A frame is drawn by more than one pass - a shadow map, a water reflection, the
scene - and actor_draw runs in each. An Actor's rim survives that because it is
a field on the actor; the queue did not, because the first pass to run emptied
it. A queued outline was drawn into whichever target came first and was gone by
the time the scene was drawn, so nothing appeared with every uniform, matrix
and mesh correct - which took a while to find.
A flush now closes the batch rather than clearing it, and the next
outline_model opens a new one.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three things a game could not say, each of which had been worked around.
Audio.play_at(id, gain:, pitch:, pan:) fires a one-shot with its own gain,
pitch and stereo position. Audio.volume and Audio.pitch are global - they are
the options screen - so a game placing a sound in the world was fighting them,
and distance attenuation was simply not expressible. The backend already took
volume and rate per call; this adds setPan: alongside them and stops routing
through the master state.
ludic.render3d gains outline_model(model, mat, width, r, g, b): a rim around
something that is not an Actor. The outline pass walked the actor list and
stopped, so instanced scatter - a forest - could not be highlighted at all. It
is a queue flushed by the same pass, which is what gets the depth test right
when the caller does not control pass order.
And terrain_coast(cx, cz, margin, fall), the other way to make an island:
the sea around the survey's own edge rather than cut out of the middle of it.
terrain_island measures a radius from a centre, which drowns two thirds of a
real survey to make an island of the rest; this measures inward from the
boundary, so everything the data covers stays land and the coast is where the
data runs out. Both modes gained a strand - the last few metres of height
either side of the water line compressed, which stretches a cliff plunge out
into beach and shallows.
132 regression tests and the self-host fixpoints pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The water shader's `u_screen`, and the reflection target's size, were both taken
from gl_w/gl_h - the drawable. But gl_FragCoord in that shader runs over the
scene target, which is post_w x post_h. They match only at a render scale of 1;
at anything less the refraction and depth reads landed in the wrong corner of
the frame and the lake showed a squashed copy of it instead of its own bed.
Both now come from the scene target. The reflection is sized from it too, which
also stops it paying for pixels the water never samples. R3D_DUMP_REFL reads the
target's own w/h rather than recomputing them.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`terrain_island(cx, cz, r, fall)` keeps land out to `r` and then scales the
terrain down into the water over `fall` metres and on to a shelf. Scaling rather
than blending to a fixed bed is what makes the coastline come out of the terrain
that is already there: low ground turns into beach and shallows, high ground
into cliff. `r = 0` leaves the survey alone, so nothing that does not ask for an
island is touched.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The moon was fixed opposite the sun and worth a constant trickle of light. It
now carries a phase, 0 new .. 0.5 full .. 1 new again, and that one number
decides three things at once: the disc's terminator, the fraction of its light
that reaches the ground, and where in the sky it rides.
The moon is where the sun was `lag` of a day ago, so a full moon rises as the
sun sets and a new moon travels with the sun and is never seen. A new moon is
now a properly dark night, which is what makes a carried light worth having.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
An actor gains `outline` (metres of rim) and `ocol` (its colour). The pass draws
the model a second time with its vertices pushed out along their normals and its
front faces culled, so only the far side of the swollen shell survives - a
silhouette exactly `outline` metres wide. It is depth-tested against the scene,
so anything standing in front of the actor hides the rim too.
skin.vert grows an OUTLINE path for the push; outline.frag is the flat-colour
fragment shader it pairs with.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`Gl.*` binds the whole OpenGL 4.1 core API — every entry point of the
platform gl3.h with every GL_* constant, generated by `ludic-dev glgen`
with per-call ABI thunks. Windowed builds get an NSOpenGLContext on the
existing window at Retina resolution; headless builds render into an
offscreen CGL context, so a program that uses Gl.* renders and
screenshots identically under the test harness. It links gl.ll, the
thunks and OpenGL.framework only when used; every other build stays
byte-identical.
packages/ludic.render3d is a physically based renderer written on that
surface: HDRI image-based lighting, GPU-generated terrain with scanned
PBR materials, CDLOD, cascaded shadows, glTF with skinning, instanced
vegetation with impostors, procedural grass, water, SSAO, and an HDR
pipeline with bloom, auto-exposure and ACES.
It also carries this session's work on it: the terrain at half its cost
(10.3 -> 5.4 ms of frame), the streaming hitch that got worse the longer
you played, a resize that emptied the world, and the packaging that lets
a game use the renderer from its own repository — `ludic assets`, the
material manifest shipping with the package, and shader lookup falling
back to the install root. See changes/ for each, with its numbers.
The camping game that drove all of it has moved out to its own
repository, Maroon Lake; examples/rendering/smooth.ludic stays as the
renderer's example here.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
