History

Orkuncakilkaya d34fb5bc63 feat(render3d): the air and the light are the hour's, not one constant apiece Aerial perspective is a curve now. A low sun shines through far more air than a high one and shines ALONG the ground rather than down onto it, so density, height falloff and forward scatter all ride the sun's elevation; overcast thickens the air and flattens the scatter, because a grey sky has no disc to scatter from. `lowsun` falls away BELOW the horizon as well as above it, or the middle of the night gets a dawn's haze with no dawn to justify it. The term that was missing entirely is distance DESATURATION. Blending a saturated green ridge toward a saturated blue noon sky leaves a saturated ridge - which is why the same valley read as a photograph at dusk, where the fog colour happened to be a warm grey, and as a toy at one o'clock. A surface is now pulled toward its own luminance faster than the fog itself arrives. Measured far/near saturation at the camp: 07:00 1.11 -> 0.89, 09:00 1.04 -> 0.93, 13:00 0.98 -> 0.89. The grade is the hour's too - nine literals bound at the draw, written by daylight_set now. Noon is the case worth naming: direct sun is warm-white and the only thing filling a midday shadow is a blue sky, so noon gets a cool balance over a blue-lifted shadow with hard contrast, and dawn and dusk the reverse. Ground R-B, lit vs shadowed: 07:00 +42.8/+14.2 -> +48.9/+15.1, 13:00 +32.2/+14.8 -> +25.2/+2.9. Gain is left alone deliberately: the grade is `c * gain + lift * (1 - c)`, so warming it warms the whole frame, and warming it at noon made one o'clock yellower than seven in the morning - the opposite of the point. The visible sky is relit. Turning a photograph on its axis does not change what colour it was taken at, so every sunset had a mid-morning blue overhead. An analytic sky supplies the chroma and the photograph keeps the luminance: the cloud stays where it is and goes orange at dusk, the zenith goes deep blue at noon, and no second sky is shipped. It fades out under the horizon and eases off under cloud. The ground bounce follows the ground, crossing meadow to rock at the map's treeline instead of being one green constant everywhere including above the scree. R3D_NOAIR=1 restores all of it, so a before-and-after comes from one binary at one hour; it joins R3D_NOCLOUD / R3D_NOSHADOW / R3D_NOGI. Verified on macOS OpenGL, macOS Vulkan (MoltenVK) and Windows Vulkan (RTX 3070 Ti). Backends agree: mean difference 0.15-0.88/255 within a machine. Across machines the ORIGINAL renderer already differed by 5.02/255 at 19:12 and this build differs by 2.80, so cross-platform variance is pre-existing and did not grow. 400 frames: GL 7.4 s before and after, VK 7.0 s before and after. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-09-19 14:42:30 +03:00
..
light-air-and-the-hour.md	feat(render3d): the air and the light are the hour's, not one constant apiece	2026-09-19 14:42:30 +03:00
README.md	refactor(cli)!: split the contributor tool out of the ludic CLI	2026-09-05 23:15:12 +03:00

Orkuncakilkaya d34fb5bc63 feat(render3d): the air and the light are the hour's, not one constant apiece

Aerial perspective is a curve now. A low sun shines through far more air than a
high one and shines ALONG the ground rather than down onto it, so density, height
falloff and forward scatter all ride the sun's elevation; overcast thickens the air
and flattens the scatter, because a grey sky has no disc to scatter from. `lowsun`
falls away BELOW the horizon as well as above it, or the middle of the night gets a
dawn's haze with no dawn to justify it.

The term that was missing entirely is distance DESATURATION. Blending a saturated
green ridge toward a saturated blue noon sky leaves a saturated ridge - which is why
the same valley read as a photograph at dusk, where the fog colour happened to be a
warm grey, and as a toy at one o'clock. A surface is now pulled toward its own
luminance faster than the fog itself arrives. Measured far/near saturation at the
camp: 07:00 1.11 -> 0.89, 09:00 1.04 -> 0.93, 13:00 0.98 -> 0.89.

The grade is the hour's too - nine literals bound at the draw, written by
daylight_set now. Noon is the case worth naming: direct sun is warm-white and the
only thing filling a midday shadow is a blue sky, so noon gets a cool balance over a
blue-lifted shadow with hard contrast, and dawn and dusk the reverse. Ground R-B,
lit vs shadowed: 07:00 +42.8/+14.2 -> +48.9/+15.1, 13:00 +32.2/+14.8 -> +25.2/+2.9.
Gain is left alone deliberately: the grade is `c * gain + lift * (1 - c)`, so warming
it warms the whole frame, and warming it at noon made one o'clock yellower than seven
in the morning - the opposite of the point.

The visible sky is relit. Turning a photograph on its axis does not change what
colour it was taken at, so every sunset had a mid-morning blue overhead. An analytic
sky supplies the chroma and the photograph keeps the luminance: the cloud stays where
it is and goes orange at dusk, the zenith goes deep blue at noon, and no second sky
is shipped. It fades out under the horizon and eases off under cloud.

The ground bounce follows the ground, crossing meadow to rock at the map's treeline
instead of being one green constant everywhere including above the scree.

R3D_NOAIR=1 restores all of it, so a before-and-after comes from one binary at one
hour; it joins R3D_NOCLOUD / R3D_NOSHADOW / R3D_NOGI.

Verified on macOS OpenGL, macOS Vulkan (MoltenVK) and Windows Vulkan (RTX 3070 Ti).
Backends agree: mean difference 0.15-0.88/255 within a machine. Across machines the
ORIGINAL renderer already differed by 5.02/255 at 19:12 and this build differs by
2.80, so cross-platform variance is pre-existing and did not grow. 400 frames: GL
7.4 s before and after, VK 7.0 s before and after.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

2026-09-19 14:42:30 +03:00

light-air-and-the-hour.md

feat(render3d): the air and the light are the hour's, not one constant apiece

2026-09-19 14:42:30 +03:00

README.md

refactor(cli)!: split the contributor tool out of the ludic CLI

2026-09-05 23:15:12 +03:00

README.md

Changesets

A changeset is one small Markdown file describing a single user-facing change, dropped in this directory. ludic-dev release consumes every changeset here into a new CHANGELOG.md section, bumps VERSION, and deletes the consumed files.

Format

bump: minor
type: feat
One or more lines describing the change, in the past-agnostic imperative used in
the changelog. Markdown is fine.

bump: — major, minor, or patch (SemVer). The release version is bumped by the highest level among the pending changesets (unless ludic-dev release <level> overrides it).
type: — the Conventional Commit type (feat, fix, perf, docs, …). It decides which group the change lands in: feat → Features, fix → Fixes, perf → Performance, and so on, in that order. A type with no known heading gets one named after itself.

Writing the body

The body is markdown and reaches the changelog as markdown: it becomes one list item, with continuation lines indented to stay inside it. Nested bullets, blank lines between paragraphs and inline code all survive.

bump: minor
type: feat
**Tiled map support** — load and draw Tiled maps.

- **TMX/TSX** — the XML formats, decoded to the same intermediate as JSON.
- **Collision** — the `collision` layer projects onto the engine tilemap.

Lead with the thing that changed, not with the mechanism. A reader scanning the release should be able to stop after your first clause.

Adding one

Create a file with a short, unique name, e.g. changes/regex-namespace.md. Any filename works except this README.md, which the release step always skips.

Preview how the next release will read before cutting it — this writes nothing:

ludic-dev release --dry-run