package detail

import (
	"math"

	"salty/terrain/internal/field"
	"salty/terrain/internal/manifest"
	"salty/terrain/internal/noise"
	"salty/terrain/internal/world"
)

// Why the detail passes need a noise period of their own, and why it is short.
//
// noise.Lattice allocates cells² floats an octave, and the cell count is the period divided by the
// wavelength. Asking for an eight-metre finest octave on a hundred-kilometre period means a lattice of
// 12500² - one and a half gigabytes for the top octave alone - so world-period noise simply cannot reach
// detail wavelengths with this lattice.
//
// A short period can, and the cost is that the texture repeats. At a kilometre that is invisible: what
// repeats is a few metres of surface roughness, not anything with a shape, and the structure it sits on comes
// from the solve and from the paint, neither of which repeats at all. The period still has to divide the
// circumference exactly or the pattern breaks at the seam, which the manifest checks.

// DetailNoiseParams is pass 9.
type DetailNoiseParams struct {
	Cfg     manifest.Detail
	Seed    int64
	Frame   world.Frame
	PeriodM float64 // the short period above; must divide the circumference

	SeaLevelM float64

	// Classes gives each cell its own amplitude. Nil means the manifest's pair everywhere.
	Classes *Classes
}

// slopeFull is the slope at which detail noise reaches its full amplitude - about 27 degrees. Flat ground
// gets the low end and steep ground the high end, which is the same instinct as the droplets' slope gate: a
// meadow is smooth and a scree face is not, and noise applied evenly makes the meadow look like sandpaper.
const slopeFull = 0.5

// shoreTaperM is how far either side of the water the amplitude is faded in. A few metres of noise at the
// waterline turns the shallows into a scatter of one-cell islands, which is the same failure the coastal pass
// tapers its own sea-floor roughness to avoid.
const shoreTaperM = 12

// seabedAmp is how much of the flat-ground amplitude the sea bed gets. A sea bed is not a hillside: what is
// down there is bedform and scattered rock, and it is the shape of the shelf that carries the eye rather than
// its surface. It is a constant rather than a knob because the knob that matters is how deep the texture
// reaches, which is Detail.SeabedM, and two dials for one effect is one too many.
const seabedAmp = 0.45

// lattice builds the noise field both halves of this pass read, on world coordinates.
//
// BaseCells is chosen so the finest octave lands near two cells, which is as fine as a grid can carry.
func (p DetailNoiseParams) lattice(cellM float64) *field.Field {
	oct := p.Cfg.Octaves
	f := p.Frame
	u, v := noise.WorldUV(f.W, f.H, cellM, f.OriginXM(), f.OriginYM(), p.PeriodM)
	finest := 2 * cellM
	base := int(p.PeriodM/(finest*math.Pow(2, float64(oct-1))) + 0.5)
	if base < 2 {
		base = 2
	}
	return noise.FBMAt(u, v, noise.NewSource(p.Seed, srcDetail),
		noise.Params{BaseCells: base, Octaves: oct, Gain: 0.45})
}

func (p DetailNoiseParams) off() bool {
	lo, hi := p.Cfg.AmplitudeM.Lo(), p.Cfg.AmplitudeM.Hi()
	return p.Cfg.Octaves < 1 || (lo == 0 && hi == 0)
}

// RunDetailNoise adds surface texture at wavelengths the geology grid cannot hold.
//
// It is texture and nothing more. The relief, the valleys and the divides all came from the solve; this is
// what the ground does between them, and its amplitude is metres rather than tens of metres on purpose - the
// lesson from the first pipeline is that noise piled on top of erosion reads as noise, not as ground.
func RunDetailNoise(h *field.Field, land []bool, p DetailNoiseParams) {
	if p.off() {
		return
	}
	lo, hi := p.Cfg.AmplitudeM.Lo(), p.Cfg.AmplitudeM.Hi()
	n := p.lattice(h.CellM)
	slope := h.Slope()
	for i := range h.Data {
		if !land[i] {
			continue
		}
		above := float64(h.Data[i]) - p.SeaLevelM
		if above <= 0 {
			continue
		}
		t := float64(slope.Data[i]) / slopeFull
		if t > 1 {
			t = 1
		} else if t < 0 {
			t = 0
		}
		cLo, cHi := p.Classes.amp(i, lo, hi)
		amp := cLo + (cHi-cLo)*t
		if above < shoreTaperM {
			amp *= above / shoreTaperM
		}
		h.Data[i] += float32(amp * (2*float64(n.Data[i]) - 1))
	}
}

// RunSeabedNoise is the same texture, under water.
//
// It is a second entry point rather than a branch inside the first because of *when* it can run. Passes 9 to
// 12 work with the sea flattened to sea level, so while they are running there is no sea bed to texture: the
// floor does not come back until the tile bake restores it, which is after pass 12 and just before the shore
// is drawn. So this runs there, on the same lattice, keyed the same way, and a cell gets the same value it
// would have got from one whole-world run.
//
// What it is for: a coast where the land is rough to the last cell and the water is glass from the first
// reads as a cut-out rather than as a shore, and the line between the two is the land mask's own boundary -
// the one thing in the picture that is a decision rather than a landform.
//
// Flat-ground amplitude only, and less of it: the slope term is what makes a scree face rough and there are
// no scree faces down here. Faded in from nothing at the waterline, so the pass cannot turn the shallows into
// a scatter of one-cell islands, and out to nothing at SeabedM.
func RunSeabedNoise(h *field.Field, p DetailNoiseParams) {
	if p.off() || p.Cfg.SeabedM <= 0 {
		return
	}
	lo, hi := p.Cfg.AmplitudeM.Lo(), p.Cfg.AmplitudeM.Hi()
	n := p.lattice(h.CellM)
	for i := range h.Data {
		d := p.SeaLevelM - float64(h.Data[i])
		if d <= 0 || d >= p.Cfg.SeabedM {
			continue
		}
		cLo, _ := p.Classes.amp(i, lo, hi)
		amp := cLo * seabedAmp * math.Min(d/shoreTaperM, 1) * (1 - noise.Smoothstep(d/p.Cfg.SeabedM))
		if amp == 0 {
			continue
		}
		h.Data[i] += float32(amp * (2*float64(n.Data[i]) - 1))
	}
}