At the core of the landscape generation is FBM (Fractal Brownian Motion), the primary noise driving the mountains, layered with a second noise pass that simulates erosion — with its own parameters for where it starts and how strongly it blends into the terrain.

Dozens of further parameters control how land, snow and rock get assigned, texture sampling, visibility and object updates — all of which weigh on performance — plus level of detail through LOD.

The atmosphere and sun are the parameters doing the most work on the overall look — the strength of the sun's pull on the sky, the shape of the solar disc, energy loss and absorption as light passes through, and scattering, where particles in the atmosphere bounce light back toward the camera.

Atmospheric scattering runs deep enough to explain something as basic as why the sky is blue.

Rain comes with its own set of controls — lightning for simple thunderstorms, a toggle to switch it on, density, drop speed, and wetness for how the surface reacts. Clouds and fog build on top: ray-marching steps, layer height, density, wind direction, clarity, size, lighting and shadows.

Fog quality carries the most weight of all — as the scene moves, terrain has to emerge from it smoothly, with no visible cutoff or hint of where the render actually ends.

Every layer of the planet is a live parameter rather than a baked-in look: atmosphere brightness, height, cloud coverage and lighting sit behind sliders, tuned by eye until the balance between a physically accurate sky and a more painterly one feels right. Markers on the globe work the same way — each one carries a route defined as a sequence of longitude/latitude points, with its own curve parameters for pleasing shapes and smooth, natural-looking bends.

Cloud density, light-scattering strength, the solar disc's size and brightness, and every marker's color and size are exposed the same way, each previewed live against the real satellite imagery before it ships.