Paint every backdrop scenery - #30
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The backdrop scenes were monochrome by construction: both silhouette planes were just the sky's bottom color darkened. This replaces the two-plane contract with a list of painted layers, each carrying a material (WATER, SAND, HULL, SAIL, PARASOL), and colors every layer per frame as a blend between the material's intrinsic daylight color and the old sky-derived tone. The blend amount comes from the day phase (day 0.35, dawn/dusk 0.75, night 0.95) and is pushed to 1 by the same overcast/fog/precipitation/ thunder signals that gray the sky, so weather legibility is untouched: a storm still collapses everything toward the silhouette look, and night is nearly indistinguishable from before. Beach only for now — metropolis, mountains, and countryside emit SILHOUETTE layers that take the plane tone exactly, pixel-identical to the previous look, each awaiting its own repaint. Also in the beach pass: - The freighter is gone (it read as a submarine); a single sloop remains, rebuilt with a hull, mast, concave-leech mainsail, and jib, in HULL/SAIL livery. - Shapes are aspect-proof: ships derive heights from their own on-screen length, fins and the whale from one width basis, so portrait no longer stretches them tall. - Shark fins point straight up and curve like actual dorsal fins. - Parasols split into a dark pole and a red canopy. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Second scene through the painted-layer engine. The far ridge is hazy ROCK, the near range alpine FOREST green, and a new sunlit MEADOW valley floor rolls along the bottom as a third color band. Snow hugs the tallest far summits: each cap's top edge is the ridge outline itself, its underside a snowline with a central dip, and the bottom corners slide down the real slopes. The tallest summit always earns snow regardless of how the seeded ridge came out; the fixed threshold only adds caps on genuinely high peaks. Snowcaps ride on the beach sloop's machinery, generalized for it: SceneryShip/ships became SceneryGlyph/glyphs — closed painted shapes drawn over the far plane — with no renderer changes beyond the rename. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
…ed barn Third scene through the painted-layer engine. Hazy PASTURE hills sit behind the MEADOW rise carrying the windmill, and a golden WHEAT strip rolls along the bottom as the warm third band. The windmill gets white canvas sails and the fence posts weathered-wood brown. The farmhouse is no longer a cut in the hill outline — welded in, it could only ever be hill-colored. It's now painted glyphs: a falu-red BARN body under a dark roof, the chimney rising from behind the slope. Glyphs learned a depth plane for this, so the house draws over the near fill while the sloop and snowcaps stay on the far plane untouched. Every barn height derives from its own on-screen width (span × aspect), so the proportions hold at every screen aspect — pinned by a test that compares the on-screen height/width ratio across three aspects. The bare fence-post ticks read as floating pillars; they're now a proper post-and-rail fence planted on the wheat boundary. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
…construction site Fourth and final scene through the painted-layer engine: hazy STEEL towers behind warm MASONRY blocks, fronted by a park band (MEADOW) with FOREST tree crowns. The near plane trades the continuous roofline for detached blocks with real street gaps, and the skyline thins out — 6 far + 5 near in portrait. Landscape counts now grow with the square root of the width gain (scaledSparse) instead of linearly: the old rule kept density constant per screen height, cramming ~2x the buildings per inch on a rotated device. The sqrt curve makes tower spacing rotation-invariant. The orphaned rooflineRun and silhouetteLayers helpers are gone; SILHOUETTE stays as the palette's atmospheric anchor. One near block is a construction site: a bare slab with the lift core poking above it, never lit, with a tower crane over it — mast planted exactly on the seeded slab line, jib, counter-jib, apex, and hook line, all single-basis sized so the crane survives every aspect. The crane apex joins the beacons list, so it blinks red for free. A rare helicopter crosses above the skyline, slot-scheduled like the meteors and bird flocks. Unlike the birds it flies at night — carrying a blinking anti-collision light — but storms, fog, and a heavy deck still ground it. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Sweep after re-reviewing the branch. SceneryLayer and SceneryGlyph collapse to one-line data classes; multiline expressions get their grouping blank line (mountain ranges, crane parts, sloop hull, barn body); the usedSetback condition unwraps to a single soft-wrapped line; the windmill sail color gets a named val instead of riding inline as a long call argument. The SceneryOutlines doc stops claiming accents are stroked in the near tone — they've been weathered wood since the fence got painted. Tests drop the fully-qualified kotlin.math.abs for an import, and the beach test finally admits its ships became one sloop. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
Up to standards ✅🟢 Issues
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| Metric | Results |
|---|---|
| Complexity | 91 |
| Duplication | 0 |
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Codacy flagged drawHelicopter at 51 lines of code against its limit of 50 — stricter than the detekt.yml LongMethod threshold of 60, so the local build had nothing to say about it. Splitting it along the seam it already had: helicopterPass answers whether a helicopter is crossing right now and where, drawHelicopter just draws the one it is handed. The random draws happen in the same order as before, so the schedule and every position it produces are unchanged. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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All four backdrop sceneries now draw through a shared painted-layer engine instead of flat two-plane silhouettes.
The engine
A
SceneryLayercarries an outline, aSceneryMaterial, and aSceneryPlane;sceneryLayerColor()blends a material's intrinsic daylight color toward the sky-derived plane tone by how much atmosphere sits in front of it. Clear day keeps colors honest, overcast and fog gray them out, dawn and dusk backlight them, and night collapses to within a hair of the old silhouette look.SILHOUETTEstays in the enum as the atmospheric anchor — it takes the plane tone exactly, reproducing the pre-paint rendering.SceneryGlyphgained aplanefield so a painted shape can sit on either depth plane. That is what lets the farmhouse and the crane be real buildings instead of shapes cut out of the hill behind them, which could only ever be hill-colored.The scenes
WATERandSAND, with the old freighter-plus-triangle pair replaced by a single sloop: dark hull and mast under a mainsail with a concave leech and a jib off the forestay.ROCKridges behind aFORESTnear range over aMEADOWfloor, with snowcaps whose top edge is the ridge outline itself, so snow hugs rock exactly. Only genuinely high summits earn a cap.PASTURE,MEADOW, and a ripeWHEATstrip, carrying a redBARNunder a dark roof with a chimney rising from behind the slope, plus a post-and-rail fence planted on the wheat contour.STEELtowers behind warmMASONRYblocks, fronted by a park band with tree crowns. The near plane trades its continuous roofline for detached blocks with real street gaps. One block is a construction site: a bare slab with the lift core poking above it, never lit, under a tower crane whose apex joins the beacon list and blinks red for free.Two bug classes fixed along the way
Aspect-ratio distortion. Several glyphs mixed x-based widths with fixed y-offsets, so they stretched vertically on wide screens. Every glyph now derives its verticals from its own on-screen width (
rise = width * aspectRatio), single-basis. The shark fin, whale, sloop, barn, park trees, and crane all went through this;the barn keeps its proportions at every aspectpins it as a regression test.Landscape overcrowding.
scaled()grows feature counts linearly with aspect ratio, which holds density constant per unit of screen height — rotating to landscape multiplied counts ~4.3× for ~2.2× more width, cramming roughly twice the buildings per inch. The newscaledSparse()grows with the square root of the width gain, making spacing rotation-invariant. Applied to the metropolis skyline and park trees; the portrait multiplier is exactly 1, so portrait renders are untouched.Also
A rare helicopter crosses above the skyline, slot-scheduled like the meteors and bird flocks. Unlike the birds it flies at night, carrying a blinking anti-collision light, but storms, fog, and a heavy deck still ground it.
The orphaned
rooflineRunandsilhouetteLayershelpers are gone now that no scene wants a continuous wall or an unpainted plane.Testing
44 unit tests pass. New coverage pins each scene's layer materials, the crane's parts and plane, the beacon count including the crane apex, barn proportions across three aspect ratios, and — in
ScenePaletteTest— that water reads cool, sand and wheat warm, pasture green, steel cool, masonry warm, that a thunderstorm collapses every material to the plane tone, and that the far plane sits deeper in haze than the near one.Each scene was verified visually on an emulator during development via a throwaway capture harness; the harness is not part of this branch.
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