The teeth is indeed a critical aspect. It has to be symmetrical as this assembly is mirrored to block the rotation in the other direction.
An alternative to this would be printing the spring with the contact surface separately and inserting it into this print (pause at layer height, insert part, continue print) allowing other geometries (that would overlap with the teeth if printed in place) and pretension. The downside is it’s a manual task and one more separate part to keep track of.
This is small and the tolerances of the center hub cause the teeths/“gear” to move approx. 0.3-0.5mm of centre. This means what you see in the CAD/slicer isn’t how it will look once printed. I had to narrow the gap down as much as I could to get the largest contact area. If you make it a sled on one side there is less material/surface area.
A further consequence is that the tip of it doesn’t touch anything as such you could remove the very tip to adjust the sound signature. The feeling is slightly changed but primarily this replaced the high-pitched plastic sound with a deep tone.
The nice aspect is that in the blocking position, it is a solid connection meaning it can take as much load as the teeth (tip) can support (hence the trying to maximize the contact area there). The spring element is only there to return this blocking “bolt” into position after a teeth passes through.