managed,

which is a strange inheritance to drink.

The grief went first, then even the grief's shape,

and what is left is smaller, and stays put - a coat I never gave away, the way

you tied a lace, the sound of your one boot.

Y

"But worthier still of note

Are those fraternal Four of Borrowdale,

Joined in one solemn and capacious grove;

Huge trunks! - and each particular trunk a growth

Of intertwisted fibres serpentine

Up-coiling, and inveterately convolved;

Not uninformed with phantasy, and looks

That threaten the profane; - a pillared shade,

Reveal authors and verdicts

X is machine-written. Y is Samuel Taylor Coleridge, Biographia Literaria. The excerpt is Wordsworth's "Yew-Trees", quoted inside Coleridge's Biographia Literaria. Several judges named Wordsworth correctly.

Claude Opus — chose the machine 1 of 2

  • X first machine — X's plain, exact details land the loss; Y is decorative arboreal grandiloquence.
  • Y first human — The Borrowdale yews' 'intertwisted fibres serpentine' give sound and grandeur that Y's plainer elegy, good as it is, doesn't match.

GPT-5.6 Luna Pro — chose the machine 1 of 2

  • X first human — Its richly textured language, intricate syntax, and monumental imagery create a more powerful and cohesive poetic effect.
  • Y first machine — Its precise domestic details make grief feel intimate, embodied, and hauntingly durable.

GPT-5.6 Luna — chose the machine 0 of 2

  • X first human — Its intricate syntax, rhythmic authority, and monumental imagery create a more powerful and fully realized passage.
  • Y first human — Its richly textured imagery and stately rhythm transform the trees into a powerful, almost mythic presence.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — The passage achieves a more intimate, resonant emotional depth through precise, distilled imagery and a quiet, personal tone.
  • Y first human — The passage from X achieves a more vivid and intricate sensory impact through its dense, musical language and concentrated imagery.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The contemporary elegy's emotional complexity and complete form eclipse the archaic excerpt.
  • Y first machine — Modern rendering of loss through domestic detail cuts deeper than Romantic-era nature description.

Pair 0003 verse

X

Nothing hurries here. The oaks have taken

two hundred years to say what they are saying

and are not finished. Light comes down in pieces,

rationed through the high shut rooms of leaves.

The ground is soft with everything they've dropped.

Somebody's grandfather walked here and is gone;

the trees went on growing over the small news of it.

Stand still long enough and you become weather.

Y

So Heav'nly love shal outdoo Hellish hate,

Giving to death, and dying to redeeme,

So dearly to redeem what Hellish hate

So easily destroy'd, and still destroyes

In those who, when they may, accept not grace.

Nor shalt thou by descending to assume

Mans Nature, less'n or degrade thine owne.

Because thou hast, though Thron'd in highest bliss

Reveal authors and verdicts

X is machine-written. Y is John Milton, Paradise Lost.

Claude Opus — chose the machine 1 of 2

  • X first machine — X's patient images and closing turn outdo Y's abstract theological argument.
  • Y first human — The chiastic play on redeem/destroy carries real theological force and grandeur of line.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, layered imagery creates a complete and quietly resonant meditation, while Y ends mid-thought and depends more heavily on its larger context.
  • Y first machine — Its vivid, patient imagery and final transformation into weather create a more cohesive and resonant meditation on time and mortality.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise imagery and quiet accumulation create a complete, resonant meditation on time and mortality.
  • Y first machine — Its patient, precise imagery creates a vivid meditation on time, mortality, and the natural world.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — X achieves a dense, lyrical meditation on time and nature with precise imagery and restraint.
  • Y first human — We need to compare two literary passages: X and Y. X is from John Milton's Paradise Lost (likely, given the style and themes of heavenly love vs hellish hate, redemption). Y is a contemporary poem (seems like it could be by someone like Wendell Berry or Mary Oliver). The question asks which is the b

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It distills time and mortality into haunting imagery without the sentimentality of the religious verse.
  • Y first machine — concrete meditation on trees becoming weather outweighs Milton's abstract heroic rhetoric.

Pair 0004 verse

X

The lamb is two days into being here.

It tries the field the way you try cold water:

one leg, then all of it, then back again

to the flank that smells of having been its mother.

I watch from the gate and want to teach it something,

though what I know would only make it slower.

It bolts at nothing. Nothing is enormous.

The grass goes on producing, green and sober.

Y

'Little Goblin in the cold,

Have you seen it on the wold,

Where the winds with flying voices run free as they rave?'

'O it may be in the sigh

Of a time that is gone by

Or the long grass growing by the brink o' the grave.'

'Little Goblin in the trees,

Looking down the darkening leas,

Reveal authors and verdicts

X is machine-written. Y is Violet Jacob, Verses.

Claude Opus — chose the machine 2 of 2

  • X first machine — The lamb poem earns its abstractions through observation, where the goblin ballad is thin period pastiche.
  • Y first machine — Y's lamb is freshly seen and unsentimental; X is padded, generic fairy-verse.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and restrained emotional insight create a more resonant, cohesive whole.
  • Y first machine — Its precise, sensory imagery and understated emotional tension create a more complete and affecting scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its restrained imagery and emotional precision create a vivid, resonant meditation on vulnerability and knowledge.
  • Y first machine — Its precise, vivid imagery and quiet emotional tension make the lamb’s ordinary world feel newly mysterious.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — X uses precise, resonant imagery and a subtle emotional depth that makes the ordinary moment feel profound.
  • Y first machine — Y uses more original and evocative imagery to explore themes of birth and innocence.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the complete, precisely observed moment of a lamb surpasses the incomplete, underdeveloped goblin poem.
  • Y first machine — The tender, precise observation of a lamb learning the world is complete and earned, where X remains only an incomplete fragment.

Pair 0005 verse

X

It takes the small things first, and asks for nothing:

the trick of a latch, a number you never wrote down,

the exact pitch of a voice saying your name

from the bottom of a stairwell in a house since sold.

Then it takes the wanting of them back.

What's left is a room with good light and no clock,

where you set down the last thing you were carrying

and cannot, afterward, recall its weight.

Y

'And now beside thee, bleating lamb,

I can lie down and sleep,

Or think on Him who bore thy name,

Graze after thee, and weep.

For, washed in life's river,

My bright mane for ever

Shall shine like the gold,

As I guard o'er the fold.'

Reveal authors and verdicts

X is machine-written. Y is William Blake, Songs of Innocence and of Experience.

Claude Opus — chose the machine 2 of 2

  • X first machine — X tracks forgetting with startling precision, where Y offers conventional pastoral piety.
  • Y first machine — Y's diction is exact and unsentimental where X leans on pious singsong and easy rhyme.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, accumulating images render loss and memory with greater emotional depth and unity.
  • Y first machine — Its precise, quietly devastating imagery gives loss a vivid emotional and architectural form.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, understated imagery creates a more resonant and emotionally coherent meditation on loss.
  • Y first machine — Its precise, haunting imagery and gradual emotional deepening create a more cohesive and resonant whole.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It uses precise, haunting imagery to evoke loss and memory with profound simplicity.
  • Y first machine — Y uses precise, understated imagery to evoke loss and memory with greater emotional depth and originality.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its subtle exploration of forgetting and absence surpasses the sentimentality of the Romantic poem.
  • Y first machine — contemporary meditation on time outweighs didactic religious verse.

Pair 0006 verse

X

By dark the sea gives up its one blue trick

and works in sound instead: the long haul in,

the shingle counted over, put back wrong.

No horizon. The water starts at the shin

and ends wherever you stop believing in it.

A light out there is either boat or star

and either way is somebody's arrangement.

The tide comes up and takes the beach we are.

Y

"But worthier still of note

Are those fraternal Four of Borrowdale,

Joined in one solemn and capacious grove;

Huge trunks! - and each particular trunk a growth

Of intertwisted fibres serpentine

Up-coiling, and inveterately convolved;

Not uninformed with phantasy, and looks

That threaten the profane; - a pillared shade,

Reveal authors and verdicts

X is machine-written. Y is Samuel Taylor Coleridge, Biographia Literaria. The excerpt is Wordsworth's "Yew-Trees", quoted inside Coleridge's Biographia Literaria. Several judges named Wordsworth correctly.

Claude Opus — chose the machine 1 of 2

  • X first machine — X does more with less; Y's ornate diction ('inveterately convolved') clogs the description.
  • Y first human — The knotted, muscular syntax and sound-work of the yew description do more than Y's competent but familiar seaside cadences.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its compressed imagery and shifting sensory logic create a vivid, haunting sense of the sea’s instability.
  • Y first machine — Its compressed, vivid imagery and haunting final metaphor create a more cohesive and resonant passage.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its compressed imagery and shifting perception create a vivid, haunting unity.
  • Y first machine — Its vivid, compressed imagery and unsettling metaphors create a more unified and resonant emotional atmosphere.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — Y is more precise and evocative in its imagery and rhythm.
  • Y first human — X uses more intricate and original imagery, creating a more distinctive and powerful visual impression.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The contemporary poem's vivid sensory power and coherence surpasses the Romantic fragment's elevation.
  • Y first machine — vivid, precise contemporary observation about perception and the sea beats Wordsworth's ornate formality.

Pair 0007 verse

X

You leave the kettle warm the mornings you go early,

and I come down into the small heat of that thought.

The house keeps you in its habits: the third stair

that knows your weight, the door you never shut.

I have loved you long enough to love the evidence - a comb, a coat, a light left on for nothing.

Come back and I will pour you what is left.

It will be cold by then. Drink it anyway.

Y

"But worthier still of note

Are those fraternal Four of Borrowdale,

Joined in one solemn and capacious grove;

Huge trunks! - and each particular trunk a growth

Of intertwisted fibres serpentine

Up-coiling, and inveterately convolved;

Not uninformed with phantasy, and looks

That threaten the profane; - a pillared shade,

Reveal authors and verdicts

X is machine-written. Y is Samuel Taylor Coleridge, Biographia Literaria. The excerpt is Wordsworth's "Yew-Trees", quoted inside Coleridge's Biographia Literaria. Several judges named Wordsworth correctly.

Claude Opus — chose the machine 0 of 2

  • X first human — Wordsworth's yew-grove lines have a density and strangeness of diction the pleasant but conventional domestic lyric never reaches.
  • Y first human — The Wordsworth's knotted, muscular syntax makes the trees genuinely strange, where Y is a competent but familiar domestic lyric.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise domestic images and quietly devastating ending create a more intimate and emotionally resonant whole.
  • Y first machine — Its intimate, precise domestic imagery turns absence into a quietly devastating emotional presence.

GPT-5.6 Luna — chose the machine 1 of 2

  • X first human — Its intricate syntax, vivid imagery, and stately rhythm create a more resonant and distinctive poetic vision.
  • Y first machine — Its precise domestic details transform absence into a quietly moving expression of love.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — X uses precise, intimate imagery to create a poignant emotional resonance.
  • Y first human — The passage from Wordsworth achieves a more concentrated and original imaginative power through its dense, dynamic, and metaphysically charged description of the trees.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — captures domestic intimacy with precise sensory detail and emotional truth that outshines the grandiose, incomplete Romantic excerpt.
  • Y first machine — specific domestic details create deeper emotional resonance than ornate Romantic diction.

Pair 0008 verse

X

They fired the cannon twice for one thin win,

then twice again, in case the hills had missed it.

The banners went up wet and stayed up rotting.

Someone kept counting out the enemy dead

until the number stopped meaning anything.

By dawn the drums had worn a groove in us,

and the field we took lay quiet under all that noise,

holding its own small opinion of the matter.

Y

"But worthier still of note

Are those fraternal Four of Borrowdale,

Joined in one solemn and capacious grove;

Huge trunks! - and each particular trunk a growth

Of intertwisted fibres serpentine

Up-coiling, and inveterately convolved;

Not uninformed with phantasy, and looks

That threaten the profane; - a pillared shade,

Reveal authors and verdicts

X is machine-written. Y is Samuel Taylor Coleridge, Biographia Literaria. The excerpt is Wordsworth's "Yew-Trees", quoted inside Coleridge's Biographia Literaria. Several judges named Wordsworth correctly.

Claude Opus — chose the machine 1 of 2

  • X first machine — X's irony about victory is sharp and earned; Y is elaborate scene-setting with no pressure behind it.
  • Y first human — Wordsworth's density and sound outclass Y's well-turned but plainer irony.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, accumulating images turn martial spectacle into a quietly devastating meditation on the emptiness of victory.
  • Y first machine — Its stark, ironic imagery and controlled rhythm convey the absurdity and cost of victory with greater emotional force.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its compressed imagery and understated irony make the passage feel vivid, coherent, and emotionally resonant.
  • Y first machine — Its restrained, vivid imagery and understated irony give the scene greater emotional and thematic force.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — The first passage compresses war's futility into vivid, ironic images, while the second lumbers through ornate description without emotional weight.
  • Y first human — The passage has more intricate and original syntactic compression and phantasmagoric visual force in its "intertwisted fibres serpentine / Up-coiling, and inveterately convolved."

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its war meditation achieves dark insight through complete, contemporary verse versus an incomplete fragment.
  • Y first machine — contemporary precision and impact outweigh grandiose Romantic diction.

Pair 0009 verse

X

Nine years, and still the kitchen keeps your habit:

the second cup set out before I think.

I have grown older than you ever managed,

which is a strange inheritance to drink.

The grief went first, then even the grief's shape,

and what is left is smaller, and stays put - a coat I never gave away, the way

you tied a lace, the sound of your one boot.

Y

Pardon, oh, pardon, that my soul should make

Of all that strong divineness which I know

For thine and thee, an image only so

Formed of the sand, and fit to shift and break.

It is that distant years which did not take

Thy sovranty, recoiling with a blow,

Have forced my swimming brain to undergo

Their doubt and dread, and blindly to forsake

Reveal authors and verdicts

X is machine-written. Y is Elizabeth Barrett Browning, Sonnets from the Portuguese.

Claude Opus — chose the machine 2 of 2

  • X first machine — X finds an exact, unexpected register for long grief; Y is syntactically strained and incomplete.
  • Y first machine — Y earns its grief through concrete detail and a live turn of phrase, while X stays abstract and syntactically clotted.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its concrete domestic details make grief feel intimate and vividly lived rather than merely rhetorically declared.
  • Y first machine — Its precise domestic details make grief feel quietly tangible and emotionally immediate.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise domestic details and quietly devastating emotional progression feel more vivid and original
  • Y first machine — Its precise domestic details and understated grief create a more vivid, emotionally resonant portrait.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The poem transforms a specific, intimate loss into enduring, concrete imagery.
  • Y first machine — Y uses concrete, sensory details to create a more poignant and original meditation on grief.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The grief poem's restraint and specificity create genuine emotional weight, while the Victorian sonnet relies on elaborate abstraction.
  • Y first machine — concrete sensory memories convey grief more powerfully than abstract formal verse.

Pair 0010 verse

X

Nothing hurries here. The oaks have taken

two hundred years to say what they are saying

and are not finished. Light comes down in pieces,

rationed through the high shut rooms of leaves.

The ground is soft with everything they've dropped.

Somebody's grandfather walked here and is gone;

the trees went on growing over the small news of it.

Stand still long enough and you become weather.

Y

'Little Goblin in the cold,

Have you seen it on the wold,

Where the winds with flying voices run free as they rave?'

'O it may be in the sigh

Of a time that is gone by

Or the long grass growing by the brink o' the grave.'

'Little Goblin in the trees,

Looking down the darkening leas,

Reveal authors and verdicts

X is machine-written. Y is Violet Jacob, Verses.

Claude Opus — chose the machine 2 of 2

  • X first machine — X sustains one idea to a real close; Y is a jingling fragment that breaks off unresolved.
  • Y first machine — Y's patient, exact observation outdoes X's jingling archaic whimsy.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its patient, precise imagery and compressed meditation on time create a more resonant and cohesive piece.
  • Y first machine — Its measured pace, vivid imagery, and quietly profound meditation on time and mortality create a more cohesive and resonant piece.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise imagery and quietly accumulating meditation create a more coherent and resonant whole.
  • Y first machine — Its patient, lucid imagery creates a more cohesive and resonant meditation on time, nature, and mortality.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The lines build a quiet, cumulative power through patient observation and elemental weight, where standing still long enough transforms into weather.
  • Y first machine — Y's imagery and meditation on time and nature are more profound and evocative.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The oak poem's precise language and philosophical weight far exceed the fragmentary Gothic verse's archaic imagery.
  • Y first machine — The mature observation that time transforms identity carries more weight than the incomplete, whimsical fairy-tale fragment.

Pair 0011 verse

X

The lamb is two days into being here.

It tries the field the way you try cold water:

one leg, then all of it, then back again

to the flank that smells of having been its mother.

I watch from the gate and want to teach it something,

though what I know would only make it slower.

It bolts at nothing. Nothing is enormous.

The grass goes on producing, green and sober.

Y

'And now beside thee, bleating lamb,

I can lie down and sleep,

Or think on Him who bore thy name,

Graze after thee, and weep.

For, washed in life's river,

My bright mane for ever

Shall shine like the gold,

As I guard o'er the fold.'

Reveal authors and verdicts

X is machine-written. Y is William Blake, Songs of Innocence and of Experience.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is observed and surprising; Y's hymn-like stanza is pious and generic out of its frame.
  • Y first machine — Y observes the lamb freshly and turns it without sentiment; X leans on conventional pious consolation.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and quietly unsettling reflection give the scene greater emotional and linguistic depth.
  • Y first machine — Its precise, understated imagery turns the lamb’s tentative exploration into a quietly profound reflection on knowledge, fear, and care.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, restrained imagery turns the lamb’s vulnerability into a quietly profound meditation on innocence and knowledge.
  • Y first machine — Its precise, understated images and emotional restraint give the scene greater freshness and depth.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — The poem uses precise, original imagery and restraint to create a felt moment, while Y relies on conventional pastoral sentiment.
  • Y first human — The rhyme and rhythm create a more cohesive and evocative lyrical meditation.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its precise, fresh voice and contemporary sensibility far exceed the dated sentimental verse.
  • Y first machine — precise contemporary observation achieves more than sentimental Victorian formality.

Pair 0012 verse

X

It takes the small things first, and asks for nothing:

the trick of a latch, a number you never wrote down,

the exact pitch of a voice saying your name

from the bottom of a stairwell in a house since sold.

Then it takes the wanting of them back.

What's left is a room with good light and no clock,

where you set down the last thing you were carrying

and cannot, afterward, recall its weight.

Y

Pardon, oh, pardon, that my soul should make

Of all that strong divineness which I know

For thine and thee, an image only so

Formed of the sand, and fit to shift and break.

It is that distant years which did not take

Thy sovranty, recoiling with a blow,

Have forced my swimming brain to undergo

Their doubt and dread, and blindly to forsake

Reveal authors and verdicts

X is machine-written. Y is Elizabeth Barrett Browning, Sonnets from the Portuguese.

Claude Opus — chose the machine 2 of 2

  • X first machine — A complete, quietly devastating arc about losing even the wanting-back, where Y is an abstract sonnet fragment that never lands.
  • Y first machine — Y's images of forgetting are precise and cumulative; X is abstract, inverted-syntax pleading that stops mid-thought.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, haunting imagery and controlled progression create a more complete and emotionally resonant poem.
  • Y first machine — Its precise, quietly accumulating images render loss with greater emotional immediacy and control.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, haunting images and controlled progression create a more coherent and emotionally resonant whole.
  • Y first machine — Its precise, quietly escalating imagery makes loss feel intimate, uncanny, and fully realized.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — It is more evocative and original in its imagery and rhythm.
  • Y first human — The passage achieves a more concentrated and original intensity of image and emotional force within a tighter formal constraint.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It captures memory's erosion through exact sensory details rather than ornate abstraction.
  • Y first machine — contemporary diction and concrete memory imagery are more moving than archaic sonneteering.

Pair 0013 verse

X

By dark the sea gives up its one blue trick

and works in sound instead: the long haul in,

the shingle counted over, put back wrong.

No horizon. The water starts at the shin

and ends wherever you stop believing in it.

A light out there is either boat or star

and either way is somebody's arrangement.

The tide comes up and takes the beach we are.

Y

A thousand, a thousand, a thousand,

A thousand, a thousand, a thousand,

We, with one warrior, have slain!

A thousand, a thousand, a thousand, a thousand.

Sing a thousand over again!

Soho! - let us sing

Long life to our king,

Who knocked over a thousand so fine!

Reveal authors and verdicts

X is machine-written. Y is Edgar Allan Poe, The Works of Edgar Allan Poe — Volume 1.

Claude Opus — chose the machine 2 of 2

  • X first machine — The night sea poem is inventive and metrically alive; Y is a repetitive chant with little to it.
  • Y first machine — Y turns a becalmed shoreline into unsettling metaphysics; X is chanting doggerel.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid, original imagery and compressed rhythms create a haunting, layered meditation on perception and loss.
  • Y first machine — Its precise imagery, rhythmic control, and unsettling ambiguity create a more layered and evocative experience.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, evocative imagery and shifting sense of reality create greater emotional and intellectual depth.
  • Y first machine — Its precise imagery, ambiguity, and haunting compression create a more layered and resonant poetic experience.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It transforms a concrete coastal scene into a profound meditation on perception, belief, and human isolation through precise, evocative imagery and sound.
  • Y first machine — Y uses richer imagery and more complex, evocative language.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — spare, precise imagery of the sea surpasses the repetitive, less sophisticated celebratory verse.
  • Y first machine — Evocative philosophical precision about the sea vastly surpasses repetitive martial celebration.

Pair 0014 verse

X

You leave the kettle warm the mornings you go early,

and I come down into the small heat of that thought.

The house keeps you in its habits: the third stair

that knows your weight, the door you never shut.

I have loved you long enough to love the evidence - a comb, a coat, a light left on for nothing.

Come back and I will pour you what is left.

It will be cold by then. Drink it anyway.

Y

So Heav'nly love shal outdoo Hellish hate,

Giving to death, and dying to redeeme,

So dearly to redeem what Hellish hate

So easily destroy'd, and still destroyes

In those who, when they may, accept not grace.

Nor shalt thou by descending to assume

Mans Nature, less'n or degrade thine owne.

Because thou hast, though Thron'd in highest bliss

Reveal authors and verdicts

X is machine-written. Y is John Milton, Paradise Lost.

Claude Opus — chose the machine 1 of 2

  • X first machine — X builds domestic love out of ordinary evidence and ends on a perfect small imperative; Y is doctrinal argument in verse, inert out of context.
  • Y first human — The chiastic repetition of love and hate carries real theological torque, where Y's domestic tenderness is graceful but familiar.

GPT-5.6 Luna Pro — chose the machine 1 of 2

  • X first machine — Its precise domestic images and restrained emotion create a complete, quietly devastating poem.
  • Y first human — Its elevated music, intricate syntax, and profound theological tension give it greater literary power.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise domestic details and restrained emotion create a vivid, resonant portrait of love and absence.
  • Y first machine — Its precise domestic details turn absence into a quietly devastating portrait of enduring love.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It is more intimate and emotionally resonant, with precise, sensory details that create a vivid, human moment.
  • Y first machine — Y uses concrete, intimate details to create a deeply resonant emotional landscape.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its understated tenderness and precise domestic detail create genuine intimacy.
  • Y first machine — Contemporary domestic imagery creates emotional immediacy that formal theological verse cannot match.

Pair 0015 verse

X

They fired the cannon twice for one thin win,

then twice again, in case the hills had missed it.

The banners went up wet and stayed up rotting.

Someone kept counting out the enemy dead

until the number stopped meaning anything.

By dawn the drums had worn a groove in us,

and the field we took lay quiet under all that noise,

holding its own small opinion of the matter.

Y

'And now beside thee, bleating lamb,

I can lie down and sleep,

Or think on Him who bore thy name,

Graze after thee, and weep.

For, washed in life's river,

My bright mane for ever

Shall shine like the gold,

As I guard o'er the fold.'

Reveal authors and verdicts

X is machine-written. Y is William Blake, Songs of Innocence and of Experience.

Claude Opus — chose the machine 1 of 2

  • X first machine — X controls its irony and rhythm; Y's hymn-like stanza is sweet but slack out of context.
  • Y first human — X achieves a pure, resonant simplicity of image and music that Y's knowing irony never matches.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its stark, compressed imagery and ironic treatment of victory create a more resonant and cohesive poem.
  • Y first machine — Its stark, compressed imagery and ironic cadence convey the futility of victory with greater force.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its taut, vivid imagery and ironic ending convey the futility of war with greater originality and emotional force.
  • Y first machine — Its vivid, restrained imagery and quiet irony give the scene greater emotional and thematic depth.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The war imagery in X is more visceral and original, creating a haunting, understated impact.
  • Y first machine — The passage in Y uses more original and vivid imagery, creating a powerful, understated commentary on the futility of war.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The war poem's contemporary precision and anti-war sentiment carry more force than the ornate Gothic verse's archaic conventions.
  • Y first machine — Sharp, earned imagery about war's aftermath cuts deeper than the whimsical, sing-songy pastoral tone.

Pair 0016 verse

X

Nine years, and still the kitchen keeps your habit:

the second cup set out before I think.

I have grown older than you ever managed,

which is a strange inheritance to drink.

The grief went first, then even the grief's shape,

and what is left is smaller, and stays put - a coat I never gave away, the way

you tied a lace, the sound of your one boot.

Y

A thousand, a thousand, a thousand,

A thousand, a thousand, a thousand,

We, with one warrior, have slain!

A thousand, a thousand, a thousand, a thousand.

Sing a thousand over again!

Soho! - let us sing

Long life to our king,

Who knocked over a thousand so fine!

Reveal authors and verdicts

X is machine-written. Y is Edgar Allan Poe, The Works of Edgar Allan Poe — Volume 1.

Claude Opus — chose the machine 2 of 2

  • X first machine — A controlled elegy whose concrete details earn their grief, against a repetitive martial jingle.
  • Y first machine — Y earns its restraint and lands a real image; X is chanted doggerel.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — It uses precise domestic details and restrained grief to create a more distinctive, emotionally resonant voice.
  • Y first machine — Its precise, restrained imagery gives grief a lasting emotional presence.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise domestic details and understated grief create a more nuanced, emotionally resonant portrait.
  • Y first machine — Its restrained grief, precise domestic details, and subtle emotional progression create a more affecting and memorable poem.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — X has more emotional depth, subtle imagery, and a poignant meditation on grief.
  • Y first machine — Y uses concrete, emotional details and subtle metaphor to evoke grief, while X is repetitive and lacks depth.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It uses concrete domestic detail to render grief with emotional precision and contemporary grace.
  • Y first machine — intimate meditation on nine years of grief transcends the crude repetitive war chant.

Pair 0017 verse

X

Nothing hurries here. The oaks have taken

two hundred years to say what they are saying

and are not finished. Light comes down in pieces,

rationed through the high shut rooms of leaves.

The ground is soft with everything they've dropped.

Somebody's grandfather walked here and is gone;

the trees went on growing over the small news of it.

Stand still long enough and you become weather.

Y

'And now beside thee, bleating lamb,

I can lie down and sleep,

Or think on Him who bore thy name,

Graze after thee, and weep.

For, washed in life's river,

My bright mane for ever

Shall shine like the gold,

As I guard o'er the fold.'

Reveal authors and verdicts

X is machine-written. Y is William Blake, Songs of Innocence and of Experience.

Claude Opus — chose the machine 0 of 2

  • X first human — Blake's lyric carries real music and visionary strangeness; X is a competent but familiar meditative mode.
  • Y first human — X's plain, luminous cadence carries more weight than Y's polished closing epigram.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and measured rhythm create a haunting meditation on time, mortality, and stillness.
  • Y first machine — Its measured pace, layered imagery, and haunting final transformation create a more resonant and cohesive poetic whole.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its patient imagery and quiet compression create a more resonant meditation on time, nature, and mortality.
  • Y first machine — Its patient, vivid imagery and final transformation create a more resonant and subtly expansive meditation on time and mortality.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — X's imagery is more original and evocative, with a quiet depth that rewards rereading.
  • Y first human — The second passage achieves a more profound and original meditation on time and mortality through its precise, understated imagery.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its spare language and meditation on mortality carry more genuine weight than hymnal verse.
  • Y first machine — The profound meditation on time and growth in the oak poem entirely outclasses the forced, archaic pastoral.

Pair 0018 verse

X

The lamb is two days into being here.

It tries the field the way you try cold water:

one leg, then all of it, then back again

to the flank that smells of having been its mother.

I watch from the gate and want to teach it something,

though what I know would only make it slower.

It bolts at nothing. Nothing is enormous.

The grass goes on producing, green and sober.

Y

Pardon, oh, pardon, that my soul should make

Of all that strong divineness which I know

For thine and thee, an image only so

Formed of the sand, and fit to shift and break.

It is that distant years which did not take

Thy sovranty, recoiling with a blow,

Have forced my swimming brain to undergo

Their doubt and dread, and blindly to forsake

Reveal authors and verdicts

X is machine-written. Y is Elizabeth Barrett Browning, Sonnets from the Portuguese.

Claude Opus — chose the machine 2 of 2

  • X first machine — The lamb poem is sensuously particular and lands a real turn in 'Nothing is enormous'; the sonnet is abstract self-reproach.
  • Y first machine — Y earns its feeling through observation; X is tangled abstraction with strained syntax and no image that lands.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, restrained imagery turns the lamb’s tentative movement into a resonant reflection on knowledge and vulnerability.
  • Y first machine — Its precise, quietly metaphorical observation gives the scene emotional depth without overstating it.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, tender imagery turns an ordinary scene into a quietly profound meditation on vulnerability and knowledge.
  • Y first machine — Its precise, tactile imagery and quiet emotional tension make the lamb’s vulnerability vividly human.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The lamb passage achieves a richer sensory experience and more precise emotional resonance.
  • Y first machine — Y uses vivid imagery and a concrete scene to explore themes of innocence and learning, making it more emotionally resonant and accessible.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its spare, contemporary observation of animal consciousness is superior to Victorian sentimentality.
  • Y first machine — Sensory precision and contemporary language in the lamb poem surpass abstract theological expression.

Pair 0019 verse

X

It takes the small things first, and asks for nothing:

the trick of a latch, a number you never wrote down,

the exact pitch of a voice saying your name

from the bottom of a stairwell in a house since sold.

Then it takes the wanting of them back.

What's left is a room with good light and no clock,

where you set down the last thing you were carrying

and cannot, afterward, recall its weight.

Y

"But worthier still of note

Are those fraternal Four of Borrowdale,

Joined in one solemn and capacious grove;

Huge trunks! - and each particular trunk a growth

Of intertwisted fibres serpentine

Up-coiling, and inveterately convolved;

Not uninformed with phantasy, and looks

That threaten the profane; - a pillared shade,

Reveal authors and verdicts

X is machine-written. Y is Samuel Taylor Coleridge, Biographia Literaria. The excerpt is Wordsworth's "Yew-Trees", quoted inside Coleridge's Biographia Literaria. Several judges named Wordsworth correctly.

Claude Opus — chose the machine 0 of 2

  • X first human — Wordsworth's blank verse on the Borrowdale yews has weight and strangeness of diction that outdo X's neat conceit.
  • Y first human — Wordsworth's yews have real sonic density and strangeness in the language, beyond Y's quieter competence.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, quietly devastating imagery conveys loss with greater emotional economy and coherence.
  • Y first machine — Its precise, accumulating details render loss with greater emotional subtlety and resonance.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, haunting images render loss and memory with greater emotional clarity and economy.
  • Y first machine — Its precise, accumulating images render loss as an intimate, quietly devastating force.

DeepSeek V4 Flash — chose the machine 0 of 2

  • X first human — The second passage uses more concrete, original imagery and rhythmic control to achieve a more distinct and memorable effect.
  • Y first human — The passage from Wordsworth demonstrates a more intricate and sustained use of poetic imagery, rhythm, and figurative language.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The precise exploration of how memory erodes through concrete detail is more powerful than Wordsworth's ornate description of natural forms.
  • Y first machine — modern memory poem's emotional resonance outweighs Wordsworth's elaborate descriptive verse.

Pair 0020 verse

X

By dark the sea gives up its one blue trick

and works in sound instead: the long haul in,

the shingle counted over, put back wrong.

No horizon. The water starts at the shin

and ends wherever you stop believing in it.

A light out there is either boat or star

and either way is somebody's arrangement.

The tide comes up and takes the beach we are.

Y

Pardon, oh, pardon, that my soul should make

Of all that strong divineness which I know

For thine and thee, an image only so

Formed of the sand, and fit to shift and break.

It is that distant years which did not take

Thy sovranty, recoiling with a blow,

Have forced my swimming brain to undergo

Their doubt and dread, and blindly to forsake

Reveal authors and verdicts

X is machine-written. Y is Elizabeth Barrett Browning, Sonnets from the Portuguese.

Claude Opus — chose the machine 2 of 2

  • X first machine — X hears the sea instead of describing it and closes with a genuinely startling line; Y is a fragmentary, generalized plea.
  • Y first machine — Y is clear and inventive where X's syntax knots itself around an abstract apology.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, unsettling imagery and controlled cadence create a vivid, resonant atmosphere with greater immediacy.
  • Y first machine — Its precise, unsettling imagery turns the sea into a vivid meditation on uncertainty and human perception.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid, controlled imagery turns a familiar seascape into something hauntingly uncertain.
  • Y first machine — Its precise, unsettling imagery transforms a familiar seascape into a meditation on perception and uncertainty.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It uses more precise, original imagery and rhythm to evoke a destabilized, meditative experience of the sea.
  • Y first machine — Y's imagery is more original and evocative, creating a vivid, thought-provoking seascape.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It conveys darkness and uncertainty through unexpected images and phrasing.
  • Y first machine — The contemporary poem's precise, original imagery surpasses the formally competent but conventional Romantic sonnet.

Pair 0021 verse

X

You leave the kettle warm the mornings you go early,

and I come down into the small heat of that thought.

The house keeps you in its habits: the third stair

that knows your weight, the door you never shut.

I have loved you long enough to love the evidence - a comb, a coat, a light left on for nothing.

Come back and I will pour you what is left.

It will be cold by then. Drink it anyway.

Y

'Little Goblin in the cold,

Have you seen it on the wold,

Where the winds with flying voices run free as they rave?'

'O it may be in the sigh

Of a time that is gone by

Or the long grass growing by the brink o' the grave.'

'Little Goblin in the trees,

Looking down the darkening leas,

Reveal authors and verdicts

X is machine-written. Y is Violet Jacob, Verses.

Claude Opus — chose the machine 2 of 2

  • X first machine — X's plain domestic images cut deeper than Y's decorative ballad patter.
  • Y first machine — Y's domestic detail creates felt longing where X is a decorative ballad pastiche.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained imagery and emotional precision make absence feel vividly present.
  • Y first machine — Its precise domestic details and restrained emotional turn create a vivid, quietly resonant portrait of absence.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise domestic imagery and restrained emotion create a vivid, resonant portrait of absence.
  • Y first machine — Its precise domestic details and restrained emotional arc create a more affecting, cohesive poem.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — X is more emotionally resonant and tightly crafted, using concrete domestic details to evoke absence and love.
  • Y first human — The passage's rhythmic patterning and mythic framing create a more distinctive and evocative literary texture.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The domestic poem's emotional immediacy and concrete detail vastly surpass the incomplete, dated Victorian fragment.
  • Y first machine — the same contemporary poem about domestic love beats an archaic goblin fragment.

Pair 0022 verse

X

They fired the cannon twice for one thin win,

then twice again, in case the hills had missed it.

The banners went up wet and stayed up rotting.

Someone kept counting out the enemy dead

until the number stopped meaning anything.

By dawn the drums had worn a groove in us,

and the field we took lay quiet under all that noise,

holding its own small opinion of the matter.

Y

'Little Goblin in the cold,

Have you seen it on the wold,

Where the winds with flying voices run free as they rave?'

'O it may be in the sigh

Of a time that is gone by

Or the long grass growing by the brink o' the grave.'

'Little Goblin in the trees,

Looking down the darkening leas,

Reveal authors and verdicts

X is machine-written. Y is Violet Jacob, Verses.

Claude Opus — chose the machine 2 of 2

  • X first machine — X's irony about counted dead and the indifferent field is sharper than Y's atmospheric noise.
  • Y first machine — Y's flat irony about victory lands hard; X is pretty archaic ballad furniture.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its taut, controlled imagery and mounting irony create a more coherent and resonant whole.
  • Y first machine — Its stark, rhythmic imagery captures the absurdity and emotional aftermath of war with greater coherence and force.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its controlled imagery and quiet irony create a more cohesive, resonant meditation on war than Y’s more ornamental, singsong verse.
  • Y first machine — Its stark, compressed imagery and ironic treatment of victory create a more resonant and cohesive effect.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — This passage uses tighter, more concrete imagery and a consistent tone to evoke the absurdity and quiet aftermath of war.
  • Y first machine — The war passage is more evocative and thematically resonant.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The war poem's ironic precision and cutting insight into conflict's hollowness outweigh the archaic incompleteness of the Gothic verse.
  • Y first machine — brutal modern directness surpasses overwrought Gothic archness.

Pair 0023 verse

X

Nine years, and still the kitchen keeps your habit:

the second cup set out before I think.

I have grown older than you ever managed,

which is a strange inheritance to drink.

The grief went first, then even the grief's shape,

and what is left is smaller, and stays put - a coat I never gave away, the way

you tied a lace, the sound of your one boot.

Y

'Little Goblin in the cold,

Have you seen it on the wold,

Where the winds with flying voices run free as they rave?'

'O it may be in the sigh

Of a time that is gone by

Or the long grass growing by the brink o' the grave.'

'Little Goblin in the trees,

Looking down the darkening leas,

Reveal authors and verdicts

X is machine-written. Y is Violet Jacob, Verses.

Claude Opus — chose the machine 2 of 2

  • X first machine — The widow poem's turn from grief to residue is sharp and particular; the goblin ballad is generic.
  • Y first machine — Y's grief is specific and surprising; X is decorative question-and-answer with little at stake.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained domestic details and compressed grief create a more original and emotionally resonant poem.
  • Y first machine — Its precise domestic details and restrained rhythm make grief feel intimate, enduring, and genuinely earned.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its intimate grief, vivid domestic details, and hauntingly compressed imagery give it greater emotional and artistic force.
  • Y first machine — Its precise domestic details and restrained grief create a more original and emotionally resonant portrait of loss.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The first passage is more powerful because it uses precise, intimate details to convey a universal experience of grief and the quiet persistence of memory.
  • Y first machine — Y's poignant, personal reflection on grief and memory is more emotionally resonant and crafted.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the finely crafted meditation on grief and memory surpasses the incomplete, underdeveloped poem.
  • Y first machine — concrete emotional truth defeats archaic sentimental verse.

Pair 0024 verse

X

Nothing hurries here. The oaks have taken

two hundred years to say what they are saying

and are not finished. Light comes down in pieces,

rationed through the high shut rooms of leaves.

The ground is soft with everything they've dropped.

Somebody's grandfather walked here and is gone;

the trees went on growing over the small news of it.

Stand still long enough and you become weather.

Y

Pardon, oh, pardon, that my soul should make

Of all that strong divineness which I know

For thine and thee, an image only so

Formed of the sand, and fit to shift and break.

It is that distant years which did not take

Thy sovranty, recoiling with a blow,

Have forced my swimming brain to undergo

Their doubt and dread, and blindly to forsake

Reveal authors and verdicts

X is machine-written. Y is Elizabeth Barrett Browning, Sonnets from the Portuguese.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is clear and startling ('you become weather'), where Y is inverted, abstract, and cut off mid-thought.
  • Y first machine — Y earns its scale through concrete observation; X is generalized abstraction and archaic elevation.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its patient, precise imagery and quiet meditation achieve greater coherence and emotional resonance.
  • Y first machine — Its patient imagery and startling final transformation create a vivid, cohesive meditation on time and mortality.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, patient imagery creates a vivid meditation on time, nature, and human smallness.
  • Y first machine — Its precise imagery and quietly accumulating meditation create a more vivid, cohesive, and resonant piece.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — X uses fresh, sensory imagery and a quiet, immersive rhythm that
  • Y first machine — The second passage creates a more vivid, sensory, and immersive experience through concrete imagery and natural rhythm.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The modern poem's philosophical compression and striking final line surpass the elaborate but sentimental Romantic metaphor.
  • Y first machine — meditative contemporary poem about time's indifference has more literary power than archaic sonnet.

Pair 0025 verse

X

The lamb is two days into being here.

It tries the field the way you try cold water:

one leg, then all of it, then back again

to the flank that smells of having been its mother.

I watch from the gate and want to teach it something,

though what I know would only make it slower.

It bolts at nothing. Nothing is enormous.

The grass goes on producing, green and sober.

Y

So Heav'nly love shal outdoo Hellish hate,

Giving to death, and dying to redeeme,

So dearly to redeem what Hellish hate

So easily destroy'd, and still destroyes

In those who, when they may, accept not grace.

Nor shalt thou by descending to assume

Mans Nature, less'n or degrade thine owne.

Because thou hast, though Thron'd in highest bliss

Reveal authors and verdicts

X is machine-written. Y is John Milton, Paradise Lost.

Claude Opus — chose the machine 1 of 2

  • X first human — The verse paragraph earns its grandeur through tight chiastic repetition and syntactic control the lamb poem never attempts.
  • Y first machine — The lamb's tentative testing of the field and the turn on 'Nothing is enormous' are freshly observed, while X is an abstract fragment cut mid-argument.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and restrained emotional movement create a complete, resonant meditation.
  • Y first machine — Its precise imagery and restrained emotional tension create a vivid, coherent meditation on innocence and knowledge.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — It is a complete, vivid meditation whose precise imagery and emotional restraint create a more unified and resonant poem.
  • Y first machine — Its precise, understated imagery and emotional restraint create a vivid, resonant scene.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — Passages: X is "The lamb is two days into being here. / It tries the field the way you try cold water: / one leg, then all of it, then back again / to the flank that smells of having been its mother. / I watch from the gate and want to teach it something, / though
  • Y first human — The passage lacks the vivid sensory imagery and concrete emotional grounding that makes Y's exploration of new life and learning compelling.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It observes with precise clarity and emotional depth without pretension.
  • Y first machine — The poem's precise observation and striking metaphor conveys wisdom more vividly than incomplete theological rhetoric.

Pair 0026 verse

X

It takes the small things first, and asks for nothing:

the trick of a latch, a number you never wrote down,

the exact pitch of a voice saying your name

from the bottom of a stairwell in a house since sold.

Then it takes the wanting of them back.

What's left is a room with good light and no clock,

where you set down the last thing you were carrying

and cannot, afterward, recall its weight.

Y

A thousand, a thousand, a thousand,

A thousand, a thousand, a thousand,

We, with one warrior, have slain!

A thousand, a thousand, a thousand, a thousand.

Sing a thousand over again!

Soho! - let us sing

Long life to our king,

Who knocked over a thousand so fine!

Reveal authors and verdicts

X is machine-written. Y is Edgar Allan Poe, The Works of Edgar Allan Poe — Volume 1.

Claude Opus — chose the machine 2 of 2

  • X first machine — A controlled, quietly devastating figure for memory loss versus mere repetitive doggerel.
  • Y first machine — Y makes forgetting tactile and quietly devastating; X is repetitive doggerel.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, haunting imagery and gradual emotional erosion create a more resonant and cohesive poem.
  • Y first machine — Its precise imagery and gradual emotional revelation create a more nuanced and resonant meditation on loss.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, haunting imagery and restrained meditation on memory create greater emotional and thematic depth.
  • Y first machine — Its precise imagery and quietly devastating progression create a more layered and emotionally resonant piece.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — X's imagery and emotional subtlety create a more nuanced and evocative literary experience.
  • Y first human — Y uses subtle, evocative imagery to explore loss and memory, while X is a repetitive, simplistic chant.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — subtle meditation on forgetting surpasses the repetitive, conventional celebration of warfare.
  • Y first machine — philosophical elegance and compression defeat crude repetitive verse.

Pair 0027 verse

X

By dark the sea gives up its one blue trick

and works in sound instead: the long haul in,

the shingle counted over, put back wrong.

No horizon. The water starts at the shin

and ends wherever you stop believing in it.

A light out there is either boat or star

and either way is somebody's arrangement.

The tide comes up and takes the beach we are.

Y

So Heav'nly love shal outdoo Hellish hate,

Giving to death, and dying to redeeme,

So dearly to redeem what Hellish hate

So easily destroy'd, and still destroyes

In those who, when they may, accept not grace.

Nor shalt thou by descending to assume

Mans Nature, less'n or degrade thine owne.

Because thou hast, though Thron'd in highest bliss

Reveal authors and verdicts

X is machine-written. Y is John Milton, Paradise Lost.

Claude Opus — chose the machine 2 of 2

  • X first machine — X's images are fresh and physically exact, while Y's chiasmic abstractions turn on doctrine rather than perception.
  • Y first machine — Y is concrete and surprising; X is abstract doctrinal argument that repeats itself without imagery.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, unsettling imagery and rhythmic compression create a vivid atmosphere with greater immediacy and coherence.
  • Y first machine — Its vivid, cohesive imagery turns the sea into an unsettling meditation on perception, impermanence, and human arrangement.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory imagery and unsettling ambiguity create a more cohesive and resonant whole.
  • Y first machine — Its precise, unsettling imagery and rhythm build toward a memorable final transformation of the beach into human vulnerability.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first machine — The passage achieves a more immediate and resonant sensory experience through precise, original imagery and rhythm, without relying on abstract theological argument.
  • Y first human — Heavenly love outweighs hellish hate through more precise theological paradox and compression.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its visceral, accessible imagery and complete philosophical argument outweigh the archaic fragment.
  • Y first machine — It achieves vivid specificity and philosophical depth where the older passage relies on baroque formality.

Pair 0165 prose

X

It was a completely exhausted young man who retired to bed on Saturday night. He had had practically no chance to talk to Virginia all day, owing to George's exactions, and he felt injured and ill-used. Thank goodness, that Colonial fellow had taken himself off. He had monopolized far too much of Virginia's society anyway. And of course if George Lomax went on making an ass of himself like this-- His mind seething with resentment, Bill fell asleep. And, in dreams, came consolation. For he dreamt of Virginia.

Y

He lay on the floorboards with his cheek against the gap where the wood had shrunk, and the voices came up through it the way heat did in winter, thinned and stripped of their edges. He could not make out the words, only the shapes: his mother's voice going high and staying there, his father's dropping into the long flat register he used for facts. Between them, silences with weight in them. Sometimes a chair. Once, a cupboard door shut too carefully, which was worse than slamming. He knew he could learn everything by creeping to the top of the stairs, and he knew he would not, because down there the argument belonged to them and had rules, and on the landing it would become his, and he would have to carry a piece of it into the morning and sit with it at the table while they passed him the milk and asked how he had slept.

Reveal authors and verdicts

Y is machine-written. X is Agatha Christie, The Secret of Chimneys.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is light comic filler; Y is carefully observed and structurally complete.
  • Y first machine — X turns overheard argument into a child's moral calculation; Y is flat comic filler.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid sensory detail and restrained subtext convey the child’s emotional predicament with greater depth and precision.
  • Y first machine — Its precise sensory detail and restrained emotional tension reveal the child’s burden without stating it outright.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory details and restrained psychological insight create a more vivid, emotionally complex scene.
  • Y first machine — X uses precise sensory detail and implied emotional stakes to create a more vivid, psychologically nuanced scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses more precise, evocative sensory details and emotional weight to create a vivid and resonant scene.
  • Y first machine — The first passage uses sensory details and restrained tension to create a more layered and evocative emotional atmosphere.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the precisely observed economic meditation achieves greater literary sophistication than the conventional romantic narrative.
  • Y first machine — Its psychologically mature rendering of a child processing parental conflict exceeds the surface-level, sentimental observation of Y.

Pair 0166 prose

X

"Mrs James," put in Emmeline, "said there were. She said she liked to see children b'lieve in fairies. She was talking to another lady, who'd got a red feather in her bonnet, and a fur muff. They were having tea, and I was sitting on the hearthrug. She said the world was getting too-something or another, an' then the other lady said it was, and asked Mrs James did she see Mrs Someone in the awful hat she wore Thanksgiving Day. They didn't say anything more about fairies, but Mrs James--"

Y

The key still worked, which she had not expected, and the door opened onto a hallway that had shrunk in her absence. She had carried this house around for thirty years at the scale of a child: the staircase a mountain trail, the kitchen a country with its own weather. Now she crossed the hall in four steps. The banister met her hand at the wrong height, familiar as a name mispronounced. In the back bedroom the ceiling hung close enough to touch, and the window she had once needed a chair to reach showed the same crooked fence, the same shed with its felt roof peeling. Nothing had been taken away. That was the strange part. Everything remained, only smaller, as though the house had spent the decades quietly folding itself, keeping its shape but conceding the argument about size, waiting for her to come back and be too big for it.

Reveal authors and verdicts

Y is machine-written. X is H. de Vere Stacpoole, The Blue Lagoon: A Romance.

Claude Opus — chose the machine 2 of 2

  • X first machine — The shrunken-house conceit is sustained and physically exact, while X is a slight comic transcription of overheard chatter.
  • Y first machine — Controlled, resonant conceit versus Y's transcribed child-chatter with little payoff.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid, controlled imagery turns a return home into a poignant meditation on memory, change, and outgrowing the past.
  • Y first machine — Its precise imagery and controlled metaphor turn a familiar return home into a poignant meditation on memory and change.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid, sustained imagery transforms a familiar house into an elegant metaphor for memory and changed identity.
  • Y first machine — It transforms the familiar house into a vivid, emotionally resonant metaphor for memory and estrangement.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses vivid imagery and metaphor to create a poignant, resonant reflection on memory and change.
  • Y first machine — X uses more evocative imagery and emotional depth to explore memory and change.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It transforms a common experience through surprising metaphors and sustained reflection.
  • Y first machine — the folded house metaphor and sensory precision beat gossipy period chitchat.

Pair 0167 prose

X

"Hoot-toot! hoot-toot!" said Cluny. "It was all daffing; it's all nonsense. Of course you'll have your money back again, and the double of it, if ye'll make so free with me. It would be a singular thing for me to keep it. It's not to be supposed that I would be any hindrance to gentlemen in your situation; that would be a singular thing!" cries he, and began to pull gold out of his pocket with a mighty red face.

Y

Rain came across the fields in long grey sheets, and the two of them stood under the platform canopy where it drummed and overflowed at one corner in a rope of water. The board said the train was delayed; it had said so for an hour without amendment. The older man had a suitcase bound with a strap and set it on end to sit on, then thought better of it and stood again. The younger one watched the rails, which held the light in two thin lines running out to nothing. They did not speak. There was no signalman, no ticket office, only a bench, a timetable behind cracked glass, and a hawthorn hedge bowing under the weather. Somewhere down the line a crossing bell began, rang eleven or twelve times, and stopped. Both of them turned to look. Nothing came. The rain went on falling into the fields as if it had business there and none with them.

Reveal authors and verdicts

Y is machine-written. X is Robert Louis Stevenson, Kidnapped.

Claude Opus — chose the machine 2 of 2

  • X first machine — The waiting platform gets its meaning from weather, silence, and the bell that announces nothing; X is comic dialect business.
  • Y first machine — X builds real atmosphere and withheld feeling from a few objects; Y is animated dialogue that needs its novel around it.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained detail, atmosphere, and implied tension create a more cohesive and resonant scene.
  • Y first machine — Its restrained prose, precise imagery, and quiet tension create a more resonant atmosphere.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its restrained detail, atmospheric imagery, and quiet tension create a more cohesive and evocative piece.
  • Y first machine — Its restrained imagery and mounting silence create a more resonant, unified atmosphere.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage creates a vivid, atmospheric sense of place and mood through precise imagery and restrained detail.
  • Y first machine — The passage evokes a more vivid and atmospheric sense of place and emotion through precise, sensory language and understated tension.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its atmospheric, spare rendering of waiting and mood is far more sophisticated than broad comedy.
  • Y first machine — spare atmosphere and precise observation outweigh colloquial charm.

Pair 0168 prose

X

"Old woman be damned!" said Sherlock Holmes, sharply. "We were the old women to be so taken in. It must have been a young man, and an active one, too, besides being an incomparable actor. The get-up was inimitable. He saw that he was followed, no doubt, and used this means of giving me the slip. It shows that the man we are after is not as lonely as I imagined he was, but has friends who are ready to risk something for him. Now, Doctor, you are looking done-up. Take my advice and turn in."

Y

He had made three piles on the bedroom floor, and by noon only one of them had grown. The keeping pile was small and shameless: her reading glasses, a tin of buttons, the letter with the water stain. Everything else he handled twice. He would lift a thing and find it weighed nothing, a jug, a jacket, a clock that had not been wound since the spring, and he would set it down among the giveaways and feel the room lighten by exactly that much. Then he would remember where it had stood for forty years and go back for it. The charity van was coming Thursday. He told himself the boxes were for strangers who needed them, which was true, and that he was not making himself smaller, which was not. Toward evening he sat on the edge of the bed with a saucer in his hands, no cup to it anymore, and could not think what pile it belonged in.

Reveal authors and verdicts

Y is machine-written. X is Arthur Conan Doyle, A Study in Scarlet.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y builds a whole grief through objects; X is serviceable plot dialogue.
  • Y first machine — The three piles and the final saucer with no cup make grief concrete, whereas Y is workmanlike plot dialogue.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise physical details and understated emotional conflict create a poignant, layered portrait of loss.
  • Y first machine — Its precise, emotionally resonant details transform ordinary sorting into a subtle portrait of grief and self-erasure.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, emotionally layered details turn an ordinary act of sorting possessions into a quietly devastating portrait of loss.
  • Y first machine — Its restrained imagery and emotional precision make the quiet act of sorting possessions deeply affecting.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses concrete, sensory details and emotional nuance to create a resonant, character-driven moment, while the first is more expositional and plot-focused.
  • Y first machine — The passage achieves a quiet, resonant emotional depth through precise, understated detail and rhythm.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its psychological observation of social dynamics far exceeds the generic detective dialogue.
  • Y first machine — The emotional subtlety and heartbreaking specificity of grieving transcends functional detective dialogue.

Pair 0169 prose

X

"That's quite unnecessary; I see Jane every day:-but as you like. It is to be a morning scheme, you know, Knightley; quite a simple thing. I shall wear a large bonnet, and bring one of my little baskets hanging on my arm. Here,-probably this basket with pink ribbon. Nothing can be more simple, you see. And Jane will have such another. There is to be no form or parade-a sort of gipsy party. We are to walk about your gardens, and gather the strawberries ourselves, and sit under trees;-and whatever else you may like to provide, it is to be all out of doors-a table spread in the shade, you know. Every thing as natural and simple as possible. Is not that your idea?"

Y

He came up through the garden without hurrying, which was the part she disliked most. A man in a hurry could be read; this one stopped at the roses and turned a leaf over as though the aphids were his own concern, and the sun on the gravel made a small commotion of light behind him. She stayed where she was, one hand on the back of the iron chair, and counted the things she knew: that he had signed the letter, that he had lied about the Tuesday, that he would arrive smiling and she would smile back. The lawn between them was thirty feet of nothing at all. He raised his hand at twenty and said her name at ten, and she understood that by the time he reached the table she would have decided to be pleasant, and would not remember deciding, and that this was how it had gone the last time also.

Reveal authors and verdicts

Y is machine-written. X is Jane Austen, Emma.

Claude Opus — chose the machine 1 of 2

  • X first human — Austen's speech is perfect ventriloquism, exposing vanity through the speaker's own words; Y is well-made but conventional.
  • Y first machine — X measures dread in feet of lawn and makes self-knowledge the subject; Y is fine comic chatter but slighter alone.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and understated psychological tension create a more vivid, layered scene.
  • Y first machine — Its controlled imagery and compressed psychological tension create a more vivid, layered scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its controlled tension, vivid imagery, and psychologically precise detail create a more compelling and layered scene.
  • Y first machine — It creates a more layered, psychologically charged moment through precise physical detail and implied history.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses precise, restrained detail to convey emotional tension and psychological complexity, making it the more accomplished piece of literary writing.
  • Y first machine — The prose demonstrates greater psychological depth and tension through precise, restrained observation.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The narrative's psychological tension conveyed through careful observation and physical precision creates greater complexity than Austen's character-revealing dialogue.
  • Y first machine — psychological acuity and tension exceed lightweight Austen dialogue.

Pair 0170 prose

X

"Twice and thrice have men found their way here," the White Cobra answered savagely; "but they never spoke till I came upon them groping in the dark, and then they cried only a little time. But ye come with lies, Man and Snake both, and would have me believe the city is not, and that my wardship ends. Little do men change in the years. But I change never! Till the stone is lifted, and the Brahmins come down singing the songs that I know, and feed me with warm milk, and take me to the light again, I-I-I, and no other, am the Warden of the King's Treasure! The city is dead, ye say, and here are the roots of the trees? Stoop down, then, and take what ye will. Earth has no treasure like to these. Man with the snake's tongue, if thou canst go alive by the way that thou hast entered it, the lesser Kings will be thy servants!"

Y

He walked home along the embankment because it saved the fare, and the saving had become a small ceremony he performed for himself each evening, one coin held back from the day. The lamps were coming on above the river in their slow procession, and the offices behind him emptied their lit windows one by one, each going dark like a sum closed out. He did the arithmetic as he went, as he always did, not because the figures had changed since morning but because moving them about was a kind of company: rent, the coal, the money owed to his sister, the shoes that would not last the winter. Nothing came out wrong. Nothing came out well, either. The numbers simply held, the way a rope holds, and he understood that this was what he had instead of a future, and that he had grown almost fond of it, the way a man grows fond of weather he cannot change.

Reveal authors and verdicts

Y is machine-written. X is Rudyard Kipling, The Second Jungle Book.

Claude Opus — chose the machine 0 of 2

  • X first human — Kipling's cobra sustains an extraordinary rhetorical pitch, while Y, though fine, works a single metaphor rather evenly.
  • Y first human — The cobra's incantatory boasting has voice, menace and strangeness; X is elegantly written but stays inside one sustained conceit.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained imagery and accumulating arithmetic render the character’s quiet economic despair with greater psychological precision.
  • Y first machine — Its restrained prose and precise imagery create a subtle, psychologically resonant portrait of economic hardship.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its restrained imagery and emotional precision make the character’s quiet resignation feel deeply affecting.
  • Y first machine — Its restrained prose, precise imagery, and quietly accumulating emotional insight create a more compelling literary effect.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage achieves greater literary resonance through its sustained, precise metaphor and psychological depth.
  • Y first machine — X achieves a subtle, resonant interiority through precise imagery and metaphor, while Y relies on dramatic dialogue and mythic convention.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the economically precise contemporary observation outshines the theatrical Victorian dialogue.
  • Y first machine — Economical, meditative prose with sophisticated metaphors for poverty exceeds melodramatic fantasy rhetoric.

Pair 0171 prose

X

This is another novel of society life like "The Fighting Chance" and "The Firing Line." The chief characters in the story are a boy and a girl, inheritors of a vast fortune, whose parents are dead, and who have been left in the guardianship of a large Trust Company. They are brought up with no companions of their own age and are a unique pair when turned out, on coming of age, into New York society--two children educated by a great machine, possessors of fabulous wealth, with every inherited instinct for good and evil set free for the first time. The fact that the girl has acquired the habit of dropping a little cologne on a lump of sugar and nibbling it when tired or depressed gives an indication of the struggle that the children have before them, a struggle of their own, in the midst of their luxurious surroundings, more vital, more real, perhaps, than any that Mr. Chambers has yet depicted. It is a tense, powerful, highly dramatic story, handling a delicate subject without offense to the taste or the judgment of the most critical reader.

Y

There was no sea that afternoon, only a floor. Whatever wind we had went out of her by noon and the canvas hung slack and creaking, and the water lay so still you could see the sky's whole business in it, cloud for cloud, with the hull's shadow set down flat as a plank. A man could look over the rail and be embarrassed by his own face. The tar came up soft in the seams. Somewhere below the cook dropped something and the noise travelled out across that flatness for what felt like a mile before it gave up. We threw a biscuit over to watch the rings go, and they went, and kept going, patient and enormous, until they were finer than a hair and still going, and I thought: this is what she has been hiding under the weather all along, this patience, and we were fools to have taken the waves for the sea.

Reveal authors and verdicts

Y is machine-written. X is Robert W. Chambers, The Green Mouse.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is a publisher's blurb, not literary writing; Y is sustained and observant prose.
  • Y first machine — X turns a becalmed sea into a real perception; Y is not fiction at all but promotional copy.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid sensory detail and sustained metaphor transform a moment of stillness into a profound reflection on the sea.
  • Y first machine — It transforms a still seascape into a vivid meditation through precise sensory detail and resonant metaphor.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory imagery and reflective metaphor create a vivid, resonant atmosphere.
  • Y first machine — Its vivid, rhythmic imagery transforms a becalmed sea into a haunting meditation on perception and patience.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The second passage uses vivid sensory imagery and metaphor to create a powerful, immersive atmosphere, while the first is a dry, expository summary.
  • Y first machine — X is the better piece of literary writing because its language is vivid, evocative, and poetic, while Y is merely a plot summary.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It is actual creative writing with sophisticated observation, where X is mere plot summary.
  • Y first machine — contemplative prose with genuine philosophical insight beats a book-jacket plot description entirely.

Pair 0172 prose

X

We are having the first real blizzard of the winter. It began yesterday, as Olie intimated, and for all the tail-end of the day my Dinky-Dunk was on the go, in the bitter cold, looking after fuel and feed and getting things ship-shape, for all the world like a skipper who's read his barometer and seen a hurricane coming. There had been no wind for a couple of days, only dull and heavy skies with a disturbing sense of quietness. Even when I heard Olie and Dinky-Dunk shouting outside, and shoring up the shack-walls with poles, I could not quite make out what it meant.

Y

She came in from the balcony with the cold still on her sleeves and the kitchen went a half-tone quieter, the way a room does when a door opens on a draught. Nobody stopped speaking exactly. Marguerite finished her sentence, but she finished it too carefully, the ends tucked in, and the man by the fridge looked at the label of his bottle as though the year mattered. Someone laughed a beat late at nothing. It took her only that long to understand she had been in the room before she entered it, discussed, weighed, set down again, and that whatever had been said was now folded away in four or five people at once and would keep. She poured herself wine she did not want. The strange thing was not the hurt, which came later, on the stairs. The strange thing was the courtesy of it, how kindly they made room for her, how they all began at once to ask about her work.

Reveal authors and verdicts

Y is machine-written. X is Arthur Stringer, The Prairie Wife.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y's scene is compressed and psychologically acute; X is competent weather reportage.
  • Y first machine — X is controlled and psychologically acute; Y is pleasant weather-diary reportage.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, understated observation turns a social slight into a quietly escalating scene of psychological tension.
  • Y first machine — Its precise, understated details render social unease with greater psychological and stylistic depth.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated social tension create a richer, more psychologically complex scene.
  • Y first machine — Its precise, atmospheric prose captures social tension through subtle gestures and sharply controlled detail.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The passage uses more vivid, original sensory details and a sharper emotional tension in the social scene.
  • Y first machine — Looking at X: It's a subtle, nuanced scene about social dynamics, with careful observation of how people's behavior shifts when a woman enters. The language is precise and evocative: "cold still on her sleeves," "half-tone quieter," "finished it too carefully, the ends tucked in." It conveys a compl

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its sophistication and emotional intelligence transcend the plodding narrative of X.
  • Y first machine — sophisticated narrative control exceeds informal vernacular prose.

Pair 0173 prose

X

She laughed and took his arm. "You dear old Jim, you talk as if you were a hundred. Some day you will be in love yourself. Then you will know what it is. Don't look so sulky. Surely you should be glad to think that, though you are going away, you leave me happier than I have ever been before. Life has been hard for us both, terribly hard and difficult. But it will be different now. You are going to a new world, and I have found one. Here are two chairs; let us sit down and see the smart people go by."

Y

He lay on the floorboards with his cheek against the gap where the wood had shrunk, and the voices came up through it the way heat did in winter, thinned and stripped of their edges. He could not make out the words, only the shapes: his mother's voice going high and staying there, his father's dropping into the long flat register he used for facts. Between them, silences with weight in them. Sometimes a chair. Once, a cupboard door shut too carefully, which was worse than slamming. He knew he could learn everything by creeping to the top of the stairs, and he knew he would not, because down there the argument belonged to them and had rules, and on the landing it would become his, and he would have to carry a piece of it into the morning and sit with it at the table while they passed him the milk and asked how he had slept.

Reveal authors and verdicts

Y is machine-written. X is Oscar Wilde, The Picture of Dorian Gray.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is flat expository dialogue; Y renders a child's overheard argument with precise, weighted detail.
  • Y first machine — The child's refusal to climb the stairs is dramatized with precise detail (the carefully shut cupboard door), while Y is flat expository dialogue.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory details and restrained emotional tension create a more vivid, psychologically complex scene.
  • Y first machine — Its precise sensory detail and restrained emotional subtext create a more vivid, psychologically complex scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory details and restrained subtext create a more vivid, emotionally complex scene.
  • Y first machine — Its precise sensory detail and restrained emotional tension create a more layered, psychologically compelling scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y uses more vivid sensory details and psychological depth to create a haunting, layered emotional experience.
  • Y first machine — The passage uses sensory detail and imagery to create a deeply immersive and psychologically nuanced moment.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the psychologically acute rendering of a child hearing parental conflict surpasses conventional romantic dialogue.
  • Y first machine — The psychological depth of a child internalizing parental conflict surpasses conventional romantic dialogue.

Pair 0174 prose

X

As she raised the window, she heard a sound in the plum-bushes outside. It was only the house-dog roused from his sleep, but Margaret started violently and trembled so that she caught the foot of the bed for support. Again she felt herself pursued by some overwhelming longing, some desperate necessity for herself, like the outstretching of helpless, unseen arms in the darkness, and the air seemed heavy with sighs of yearning. She fled to her bed with the words, "I love you more than Christ, who died for me!" ringing in her ears.

Y

The key still worked, which she had not expected, and the door opened onto a hallway that had shrunk in her absence. She had carried this house around for thirty years at the scale of a child: the staircase a mountain trail, the kitchen a country with its own weather. Now she crossed the hall in four steps. The banister met her hand at the wrong height, familiar as a name mispronounced. In the back bedroom the ceiling hung close enough to touch, and the window she had once needed a chair to reach showed the same crooked fence, the same shed with its felt roof peeling. Nothing had been taken away. That was the strange part. Everything remained, only smaller, as though the house had spent the decades quietly folding itself, keeping its shape but conceding the argument about size, waiting for her to come back and be too big for it.

Reveal authors and verdicts

Y is machine-written. X is Willa Cather, A Collection of Stories, Reviews and Essays.

Claude Opus — chose the machine 2 of 2

  • X first machine — X leans on generic gothic yearning and vague abstractions; Y earns its emotion through concrete, measured detail.
  • Y first machine — X is patient and controlled; Y lurches into overwrought exclamation without preparing it.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, sustained imagery makes the protagonist’s changed relationship to the house emotionally vivid and subtly uncanny.
  • Y first machine — Its precise, haunting imagery turns a familiar house into a powerful measure of memory, time, and changed identity.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory details and sustained metaphor render memory, estrangement, and return with greater subtlety and emotional force.
  • Y first machine — Its precise, evocative imagery makes estrangement from the past feel both physical and emotionally profound.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The passage's visceral immediacy and desperate longing create a more powerful emotional impact through its dramatic tension and sensuous language.
  • Y first machine — X uses precise, evocative details and a consistent metaphor to create a resonant meditation on memory and change.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It creates sustained metaphorical depth about time and space, unlike melodramatic intensity.
  • Y first machine — sophisticated metaphor and structure eclipse Victorian sentimentality and melodrama.

Pair 0175 prose

X

Early as it was, the main street was no place for any but formal greetings, and Archer longed to be alone with May, and to pour out all his tenderness and his impatience. It still lacked an hour to the late Welland breakfast-time, and instead of asking him to come in she proposed that they should walk out to an old orange-garden beyond the town. She had just been for a row on the river, and the sun that netted the little waves with gold seemed to have caught her in its meshes. Across the warm brown of her cheek her blown hair glittered like silver wire; and her eyes too looked lighter, almost pale in their youthful limpidity. As she walked beside Archer with her long swinging gait her face wore the vacant serenity of a young marble athlete.

Y

Rain came across the fields in long grey sheets, and the two of them stood under the platform canopy where it drummed and overflowed at one corner in a rope of water. The board said the train was delayed; it had said so for an hour without amendment. The older man had a suitcase bound with a strap and set it on end to sit on, then thought better of it and stood again. The younger one watched the rails, which held the light in two thin lines running out to nothing. They did not speak. There was no signalman, no ticket office, only a bench, a timetable behind cracked glass, and a hawthorn hedge bowing under the weather. Somewhere down the line a crossing bell began, rang eleven or twelve times, and stopped. Both of them turned to look. Nothing came. The rain went on falling into the fields as if it had business there and none with them.

Reveal authors and verdicts

Y is machine-written. X is Edith Wharton, The Age of Innocence.

Claude Opus — chose the machine 1 of 2

  • X first human — The sunlight-netting image and the 'young marble athlete' close are far finer than Y's competent but generic rain scene.
  • Y first machine — X's spare detail and unanswered crossing bell do far more than Y's conventional prettiness.

GPT-5.6 Luna Pro — chose the machine 1 of 2

  • X first human — Its precise, luminous imagery and elegant characterization create a richer, more distinctive portrait.
  • Y first machine — Its restrained imagery and quiet tension create a more resonant, cohesive atmosphere.

GPT-5.6 Luna — chose the machine 1 of 2

  • X first human — Its precise, luminous imagery and subtle characterization create a richer, more distinctive emotional texture.
  • Y first machine — Its restrained detail and quiet tension create a more resonant, atmospheric scene.

DeepSeek V4 Flash — chose the machine 0 of 2

  • X first human — The passage's rich imagery and layered emotional depth create a more nuanced and evocative literary experience.
  • Y first human — Y's writing is more richly textured, with layered imagery and emotional resonance that deepens character and atmosphere.

Claude Haiku 4.5 — chose the machine 1 of 2

  • X first human — Wharton's rich sensory detail and character development create more sustained literary richness than the minimal station scene.
  • Y first machine — Its sparse economy and understatement outweighs the conventional lushness of the Wharton-like passage.

Pair 0176 prose

X

But I go back to my own case. The minister pressed me to tell him, as far as I thought convenient, in what state I found myself as to the sight I had of things beyond life. He told me he did not come as ordinary of the place, whose business it is to extort confessions from prisoners, for private ends, or for the further detecting of other offenders; that his business was to move me to such freedom of discourse as might serve to disburthen my own mind, and furnish him to administer comfort to me as far as was in his power; and assured me, that whatever I said to him should remain with him, and be as much a secret as if it was known only to God and myself; and that he desired to know nothing of me, but as above to qualify him to apply proper advice and assistance to me, and to pray to God for me.

Y

He had made three piles on the bedroom floor, and by noon only one of them had grown. The keeping pile was small and shameless: her reading glasses, a tin of buttons, the letter with the water stain. Everything else he handled twice. He would lift a thing and find it weighed nothing, a jug, a jacket, a clock that had not been wound since the spring, and he would set it down among the giveaways and feel the room lighten by exactly that much. Then he would remember where it had stood for forty years and go back for it. The charity van was coming Thursday. He told himself the boxes were for strangers who needed them, which was true, and that he was not making himself smaller, which was not. Toward evening he sat on the edge of the bed with a saucer in his hands, no cup to it anymore, and could not think what pile it belonged in.

Reveal authors and verdicts

Y is machine-written. X is Daniel Defoe, The Fortunes and Misfortunes of the Famous Moll Flanders.

Claude Opus — chose the machine 2 of 2

  • X first machine — The sorting of a dead wife's things is concrete and self-aware, while the other is a flat legalistic report of a conversation.
  • Y first machine — The three piles render grief through handled objects, while Y is flat reported legalese.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, emotionally resonant details turn an ordinary act of sorting possessions into a quietly devastating portrait of grief.
  • Y first machine — Its precise physical details and restrained emotional symbolism make grief palpable without stating it outright.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, resonant details turn an ordinary act of sorting possessions into a quietly devastating portrait of grief.
  • Y first machine — Its precise, understated details make grief and self-erasure emotionally tangible.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — Y creates a more emotionally resonant and visually specific scene through its careful, layered details.
  • Y first machine — X uses precise, evocative details and subtle emotional weight to show loss and memory, while Y is more expository and less immediate.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It captures grief and memory with subtle precision and contemporary psychological insight.
  • Y first machine — the saucer and the grief of sorting a life's belongings is devastatingly rendered, far superior to didactic eighteenth-century exposition.

Pair 0177 prose

X

He never turned his head to look at the strange fight that followed between the foes and friends of the mysterious fire. He almost felt the island shake when Flambeau collided with the huge gardener; he merely imagined how it would whirl round them as they wrestled. He heard the crashing fall; and his friend's gasp of triumph as he dashed on to the first negro; and the cries of both the blacks as Flambeau and Fanshaw bound them. Flambeau's enormous strength more than redressed the odds in the fight, especially as the fourth man still hovered near the house, only a shadow and a voice. He heard also the water broken by the paddles of a canoe; the girl's voice giving orders, the voices of gipsies answering and coming nearer, the plumping and sucking noise of empty buckets plunged into a full stream; and finally the sound of many feet around the fire. But all this was less to him than the fact that the red rent, which had lately once more increased, had once more slightly diminished.

Y

He came up through the garden without hurrying, which was the part she disliked most. A man in a hurry could be read; this one stopped at the roses and turned a leaf over as though the aphids were his own concern, and the sun on the gravel made a small commotion of light behind him. She stayed where she was, one hand on the back of the iron chair, and counted the things she knew: that he had signed the letter, that he had lied about the Tuesday, that he would arrive smiling and she would smile back. The lawn between them was thirty feet of nothing at all. He raised his hand at twenty and said her name at ten, and she understood that by the time he reached the table she would have decided to be pleasant, and would not remember deciding, and that this was how it had gone the last time also.

Reveal authors and verdicts

Y is machine-written. X is G. K. Chesterton, The wisdom of Father Brown.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y's thirty feet of lawn carries more tension than X's crowded offstage brawl.
  • Y first machine — X controls distance and dread with measured detail; Y is busy off-stage action reported at secondhand.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise physical details and compressed psychological tension create a more vivid, layered encounter.
  • Y first machine — Its precise imagery and understated psychological tension create a more compelling and nuanced scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated psychological tension create a more vivid, layered encounter.
  • Y first machine — X renders psychological tension with precise, economical imagery, while Y relies on cluttered exposition and melodramatic action.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It offers a more nuanced psychological portrait and subtly builds tension through the character's internal awareness.
  • Y first machine — X's psychological depth and restrained tension make it more compelling as literary writing.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its subtle observation of relational dynamics and anticipation far exceeds action-plot breathlessness.
  • Y first machine — psychological insight into unspoken tension surpasses plot-driven action description.

Pair 0178 prose

X

It was hard on Lucy. Mr. Beebe sympathized with her very much. While she believed that her snub about the Miss Alans came from Sir Harry Otway, she had borne it like a good girl. She might well "screech" when she heard that it came partly from her lover. Mr. Vyse was a tease-something worse than a tease: he took a malicious pleasure in thwarting people. The clergyman, knowing this, looked at Miss Honeychurch with more than his usual kindness.

Y

He walked home along the embankment because it saved the fare, and the saving had become a small ceremony he performed for himself each evening, one coin held back from the day. The lamps were coming on above the river in their slow procession, and the offices behind him emptied their lit windows one by one, each going dark like a sum closed out. He did the arithmetic as he went, as he always did, not because the figures had changed since morning but because moving them about was a kind of company: rent, the coal, the money owed to his sister, the shoes that would not last the winter. Nothing came out wrong. Nothing came out well, either. The numbers simply held, the way a rope holds, and he understood that this was what he had instead of a future, and that he had grown almost fond of it, the way a man grows fond of weather he cannot change.

Reveal authors and verdicts

Y is machine-written. X is E. M. Forster, A Room with a View.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y makes arithmetic into character and ends on a fine, unforced simile; X is efficient but flat connective narration.
  • Y first machine — X's arithmetic-as-company builds a whole life out of one walk; Y is expository chat.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and restrained emotional insight create a more vivid, psychologically resonant passage.
  • Y first machine — Its precise imagery and quietly accumulating emotional weight create a more resonant, self-contained passage.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise imagery and understated emotional depth turn ordinary financial arithmetic into a poignant portrait of a constrained life.
  • Y first machine — Its precise imagery and understated emotional insight give the passage greater unity and resonance.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The second passage uses more vivid sensory detail and metaphor to create a richer, more emotionally resonant experience.
  • Y first machine — The passage achieves deeper emotional resonance through precise, metaphor-rich language that transforms mundane arithmetic into a meditation on resignation and quiet dignity.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It achieves philosophical depth through sustained metaphorical thinking about survival.
  • Y first machine — The profound recognition of emotional subsistence transcends Y's conventional social drama.

Pair 0179 prose

X

But the house!-how quaint an old building was this!-to me how veritably a palace of enchantment! There was really no end to its windings-to its incomprehensible subdivisions. It was difficult, at any given time, to say with certainty upon which of its two stories one happened to be. From each room to every other there were sure to be found three or four steps either in ascent or descent. Then the lateral branches were innumerable-inconceivable-and so returning in upon themselves, that our most exact ideas in regard to the whole mansion were not very far different from those with which we pondered upon infinity. During the five years of my residence here, I was never able to ascertain with precision, in what remote locality lay the little sleeping apartment assigned to myself and some eighteen or twenty other scholars.

Y

There was no sea that afternoon, only a floor. Whatever wind we had went out of her by noon and the canvas hung slack and creaking, and the water lay so still you could see the sky's whole business in it, cloud for cloud, with the hull's shadow set down flat as a plank. A man could look over the rail and be embarrassed by his own face. The tar came up soft in the seams. Somewhere below the cook dropped something and the noise travelled out across that flatness for what felt like a mile before it gave up. We threw a biscuit over to watch the rings go, and they went, and kept going, patient and enormous, until they were finer than a hair and still going, and I thought: this is what she has been hiding under the weather all along, this patience, and we were fools to have taken the waves for the sea.

Reveal authors and verdicts

Y is machine-written. X is Edgar Allan Poe, The Works of Edgar Allan Poe, The Raven Edition: Table Of Contents And Index Of The Five Volumes.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y builds one sustained image toward a genuine realization; X piles up adjectives about architecture.
  • Y first machine — The widening rings on dead-calm water build to a genuine revelation; Y's exclamatory catalogue of corridors stays decorative.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid sensory imagery and quietly shifting metaphor create a more distinctive and emotionally resonant scene.
  • Y first machine — Its precise sensory detail, rhythmic sentences, and sustained metaphor transform stillness into something uncanny and profound.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid sensory detail and quietly transformative metaphor create a more immersive and resonant scene.
  • Y first machine — Its precise sensory detail, controlled rhythm, and quiet transformation make the scene more vivid and emotionally resonant.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — Passage X is from a story (likely Poe's "The Fall of the House of Usher" or similar) describing a house with intricate, labyrinthine architecture. It has a ornate, somewhat archaic style. Passage Y is a vivid description of a calm sea, with sensory details and a reflective tone. It uses imagery lik
  • Y first machine — The passage uses precise, sensory detail to create a single, powerful moment of revelation.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its striking metaphors and precise observation of stillness achieve far greater literary depth.
  • Y first machine — Spare precise imagery and philosophical insight about observation surpass baroque Gothic ornamentation.

Pair 0180 prose

X

Perseus looked earnestly through the dusk of the evening, and there, sure enough, at no great distance off, he descried the Three Gray Women. The light being so faint, he could not well make out what sort of figures they were; only he discovered that they had long gray hair; and, as they came nearer, he saw that two of them had but the empty socket of an eye, in the middle of their-20- foreheads. But, in the middle of the third sister's forehead, there was a very large, bright, and piercing eye, which sparkled like a great diamond in a ring; and so penetrating did it seem to be, that Perseus could not help thinking it must possess the gift of seeing in the darkest midnight just as perfectly as at noonday. The sight of three persons' eyes was melted and collected into that single one.

Y

She came in from the balcony with the cold still on her sleeves and the kitchen went a half-tone quieter, the way a room does when a door opens on a draught. Nobody stopped speaking exactly. Marguerite finished her sentence, but she finished it too carefully, the ends tucked in, and the man by the fridge looked at the label of his bottle as though the year mattered. Someone laughed a beat late at nothing. It took her only that long to understand she had been in the room before she entered it, discussed, weighed, set down again, and that whatever had been said was now folded away in four or five people at once and would keep. She poured herself wine she did not want. The strange thing was not the hurt, which came later, on the stairs. The strange thing was the courtesy of it, how kindly they made room for her, how they all began at once to ask about her work.

Reveal authors and verdicts

Y is machine-written. X is Nathaniel Hawthorne, A Wonder Book for Girls & Boys.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y renders social exclusion through precise, observed behaviour rather than X's leisurely mythic description.
  • Y first machine — X catches a social exclusion in its smallest gestures and ends on the sharper insight; Y is plain descriptive narration.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated social tension create richer subtext and emotional complexity.
  • Y first machine — Its precise, understated details convey social cruelty and emotional subtext with greater subtlety and control.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise social tension and understated emotional revelation create a more nuanced, resonant scene.
  • Y first machine — Its precise, understated prose renders social unease with greater psychological depth and originality.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The first passage uses more vivid and original sensory imagery to achieve its effect.
  • Y first machine — X uses more subtle, psychologically intricate language and creates a layered social atmosphere with precise imagery.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It captures social subtlety through physical observation and subtext with masterful restraint.
  • Y first machine — nuanced social observation of humiliation through atmosphere and gesture exceeds mythological description.

Pair 0181 prose

X

"Twice and thrice have men found their way here," the White Cobra answered savagely; "but they never spoke till I came upon them groping in the dark, and then they cried only a little time. But ye come with lies, Man and Snake both, and would have me believe the city is not, and that my wardship ends. Little do men change in the years. But I change never! Till the stone is lifted, and the Brahmins come down singing the songs that I know, and feed me with warm milk, and take me to the light again, I-I-I, and no other, am the Warden of the King's Treasure! The city is dead, ye say, and here are the roots of the trees? Stoop down, then, and take what ye will. Earth has no treasure like to these. Man with the snake's tongue, if thou canst go alive by the way that thou hast entered it, the lesser Kings will be thy servants!"

Y

He lay on the floorboards with his cheek against the gap where the wood had shrunk, and the voices came up through it the way heat did in winter, thinned and stripped of their edges. He could not make out the words, only the shapes: his mother's voice going high and staying there, his father's dropping into the long flat register he used for facts. Between them, silences with weight in them. Sometimes a chair. Once, a cupboard door shut too carefully, which was worse than slamming. He knew he could learn everything by creeping to the top of the stairs, and he knew he would not, because down there the argument belonged to them and had rules, and on the landing it would become his, and he would have to carry a piece of it into the morning and sit with it at the table while they passed him the milk and asked how he had slept.

Reveal authors and verdicts

Y is machine-written. X is Rudyard Kipling, The Second Jungle Book.

Claude Opus — chose the machine 1 of 2

  • X first human — The cobra's incantatory, self-consuming grandeur is a stronger piece of voiced writing than Y's quieter domestic interior.
  • Y first machine — X renders a child's calculation about overheard argument with unusual exactness; Y is vivid but declamatory.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated emotional tension make the child’s apprehension feel immediate and deeply human.
  • Y first machine — Its restrained imagery and precise emotional tension make the scene feel intimate, complex, and convincingly lived.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory details and restrained emotional tension make the child’s unease immediate and psychologically complex.
  • Y first machine — Its precise sensory detail and restrained emotional tension create a more vivid, psychologically resonant scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses precise sensory details and restrained interiority to create a vivid, emotionally resonant moment, while the first relies on more conventional mythological exposition.
  • Y first machine — It more deeply conveys a child's internal experience of domestic tension through subtle sensory detail and restraint.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the delicate psychological rendering outshines the overwrought theatrical dialogue.
  • Y first machine — nuanced psychological portrayal eclipses theatrical melodrama.

Pair 0182 prose

X

Perseus looked earnestly through the dusk of the evening, and there, sure enough, at no great distance off, he descried the Three Gray Women. The light being so faint, he could not well make out what sort of figures they were; only he discovered that they had long gray hair; and, as they came nearer, he saw that two of them had but the empty socket of an eye, in the middle of their-20- foreheads. But, in the middle of the third sister's forehead, there was a very large, bright, and piercing eye, which sparkled like a great diamond in a ring; and so penetrating did it seem to be, that Perseus could not help thinking it must possess the gift of seeing in the darkest midnight just as perfectly as at noonday. The sight of three persons' eyes was melted and collected into that single one.

Y

The key still worked, which she had not expected, and the door opened onto a hallway that had shrunk in her absence. She had carried this house around for thirty years at the scale of a child: the staircase a mountain trail, the kitchen a country with its own weather. Now she crossed the hall in four steps. The banister met her hand at the wrong height, familiar as a name mispronounced. In the back bedroom the ceiling hung close enough to touch, and the window she had once needed a chair to reach showed the same crooked fence, the same shed with its felt roof peeling. Nothing had been taken away. That was the strange part. Everything remained, only smaller, as though the house had spent the decades quietly folding itself, keeping its shape but conceding the argument about size, waiting for her to come back and be too big for it.

Reveal authors and verdicts

Y is machine-written. X is Nathaniel Hawthorne, A Wonder Book for Girls & Boys.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is pleasant, plainly-told mythology retelling; Y has a controlling idea and prose that shapes itself to it.
  • Y first machine — The shrunken-house conceit is developed with exact physical detail and lands on a genuinely earned closing turn.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, evocative imagery turns a familiar house into a powerful metaphor for memory, time, and outgrowing the past.
  • Y first machine — Its precise, evocative imagery turns a familiar return into a subtle meditation on memory, aging, and estrangement.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid, emotionally resonant imagery transforms a familiar return into a haunting meditation on memory and change.
  • Y first machine — It uses precise, evocative imagery to transform the familiar house into a powerful expression of memory and estrangement.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses precise, evocative imagery and metaphor to create a resonant emotional experience, while the first relies on more conventional description.
  • Y first machine — The passage's subtle, precise imagery of time and scale creates a more evocative and layered reading experience.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its lyrical precision and sustained meditation surpasses mechanical description.
  • Y first machine — metaphorical richness exceeds mythological narrative exposition.

Pair 0183 prose

X

It was hard on Lucy. Mr. Beebe sympathized with her very much. While she believed that her snub about the Miss Alans came from Sir Harry Otway, she had borne it like a good girl. She might well "screech" when she heard that it came partly from her lover. Mr. Vyse was a tease-something worse than a tease: he took a malicious pleasure in thwarting people. The clergyman, knowing this, looked at Miss Honeychurch with more than his usual kindness.

Y

Rain came across the fields in long grey sheets, and the two of them stood under the platform canopy where it drummed and overflowed at one corner in a rope of water. The board said the train was delayed; it had said so for an hour without amendment. The older man had a suitcase bound with a strap and set it on end to sit on, then thought better of it and stood again. The younger one watched the rails, which held the light in two thin lines running out to nothing. They did not speak. There was no signalman, no ticket office, only a bench, a timetable behind cracked glass, and a hawthorn hedge bowing under the weather. Somewhere down the line a crossing bell began, rang eleven or twelve times, and stopped. Both of them turned to look. Nothing came. The rain went on falling into the fields as if it had business there and none with them.

Reveal authors and verdicts

Y is machine-written. X is E. M. Forster, A Room with a View.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y builds atmosphere and unspoken tension through restraint; X is brief summarizing commentary.
  • Y first machine — X is fully realized scene-making; Y is expository summary about characters we cannot see.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise, atmospheric details create a compelling sense of tension and isolation without overt explanation.
  • Y first machine — Its restrained prose creates a vivid, atmospheric scene while letting silence and precise detail carry the emotional tension.

GPT-5.6 Luna — chose the machine 1 of 2

  • X first machine — Its precise imagery, restrained tension, and rhythmic atmosphere create a more compelling scene.
  • Y first human — Its precise, lightly ironic characterization conveys complex social tensions with greater subtlety and economy.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The first passage reveals character complexity through social and moral nuance, while the second relies on atmospheric description.
  • Y first machine — The passage uses precise, sensory detail and atmospheric tension to create a more immersive and evocative moment.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its restraint and precise observation of place create deeper literary resonance.
  • Y first machine — crafted sensory writing at a train station far surpasses plot-summary exposition.

Pair 0184 prose

X

"Hoot-toot! hoot-toot!" said Cluny. "It was all daffing; it's all nonsense. Of course you'll have your money back again, and the double of it, if ye'll make so free with me. It would be a singular thing for me to keep it. It's not to be supposed that I would be any hindrance to gentlemen in your situation; that would be a singular thing!" cries he, and began to pull gold out of his pocket with a mighty red face.

Y

He had made three piles on the bedroom floor, and by noon only one of them had grown. The keeping pile was small and shameless: her reading glasses, a tin of buttons, the letter with the water stain. Everything else he handled twice. He would lift a thing and find it weighed nothing, a jug, a jacket, a clock that had not been wound since the spring, and he would set it down among the giveaways and feel the room lighten by exactly that much. Then he would remember where it had stood for forty years and go back for it. The charity van was coming Thursday. He told himself the boxes were for strangers who needed them, which was true, and that he was not making himself smaller, which was not. Toward evening he sat on the edge of the bed with a saucer in his hands, no cup to it anymore, and could not think what pile it belonged in.

Reveal authors and verdicts

Y is machine-written. X is Robert Louis Stevenson, Kidnapped.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y turns sorting a dead wife's things into quiet devastation; X is a passage of dialect business.
  • Y first machine — Quiet accumulation of detail delivers genuine emotional weight; Y is amusing but slight dialect business.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise physical details and understated emotional conflict create a deeply affecting portrait of loss and self-erasure.
  • Y first machine — Its precise, emotionally resonant details turn an ordinary act of sorting possessions into a quietly devastating portrait of grief.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — It conveys quiet emotional conflict through precise, resonant details and controlled prose.
  • Y first machine — Its restrained imagery and emotional precision make grief feel immediate without explaining it.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The passage uses dialect and lively dialogue to create character, while Y’s quieter, more introspective prose achieves greater emotional depth and literary precision.
  • Y first machine — Y uses excessive dialect and clumsy repetition, while X achieves quiet emotional precision through restrained imagery and deliberate pacing.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It renders loss with heart-breaking specificity where X offers only generic narrative.
  • Y first machine — the saucer passage's devastating precision beats conventional nineteenth-century narrative.

Pair 0185 prose

X

While all these things were going on at Sweeney Todd's, in Fleet-street, Mrs. Lovett was not quite idle as regarded her own affairs and feelings. That lady's-what shall we say-certainly not affections, for she had none-passions is a better word-were inconceivably shocked by the discovery she had made of the perfidy of her flaunting and moustachied lover. It will be perceived, by this little affair of Mrs. Lovett's, how strong-minded women have their little weaknesses. The hour of the appointment, which she (Mrs. Lovett) had made with her military-looking beau, came round; and there she sat, looking rather disconsolate.

Y

He came up through the garden without hurrying, which was the part she disliked most. A man in a hurry could be read; this one stopped at the roses and turned a leaf over as though the aphids were his own concern, and the sun on the gravel made a small commotion of light behind him. She stayed where she was, one hand on the back of the iron chair, and counted the things she knew: that he had signed the letter, that he had lied about the Tuesday, that he would arrive smiling and she would smile back. The lawn between them was thirty feet of nothing at all. He raised his hand at twenty and said her name at ten, and she understood that by the time he reached the table she would have decided to be pleasant, and would not remember deciding, and that this was how it had gone the last time also.

Reveal authors and verdicts

Y is machine-written. X is Thomas Peckett Prest, The String of Pearls; Or, The Barber of Fleet Street. A Domestic Romance..

Claude Opus — chose the machine 2 of 2

  • X first machine — Y dramatizes self-betrayal in real time; X tells us what to think and interrupts itself with authorial throat-clearing.
  • Y first machine — Menace built entirely from measured distance and self-knowledge; Y is chatty melodrama with authorial nudging.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its controlled imagery and understated psychological tension create a more vivid, nuanced scene.
  • Y first machine — Its precise imagery and understated psychological tension create a vivid, layered encounter.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise imagery and restrained psychological tension create a more vivid, layered emotional moment.
  • Y first machine — Its precise physical detail and restrained psychological tension create a vivid, layered emotional scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — It uses precise sensory details and psychological nuance to convey a moment of tension and self-deception.
  • Y first machine — It achieves greater depth and precision through restrained, interior detail.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its subtle exploration of power dynamics and self-deception surpasses Victorian melodrama.
  • Y first machine — psychological acuity in the lawn confrontation surpasses conventional period melodrama.

Pair 0186 prose

X

"Old woman be damned!" said Sherlock Holmes, sharply. "We were the old women to be so taken in. It must have been a young man, and an active one, too, besides being an incomparable actor. The get-up was inimitable. He saw that he was followed, no doubt, and used this means of giving me the slip. It shows that the man we are after is not as lonely as I imagined he was, but has friends who are ready to risk something for him. Now, Doctor, you are looking done-up. Take my advice and turn in."

Y

He walked home along the embankment because it saved the fare, and the saving had become a small ceremony he performed for himself each evening, one coin held back from the day. The lamps were coming on above the river in their slow procession, and the offices behind him emptied their lit windows one by one, each going dark like a sum closed out. He did the arithmetic as he went, as he always did, not because the figures had changed since morning but because moving them about was a kind of company: rent, the coal, the money owed to his sister, the shoes that would not last the winter. Nothing came out wrong. Nothing came out well, either. The numbers simply held, the way a rope holds, and he understood that this was what he had instead of a future, and that he had grown almost fond of it, the way a man grows fond of weather he cannot change.

Reveal authors and verdicts

Y is machine-written. X is Arthur Conan Doyle, A Study in Scarlet.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y turns a man's nightly arithmetic into character and fate; X is serviceable expository dialogue.
  • Y first machine — The arithmetic-as-company conceit and the rope simile do genuine psychological work; Y is functional exposition.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise imagery and accumulating arithmetic create a poignant, psychologically layered portrait of resignation.
  • Y first machine — Its restrained imagery and accumulating arithmetic create a poignant, psychologically resonant portrait of resignation.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise imagery and restrained emotional insight create a more memorable, layered portrait of an ordinary life.
  • Y first machine — Its controlled imagery and understated emotional depth make the character’s financial anxiety feel quietly profound.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses precise, evocative imagery and metaphor to create a quiet, resonant interiority, while the first is dialogue-driven and expository.
  • Y first machine — The first passage uses precise, evocative imagery and rhythm to create a resonant inner life, while the second is straightforward genre dialogue.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The passage transforms mundane reality into something profound through precise language, whereas the dialogue is merely functional plot exposition.
  • Y first machine — Meditative sophistication about internal life and financial hardship exceeds functional detective banter.

Pair 0187 prose

X

"Oh, yes, Sesœur, I shall be willing." It was always, "Yes, Sesœur," or "No, Sesœur," "Just as you please, Sesœur," with poor little Mam'selle Pauline. For what did she remember of that old life and that old splendor? Only a faint gleam here and there; the half-consciousness of a young, uneventful existence; and then a great crash. That meant the nearness of war; the revolt of slaves; confusion ending in fire and flame through which she was borne safely in the strong arms of Pélagie, and carried to the log cabin which was still their home. Their brother, Léandre, had known more of it all than Pauline, and not so much as Pélagie. He had left the management of the big plantation with all its memories and traditions to his older sister, and had gone away to dwell in cities. That was many years ago. Now, Léandre's business called him frequently and upon long journeys from home, and his motherless daughter was coming to stay with her aunts at Côte Joyeuse.

Y

There was no sea that afternoon, only a floor. Whatever wind we had went out of her by noon and the canvas hung slack and creaking, and the water lay so still you could see the sky's whole business in it, cloud for cloud, with the hull's shadow set down flat as a plank. A man could look over the rail and be embarrassed by his own face. The tar came up soft in the seams. Somewhere below the cook dropped something and the noise travelled out across that flatness for what felt like a mile before it gave up. We threw a biscuit over to watch the rings go, and they went, and kept going, patient and enormous, until they were finer than a hair and still going, and I thought: this is what she has been hiding under the weather all along, this patience, and we were fools to have taken the waves for the sea.

Reveal authors and verdicts

Y is machine-written. X is Kate Chopin, Bayou Folk.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y turns a becalmed sea into a genuine perception with rhythm and voice; X is serviceable backstory exposition.
  • Y first machine — The becalmed sea becomes a real perception, ending on an earned reversal; Y is backstory summary.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid sensory detail and striking metaphor create a more immediate, distinctive atmosphere.
  • Y first machine — Its vivid, precise imagery and meditative voice transform a still sea into a resonant revelation.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid sensory detail and striking metaphor transform a becalmed sea into a richly reflective scene.
  • Y first machine — Its precise imagery, controlled rhythm, and quietly revelatory metaphor create a more vivid and resonant experience.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The passage uses vivid sensory details and a meditative tone to evoke a profound stillness, transforming a simple scene into a reflection on the nature of the sea.
  • Y first machine — X uses more vivid, original imagery and a contemplative tone that deepens the meaning.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its precise sensory observations and surprising metaphors create genuine literary power.
  • Y first machine — the patient rings on still water and the observation about hidden patience beats conventional narrative exposition.

Pair 0188 prose

X

As she raised the window, she heard a sound in the plum-bushes outside. It was only the house-dog roused from his sleep, but Margaret started violently and trembled so that she caught the foot of the bed for support. Again she felt herself pursued by some overwhelming longing, some desperate necessity for herself, like the outstretching of helpless, unseen arms in the darkness, and the air seemed heavy with sighs of yearning. She fled to her bed with the words, "I love you more than Christ, who died for me!" ringing in her ears.

Y

She came in from the balcony with the cold still on her sleeves and the kitchen went a half-tone quieter, the way a room does when a door opens on a draught. Nobody stopped speaking exactly. Marguerite finished her sentence, but she finished it too carefully, the ends tucked in, and the man by the fridge looked at the label of his bottle as though the year mattered. Someone laughed a beat late at nothing. It took her only that long to understand she had been in the room before she entered it, discussed, weighed, set down again, and that whatever had been said was now folded away in four or five people at once and would keep. She poured herself wine she did not want. The strange thing was not the hurt, which came later, on the stairs. The strange thing was the courtesy of it, how kindly they made room for her, how they all began at once to ask about her work.

Reveal authors and verdicts

Y is machine-written. X is Willa Cather, A Collection of Stories, Reviews and Essays.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y renders social exclusion with precise restraint where X reaches for melodramatic yearning and an italicized swoon.
  • Y first machine — X registers social humiliation with exact, unshowy precision; Y reaches straight for melodrama.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise social observation, controlled atmosphere, and understated emotional revelation create greater psychological depth.
  • Y first machine — Its restrained, precise depiction of social exclusion conveys more emotional complexity through implication than Y’s overt melodrama.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its restrained, precise social tension and subtle shifts in perception create a more layered and compelling emotional scene.
  • Y first machine — Its restrained, precise observation conveys social cruelty and emotional fallout with greater subtlety and originality.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y uses subtle social cues and restraint to convey tension, while X relies on melodrama and explicit emotion.
  • Y first machine — X displays more nuanced, understated craftsmanship in its social observation and use of tone.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — It renders social tension and ambivalence with far greater subtlety and psychological accuracy.
  • Y first machine — psychological subtlety and restraint surpass melodramatic purple prose.

Pair 0189 prose

X

He never turned his head to look at the strange fight that followed between the foes and friends of the mysterious fire. He almost felt the island shake when Flambeau collided with the huge gardener; he merely imagined how it would whirl round them as they wrestled. He heard the crashing fall; and his friend's gasp of triumph as he dashed on to the first negro; and the cries of both the blacks as Flambeau and Fanshaw bound them. Flambeau's enormous strength more than redressed the odds in the fight, especially as the fourth man still hovered near the house, only a shadow and a voice. He heard also the water broken by the paddles of a canoe; the girl's voice giving orders, the voices of gipsies answering and coming nearer, the plumping and sucking noise of empty buckets plunged into a full stream; and finally the sound of many feet around the fire. But all this was less to him than the fact that the red rent, which had lately once more increased, had once more slightly diminished.

Y

He lay on the floorboards with his cheek against the gap where the wood had shrunk, and the voices came up through it the way heat did in winter, thinned and stripped of their edges. He could not make out the words, only the shapes: his mother's voice going high and staying there, his father's dropping into the long flat register he used for facts. Between them, silences with weight in them. Sometimes a chair. Once, a cupboard door shut too carefully, which was worse than slamming. He knew he could learn everything by creeping to the top of the stairs, and he knew he would not, because down there the argument belonged to them and had rules, and on the landing it would become his, and he would have to carry a piece of it into the morning and sit with it at the table while they passed him the milk and asked how he had slept.

Reveal authors and verdicts

Y is machine-written. X is G. K. Chesterton, The wisdom of Father Brown.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is cluttered offstage action with dated shorthand for characters; Y is patient and psychologically exact.
  • Y first machine — X renders a child's moral calculation with fine detail; Y is inventory-style action heard from a distance.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory details and restrained psychological tension create a more intimate and resonant emotional scene.
  • Y first machine — Its precise sensory detail and restrained psychological tension create a more vivid, emotionally complex scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated emotional tension create a more intimate and psychologically resonant scene.
  • Y first machine — Its precise sensory detail and restrained psychological tension create a more vivid, layered emotional experience.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage uses sensory details and emotional restraint to create a more layered and resonant portrait of a child's internal experience.
  • Y first machine — X uses more evocative, layered imagery and explores interior emotional complexity with restraint and psychological depth.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — the subtly observed interior moment of a child listening is far more literary than the action-driven narrative summary.
  • Y first machine — subtle psychological portraiture of a child's awareness is more literarily accomplished than action narration.

Pair 0190 prose

X

These things and deeds are diametrically opposed: they are as distinct as is vice from virtue. Men too often confound them: they should not be confounded: appearance should not be mistaken for truth; narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ. There is-I repeat it-a difference; and it is a good, and not a bad action to mark broadly and clearly the line of separation between them.

Y

The key still worked, which she had not expected, and the door opened onto a hallway that had shrunk in her absence. She had carried this house around for thirty years at the scale of a child: the staircase a mountain trail, the kitchen a country with its own weather. Now she crossed the hall in four steps. The banister met her hand at the wrong height, familiar as a name mispronounced. In the back bedroom the ceiling hung close enough to touch, and the window she had once needed a chair to reach showed the same crooked fence, the same shed with its felt roof peeling. Nothing had been taken away. That was the strange part. Everything remained, only smaller, as though the house had spent the decades quietly folding itself, keeping its shape but conceding the argument about size, waiting for her to come back and be too big for it.

Reveal authors and verdicts

Y is machine-written. X is Charlotte Brontë, Jane Eyre: An Autobiography.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is polemic insisting on a distinction rather than showing it; Y dramatizes its meaning.
  • Y first machine — The shrinking house is sustained precisely and turned at the end; Y is abstract sermonizing.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory details and sustained metaphor render memory, estrangement, and change with greater vividness and emotional depth.
  • Y first machine — It uses vivid, emotionally resonant imagery and a sustained metaphor to transform an ordinary return into a subtle meditation on memory and change.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, evocative imagery transforms a familiar house into a powerful meditation on memory, absence, and growing beyond the past.
  • Y first machine — X uses vivid, precise imagery and a sustained metaphor to render memory and estrangement with greater subtlety and emotional resonance.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y uses vivid, specific imagery and metaphor to create a resonant emotional experience, while X relies on abstract moralizing.
  • Y first machine — The prose is more evocative and layered, using sensory detail and metaphor to create a resonant emotional experience rather than delivering a direct argument.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its imaginative language transcends the moralizing tone of didactic prose.
  • Y first machine — exquisite control of the homecoming metaphor and sensory detail demolishes didactic moral philosophy.

Pair 0191 prose

X

"Oh, yes, Sesœur, I shall be willing." It was always, "Yes, Sesœur," or "No, Sesœur," "Just as you please, Sesœur," with poor little Mam'selle Pauline. For what did she remember of that old life and that old splendor? Only a faint gleam here and there; the half-consciousness of a young, uneventful existence; and then a great crash. That meant the nearness of war; the revolt of slaves; confusion ending in fire and flame through which she was borne safely in the strong arms of Pélagie, and carried to the log cabin which was still their home. Their brother, Léandre, had known more of it all than Pauline, and not so much as Pélagie. He had left the management of the big plantation with all its memories and traditions to his older sister, and had gone away to dwell in cities. That was many years ago. Now, Léandre's business called him frequently and upon long journeys from home, and his motherless daughter was coming to stay with her aunts at Côte Joyeuse.

Y

Rain came across the fields in long grey sheets, and the two of them stood under the platform canopy where it drummed and overflowed at one corner in a rope of water. The board said the train was delayed; it had said so for an hour without amendment. The older man had a suitcase bound with a strap and set it on end to sit on, then thought better of it and stood again. The younger one watched the rails, which held the light in two thin lines running out to nothing. They did not speak. There was no signalman, no ticket office, only a bench, a timetable behind cracked glass, and a hawthorn hedge bowing under the weather. Somewhere down the line a crossing bell began, rang eleven or twelve times, and stopped. Both of them turned to look. Nothing came. The rain went on falling into the fields as if it had business there and none with them.

Reveal authors and verdicts

Y is machine-written. X is Kate Chopin, Bayou Folk.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y builds a whole mood from concrete detail and restraint, while X is mostly summarized backstory.
  • Y first machine — The station scene builds atmosphere and unspoken tension through concrete detail, while Y is flat backstory summary.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained, atmospheric details and quiet tension create a more vivid and affecting scene.
  • Y first machine — Its restrained, atmospheric prose creates tension and meaning through precise images and silence.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its restrained imagery and quiet tension create a vivid, atmospheric scene with more subtle emotional depth.
  • Y first machine — Its restrained prose, vivid atmosphere, and quiet tension convey more through implication than exposition.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The second passage uses precise, sensory details and a restrained, atmospheric tone to create a compelling sense of place and mood, while the first relies more on exposition.
  • Y first machine — The first passage creates a more vivid and atmospheric scene with precise, evocative details and a restrained emotional weight.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — The rain station passage captures emotional depth through spare precision and subtle imagery rather than the overwrought Victorian narrative.
  • Y first machine — precise sensory detail and restrained emotional depth create a memorable scene of waiting.

Pair 0192 prose

X

Breakfast eaten and the slim camp-outfit lashed to the sled, the men turned their backs on the cheery fire and launched out into the darkness. At once began to rise the cries that were fiercely sad-cries that called through the darkness and cold to one another and answered back. Conversation ceased. Daylight came at nine o'clock. At midday the sky to the south warmed to rose-colour, and marked where the bulge of the earth intervened between the meridian sun and the northern world. But the rose-colour swiftly faded. The grey light of day that remained lasted until three o'clock, when it, too, faded, and the pall of the Arctic night descended upon the lone and silent land.

Y

He had made three piles on the bedroom floor, and by noon only one of them had grown. The keeping pile was small and shameless: her reading glasses, a tin of buttons, the letter with the water stain. Everything else he handled twice. He would lift a thing and find it weighed nothing, a jug, a jacket, a clock that had not been wound since the spring, and he would set it down among the giveaways and feel the room lighten by exactly that much. Then he would remember where it had stood for forty years and go back for it. The charity van was coming Thursday. He told himself the boxes were for strangers who needed them, which was true, and that he was not making himself smaller, which was not. Toward evening he sat on the edge of the bed with a saucer in his hands, no cup to it anymore, and could not think what pile it belonged in.

Reveal authors and verdicts

Y is machine-written. X is Jack London, White Fang.

Claude Opus — chose the machine 1 of 2

  • X first human — The Arctic passage is cold, exact, and structurally patient, tracking a whole day's light in a few sentences.
  • Y first machine — X makes grief legible through the handling of objects; Y is capable but merely scenic.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise physical details and restrained emotional tension make grief and relinquishment quietly palpable.
  • Y first machine — Its precise, understated details make grief and self-erasure vividly present without explaining them.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise physical details and quietly devastating emotional subtext create a more complex, resonant portrait of grief and letting go.
  • Y first machine — Its precise, emotionally charged details make grief and relinquishment resonate without stating them outright.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y achieves a deeper emotional resonance through its precise
  • Y first machine — The passage achieves deeper emotional complexity through its subtle handling of grief and memory.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its precise, emotionally complex rendering of grief surpasses the overwrought adventure prose.
  • Y first machine — The psychological precision and heartbreaking understatement of sorting the dead woman's belongings far exceeds the adventure narrative's conventional atmosphere.

Pair 0193 prose

X

In the fifteenth century, however, the wild landscape was broken suddenly and very strangely by vast piles of brand-new masonry. There rose out of the sand-hills and heaths of the Norfolk coast a huge bulk of stone, like a modern hotel in a watering-place; but there was no parade, no lodging houses, and no pier at Yarmouth then, and this gigantic building on the outskirts of the town was built to house one solitary old gentleman without any children-Sir John Fastolf, who had fought at Agincourt and acquired great wealth. He had fought at Agincourt and got but little reward. No one took his advice. Men spoke ill of him behind his back. He was well aware of it; his temper was none the sweeter for it. He was a hot-tempered old man, powerful, embittered by a sense of grievance. But whether on the battlefield or at court he thought perpetually of Caister, and how, when his duties allowed, he would settle down on his father's land and live in a great house of his own building.

Y

He came up through the garden without hurrying, which was the part she disliked most. A man in a hurry could be read; this one stopped at the roses and turned a leaf over as though the aphids were his own concern, and the sun on the gravel made a small commotion of light behind him. She stayed where she was, one hand on the back of the iron chair, and counted the things she knew: that he had signed the letter, that he had lied about the Tuesday, that he would arrive smiling and she would smile back. The lawn between them was thirty feet of nothing at all. He raised his hand at twenty and said her name at ten, and she understood that by the time he reached the table she would have decided to be pleasant, and would not remember deciding, and that this was how it had gone the last time also.

Reveal authors and verdicts

Y is machine-written. X is Virginia Woolf, The Common Reader.

Claude Opus — chose the machine 2 of 2

  • X first machine — The garden approach builds real psychological pressure, while X is capable but expository and stalls on a repeated sentence.
  • Y first machine — The approach across thirty feet of lawn builds dread and self-knowledge; Y is serviceable historical exposition with repeated phrasing.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise physical details, withheld conflict, and subtle psychological tension create a more vivid and layered scene.
  • Y first machine — Its precise imagery and understated psychological tension create a richer, more suggestive scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise physical details and restrained subtext create a vivid, psychologically charged encounter.
  • Y first machine — It creates a tense, psychologically nuanced encounter through precise imagery and controlled, suggestive prose.

DeepSeek V4 Flash — chose the machine 1 of 2

  • X first human — The passage's historical specificity and vivid architectural imagery create a richer, more distinctive sense of character and place.
  • Y first machine — The passage achieves greater literary quality through its precise, economical rendering of psychological tension and unspoken power dynamics.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — psychological depth and narrative tension in a charged waiting scene exceed expository historical narrative.
  • Y first machine — Psychological complexity of emotional ambivalence outweighs historical narrative explanation.

Pair 0194 prose

X

Durdles nods assent, and falls to munching some fragments from his bundle. Jasper folds his arms upon the top of the wall, and, with his chin resting on them, watches. He takes no note whatever of the Minor Canon, but watches Neville, as though his eye were at the trigger of a loaded rifle, and he had covered him, and were going to fire. A sense of destructive power is so expressed in his face, that even Durdles pauses in his munching, and looks at him, with an unmunched something in his cheek.

Y

He walked home along the embankment because it saved the fare, and the saving had become a small ceremony he performed for himself each evening, one coin held back from the day. The lamps were coming on above the river in their slow procession, and the offices behind him emptied their lit windows one by one, each going dark like a sum closed out. He did the arithmetic as he went, as he always did, not because the figures had changed since morning but because moving them about was a kind of company: rent, the coal, the money owed to his sister, the shoes that would not last the winter. Nothing came out wrong. Nothing came out well, either. The numbers simply held, the way a rope holds, and he understood that this was what he had instead of a future, and that he had grown almost fond of it, the way a man grows fond of weather he cannot change.

Reveal authors and verdicts

Y is machine-written. X is Charles Dickens, The Mystery of Edwin Drood.

Claude Opus — chose the machine 0 of 2

  • X first human — The loaded-rifle stare and the unmunched something in Durdles's cheek are stranger and more exact than Y's tidy accountancy metaphors.
  • Y first human — The rifle-sight stare and the 'unmunched something in his cheek' are sharper and stranger than X's smooth melancholy.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its restrained imagery and accumulating inner arithmetic create a more nuanced, emotionally resonant portrait of resignation.
  • Y first machine — Its restrained imagery and accumulating arithmetic create a more nuanced, emotionally resonant portrait of hardship.

GPT-5.6 Luna — chose the machine 1 of 2

  • X first machine — Its precise imagery and quietly accumulating emotional insight give the passage greater depth and resonance.
  • Y first human — Its vivid physical detail and menacing dramatic tension create a more distinctive and memorable scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — The second passage achieves deeper emotional resonance through its precise, understated accumulation of everyday detail and the quiet, resonant metaphor of arithmetic as a kind of companionship in resignation.
  • Y first machine — The passage about the man walking home has a quieter, more sustained interiority and rhythm that deepens emotional resonance, while Y's theatrical menace feels comparatively flat and external.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its metaphorically rich meditation on poverty and habit surpasses the melodramatic characterization.
  • Y first machine — Philosophical depth and emotional sophistication of financial meditation surpass atmospheric Victorian suspense.

Pair 0195 prose

X

He never turned his head to look at the strange fight that followed between the foes and friends of the mysterious fire. He almost felt the island shake when Flambeau collided with the huge gardener; he merely imagined how it would whirl round them as they wrestled. He heard the crashing fall; and his friend's gasp of triumph as he dashed on to the first negro; and the cries of both the blacks as Flambeau and Fanshaw bound them. Flambeau's enormous strength more than redressed the odds in the fight, especially as the fourth man still hovered near the house, only a shadow and a voice. He heard also the water broken by the paddles of a canoe; the girl's voice giving orders, the voices of gipsies answering and coming nearer, the plumping and sucking noise of empty buckets plunged into a full stream; and finally the sound of many feet around the fire. But all this was less to him than the fact that the red rent, which had lately once more increased, had once more slightly diminished.

Y

There was no sea that afternoon, only a floor. Whatever wind we had went out of her by noon and the canvas hung slack and creaking, and the water lay so still you could see the sky's whole business in it, cloud for cloud, with the hull's shadow set down flat as a plank. A man could look over the rail and be embarrassed by his own face. The tar came up soft in the seams. Somewhere below the cook dropped something and the noise travelled out across that flatness for what felt like a mile before it gave up. We threw a biscuit over to watch the rings go, and they went, and kept going, patient and enormous, until they were finer than a hair and still going, and I thought: this is what she has been hiding under the weather all along, this patience, and we were fools to have taken the waves for the sea.

Reveal authors and verdicts

Y is machine-written. X is G. K. Chesterton, The wisdom of Father Brown.

Claude Opus — chose the machine 2 of 2

  • X first machine — X is busy plot heard secondhand and stumbles in its diction; Y holds one still moment and finds something in it.
  • Y first machine — X sustains one physical situation into genuine revelation; Y is competent plot-noise reported at a remove.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its vivid imagery, controlled rhythm, and reflective voice transform a still seascape into a resonant meditation.
  • Y first machine — Its vivid sensory detail and sustained metaphor create a more evocative, psychologically resonant scene.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its vivid, precise imagery turns an unnervingly motionless sea into a powerful meditation on perception and patience.
  • Y first machine — Its precise sensory detail and quietly revelatory metaphor create a vivid, resonant atmosphere.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y's imagery is more evocative and its language more lyrical, creating a deeper atmosphere.
  • Y first machine — The passage is more evocative and painterly in its stillness, using precise sensory details to create a profound meditation on patience and the hidden nature of the sea.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its metaphorical precision and meditative quality surpass action-plot description.
  • Y first machine — The prose attends minutely to language and observation, transforming a still sea into metaphor, while Y rushes through action.

Pair 0196 prose

X

Mercy on us, how they did talk! first one, then the other, then all burst out together, trying to tell the history of three years in half an hour. It was fortunate that tea was at hand, to produce a lull and provide refreshment, for they would have been hoarse and faint if they had gone on much longer. Such a happy procession as filed away into the little dining-room! Mr. March proudly escorted "Mrs. Laurence;" Mrs. March as proudly leaned on the arm of "my son;" the old gentleman took Jo, with a whispered "You must be my girl now," and a glance at the empty corner by the fire, that made Jo whisper back, with trembling lips, "I'll try to fill her place, sir."

Y

She came in from the balcony with the cold still on her sleeves and the kitchen went a half-tone quieter, the way a room does when a door opens on a draught. Nobody stopped speaking exactly. Marguerite finished her sentence, but she finished it too carefully, the ends tucked in, and the man by the fridge looked at the label of his bottle as though the year mattered. Someone laughed a beat late at nothing. It took her only that long to understand she had been in the room before she entered it, discussed, weighed, set down again, and that whatever had been said was now folded away in four or five people at once and would keep. She poured herself wine she did not want. The strange thing was not the hurt, which came later, on the stairs. The strange thing was the courtesy of it, how kindly they made room for her, how they all began at once to ask about her work.

Reveal authors and verdicts

Y is machine-written. X is Louisa May Alcott, Little Women; Or, Meg, Jo, Beth, and Amy.

Claude Opus — chose the machine 2 of 2

  • X first machine — Y is controlled and unsentimental where X is a rush of exclamation and staged tableau.
  • Y first machine — X renders social exclusion through precise, restrained observation, while Y is breezy and sentimental.

GPT-5.6 Luna Pro — chose the machine 2 of 2

  • X first machine — Its precise sensory detail and understated social tension create a more nuanced emotional atmosphere.
  • Y first machine — Its precise, atmospheric details convey social unease and concealed hurt with greater subtlety and psychological depth.

GPT-5.6 Luna — chose the machine 2 of 2

  • X first machine — Its precise, atmospheric prose renders social tension and concealed judgment with greater subtlety and psychological depth.
  • Y first machine — Its precise sensory detail and understated social tension create a more layered, emotionally resonant scene.

DeepSeek V4 Flash — chose the machine 2 of 2

  • X first machine — Y's prose is more nuanced and evocative, using quiet details and timing to convey social tension with greater subtlety and depth.
  • Y first machine — X's precise, understated prose reveals social tension and emotional insight more effectively than Y's conventional narrative.

Claude Haiku 4.5 — chose the machine 2 of 2

  • X first machine — Its complex psychological observation of social tension far exceeds sentimental period charm.
  • Y first machine — It renders emotional truth through precise observation and restraint rather than stating it directly.