Papay-Shooter/assets/shaders/sakura_cel.gdshader

shader_type spatial;

// ── The cel law ──────────────────────────────────────────────────────────────
//
// Ported from the Sakura Crossing renderer (three.js MeshToonMaterial + a
// patched toon BRDF). Two ideas, and the second one is the one that matters:
//
//   1. Direct light is QUANTISED against a hand-authored ramp — a tiny
//      nearest-filtered texture sampled at `dot(N,L) * 0.5 + 0.5`. So a surface
//      is never lit by a falloff, only ever by one of 2-5 flat values.
//
//   2. The darker bands are HUE-SHIFTED toward a cool violet rather than being
//      a darker version of the base colour:
//
//          irradiance = band * mix(shadow_tint, vec3(1.0), band)
//
//      The band drives its own tint, so full light is untinted, the mid band is
//      slightly cooled and the darkest band is almost entirely shadow-hue. That
//      hue shift in shadow is most of what separates "anime cel" from
//      "low-poly 3D" — a wall whose shade is just 40% of its lit colour reads
//      as an unlit polygon; a wall whose shade swings violet reads as painted.
//
// Godot's light() is called per light and adds into DIFFUSE_LIGHT, and its
// Lambert term already carries the 1/PI that three.js puts in BRDF_Lambert, so
// the two pipelines agree once the ramp value is substituted for `dot(N,L)`.
//
// This is a SEPARATE shader from toon.gdshader on purpose. That one carries the
// weapon-viewmodel colour shaping and the character band calibration, both
// tuned against imported textures that are already painted with cel shading.
// This one is for FLAT-COLOURED WORLD GEOMETRY, which is what the reference is
// built out of end to end, and it would be wrong to make either compromise for
// the other.

// ── Ramps ────────────────────────────────────────────────────────────────────
//
// The reference's stop tables, kept as raw 0-255 values so they can be checked
// against the source line by line. These are LINEAR values, not sRGB: three.js
// gives a DataTexture no colour space, so the stops are used as authored, and
// the same has to be true here or every band lands too bright.
//
//   2/3/4/5   the standard ramps. 3 is the default and does most of the world.
//   6         "soft"  — high key, 2 bands, for pale masses (blossom, cloud,
//   7         "soft3" — high key, 3 bands   plaster) that must stay light even
//                                           on the shadow side. Without these a
//                                           cherry canopy goes grey the moment
//                                           it turns away from the sun, which
//                                           is the one thing a blossom tree may
//                                           never do.
const float RAMP_2[5] = float[](96.0, 255.0, 255.0, 255.0, 255.0);
const float RAMP_3[5] = float[](92.0, 178.0, 255.0, 255.0, 255.0);
const float RAMP_4[5] = float[](80.0, 142.0, 202.0, 255.0, 255.0);
const float RAMP_5[5] = float[](74.0, 124.0, 172.0, 214.0, 255.0);
const float RAMP_SOFT[5] = float[](180.0, 255.0, 255.0, 255.0, 255.0);
const float RAMP_SOFT3[5] = float[](172.0, 214.0, 255.0, 255.0, 255.0);

// Which ramp, and how many of its stops are live.
//   0 = 2 band   1 = 3 band (default)   2 = 4 band   3 = 5 band
//   4 = soft 2 band (high key)          5 = soft 3 band (high key)
uniform int ramp_id : hint_range(0, 5) = 1;

uniform vec4 albedo_color : source_color = vec4(1.0);
uniform sampler2D albedo_texture : source_color, filter_linear_mipmap, repeat_enable;
uniform bool has_texture = false;
uniform bool use_vertex_color = false;

// The cool violet the shadow bands swing toward. 0x6c5f8c is the reference's
// default; individual materials shift it (warmer for timber and blossom, bluer
// for metal and water) the same way the reference's `cel({tint})` does.
uniform vec4 shadow_tint : source_color = vec4(0.424, 0.373, 0.549, 1.0);

// Faceted shading. The reference sets `flatShading: true` on essentially
// everything, and it is not a shortcut — a quantised ramp over SMOOTH normals
// puts a curved band boundary across a curved surface, which reads as an
// airbrushed gradient no matter how few steps it has. Faceting forces every
// band edge onto a polygon edge, which is where a cel painter would put it.
uniform bool flat_shading = true;

// ── Cast shadow ──────────────────────────────────────────────────────────────
//
// The reference folds shadow attenuation into the light colour, so an occluded
// pixel there goes to zero direct light and is carried entirely by ambient.
// That works when the whole world is one authored scene; in a shooter, where
// players have to be read against the geometry they are standing on, a cast
// shadow that reaches black swallows them.
//
// So occlusion drives the surface to the ramp's DARKEST STOP — fully tinted,
// scaled by cast_shadow_depth — rather than to nothing. The result is still a
// hard, dark, clearly separate shape (which is what an animator inks), but it
// keeps hue, so a character standing in the shade of a shopfront stays legible.
uniform float cast_shadow_depth : hint_range(0.0, 1.0) = 0.72;
uniform float cast_shadow_softness : hint_range(0.01, 1.0) = 0.30;

// Band-edge anti-aliasing floor, in NdotL. Nearest-filtered quantisation is
// a hard step, and a hard step on a slowly-curving surface crawls and
// stair-steps as the camera moves — this is shading aliasing, so MSAA cannot
// touch it. See light() for how the screen-space term works.
uniform float band_softness : hint_range(0.0, 0.5) = 0.012;

// Rim and specular are OFF by default and should mostly stay that way: the
// reference has neither, and on large level surfaces a toon rim reads as a
// giant soft blob smeared across a wall.
uniform float rim_strength : hint_range(0.0, 2.0) = 0.0;
uniform float rim_width : hint_range(0.0, 1.0) = 0.28;

// ── Surface law ──────────────────────────────────────────────────────────────
//
// Carried over from toon.gdshader, because the problem it solves is real here
// too: a flat cel colour is the style, but a twelve-metre wall holding exactly
// one value is not stylised, it is empty. Both default to off — the reference
// answers this with geometry (every fascia, sill and downpipe is modelled), and
// where this map does the same it does not need them.
group_uniforms detail;
uniform float seam_scale = 0.0;                             // metres per panel; 0 = off
uniform float seam_strength : hint_range(0.0, 1.0) = 0.24;
uniform float seam_width : hint_range(0.001, 0.2) = 0.010;
uniform float grade_height = 0.0;                           // metres to fade over; 0 = off
uniform float grade_strength : hint_range(0.0, 1.0) = 0.18;
uniform float grade_floor = 0.0;                            // world Y the grade starts from

varying vec3 world_pos;
varying vec3 world_normal;
varying float normal_slope;


float ramp_stop(int i) {
	// GLSL ES 3.0 will not index a const array with a non-constant expression on
	// every driver, so the ramp is selected by branch and the stop by a small
	// unrolled pick. Both indices are uniform-or-loop-constant, so this costs
	// nothing measurable and works everywhere.
	float s[5] = RAMP_3;
	if (ramp_id == 0) { s = RAMP_2; }
	else if (ramp_id == 2) { s = RAMP_4; }
	else if (ramp_id == 3) { s = RAMP_5; }
	else if (ramp_id == 4) { s = RAMP_SOFT; }
	else if (ramp_id == 5) { s = RAMP_SOFT3; }
	float v = s[0];
	if (i == 1) { v = s[1]; }
	else if (i == 2) { v = s[2]; }
	else if (i == 3) { v = s[3]; }
	else if (i >= 4) { v = s[4]; }
	return v / 255.0;
}


int ramp_bands() {
	if (ramp_id == 0 || ramp_id == 4) { return 2; }
	if (ramp_id == 2) { return 4; }
	if (ramp_id == 3) { return 5; }
	return 3;
}


float seam_lines(vec2 uv) {
	vec2 g = abs(fract(uv) - 0.5);
	vec2 fw = fwidth(uv) + 0.0001;
	vec2 line = smoothstep(0.5 - seam_width - fw, 0.5 - seam_width + fw, g);
	return max(line.x, line.y);
}


float panel_seam(vec3 p, vec3 n) {
	vec3 w = pow(abs(n), vec3(4.0));
	w /= (w.x + w.y + w.z);
	float s = seam_lines(p.zy / seam_scale) * w.x
			+ seam_lines(p.xz / seam_scale) * w.y
			+ seam_lines(p.xy / seam_scale) * w.z;
	float cell_px = length(fwidth(p)) / seam_scale;
	return s * (1.0 - smoothstep(0.25, 0.5, cell_px));
}


void vertex() {
	world_pos = (MODEL_MATRIX * vec4(VERTEX, 1.0)).xyz;
	world_normal = normalize((MODEL_MATRIX * vec4(NORMAL, 0.0)).xyz);
}


void fragment() {
	vec3 base = albedo_color.rgb;
	if (has_texture) {
		base *= texture(albedo_texture, UV).rgb;
	}
	if (use_vertex_color) {
		base *= COLOR.rgb;
	}

	if (seam_scale > 0.0) {
		base *= 1.0 - panel_seam(world_pos, world_normal) * seam_strength;
	}
	if (grade_height > 0.0) {
		float h = clamp((world_pos.y - grade_floor) / grade_height, 0.0, 1.0);
		base *= mix(1.0 - grade_strength, 1.0, h);
	}

	if (flat_shading) {
		// VERTEX is view-space position here, so its screen derivatives span the
		// triangle's own plane and their cross product is the true face normal.
		// Forced to face the viewer, because the winding of that cross product
		// flips with the handedness of the projection and a back-to-front normal
		// lights the facet from behind.
		vec3 fn = normalize(cross(dFdx(VERTEX), dFdy(VERTEX)));
		NORMAL = fn * sign(dot(fn, VIEW));
	}

	ALBEDO = base;
	ROUGHNESS = 1.0;
	SPECULAR = 0.0;

	// Screen-space rate of turn of the normal, measured here because
	// derivatives are a fragment-stage operation — taking fwidth() inside
	// light(), which runs once per light, is undefined on some drivers.
	// Faceted geometry has a slope of zero across a facet, so this only ever
	// widens the band edge where the surface is genuinely curving.
	normal_slope = length(fwidth(NORMAL));

	float rim = 1.0 - clamp(dot(normalize(VIEW), NORMAL), 0.0, 1.0);
	rim = smoothstep(1.0 - rim_width, 1.0, rim);
	EMISSION = base * rim * rim_strength;
}


void light() {
	float ndotl = dot(NORMAL, LIGHT);

	// Quantise. `t` is the reference's ramp lookup coordinate exactly — the
	// texture is sampled at dot(N,L) * 0.5 + 0.5 with NearestFilter, so band
	// boundaries fall at evenly spaced values of that coordinate and nowhere
	// else. With the 3-stop ramp that puts them at dot(N,L) = ±1/3.
	int bands = ramp_bands();
	float fb = clamp(ndotl * 0.5 + 0.5, 0.0, 0.999999) * float(bands);
	int idx = int(floor(fb));
	float frac_b = fb - float(idx);

	float hi = ramp_stop(idx);
	float lo = ramp_stop(max(idx - 1, 0));

	// Anti-aliasing budget. band_softness is in NdotL, which says nothing about
	// how many PIXELS a transition covers; normal_slope does. Widening the step
	// to at least the on-screen rate of turn keeps every band edge about a pixel
	// wide, and leaves edges that are already wider exactly as authored. The
	// d(fb)/d(ndotl) factor of bands*0.5 converts the NdotL width into the
	// band-index units `frac_b` is measured in.
	float w = max(band_softness, normal_slope * 0.9) * float(bands) * 0.5;
	float band = mix(lo, hi, smoothstep(0.0, max(w * 2.0, 0.0001), frac_b));

	// The hue shift. Band drives its own tint: full light is untinted, the
	// darkest band is very nearly pure shadow hue.
	vec3 lit = band * mix(shadow_tint.rgb, vec3(1.0), band);

	// Cast shadow: down to the darkest stop, fully tinted, never to black.
	float floor_band = ramp_stop(0);
	vec3 occluded = floor_band * mix(shadow_tint.rgb, vec3(1.0), floor_band)
			* cast_shadow_depth;
	float occ = smoothstep(0.0, cast_shadow_softness, ATTENUATION);
	vec3 shade = mix(occluded, lit, occ);

	DIFFUSE_LIGHT += ALBEDO * LIGHT_COLOR / PI * shade;
}