Kaski yard views

The same villagers in a yard and inside a longhouse, under several cameras. It opens on the steep 49° isometric with the ground drawn at 1.5×, the camera chosen for building and giving orders and for a world map that reads as a map. Heights are counted in storeys, each drawn as a person and some headroom whatever the camera's pitch, as in the Sims games, so houses stay in proportion to the people. The camera turns a quarter at a time (Q and E); a turn rotates the ground coordinates and rebuilds the ground, buildings and walls for the new side. Inside, the far walls stand and the near walls are cut down. A villager hidden behind something shows through as a soft silhouette. Drag to pan, zoom in whole steps, or follow a walker.

Composed scene

Scene

Camera

Turn

Ground scale

Hidden figures

Zoom

Hour 16:00

Wind 0.60

Blowing toward east

Gusts 0.60

Drawing rate 10 fps

One projection, six cameras. Every place in the yard has ground coordinates, and a camera turns them into pixels: a grid keeps the axes square to the screen, an isometric camera turns them into diamonds whose height sets how steeply it looks down. Heights do not shrink with it: they are counted in storeys, and a storey is drawn as tall as a person and some headroom under every camera, so a house stays in proportion to the people by it.
Ground lit as ground. The ground is baked per camera with a flat upward normal for that camera's angle, so the sun and the fire light it consistently with the people standing on it. Boundaries between grass, path and water are broken by noise rather than following the tile edges.
Buildings from their footprint. A longhouse and a hut are built from a footprint, a wall height and a gable roof, with each face given its own normal for the camera in use, so their light agrees with everything else.
Composed scenes. Each sets a time of day and a wind, places the people who talk, in pairs facing each other, and gives the rest places to go: the well, the longhouse door, the pen and the pond on a working day, the benches at a feast, the fire at night. Everything else is the same simulation, so a scene never plays the same way twice.
Inside, cut away. A wall knows which way its inner face points; when that face looks toward the camera it is a far wall and stands at full height, otherwise it is a near wall and is cut to a low stub, with the top of its thickness showing. Turning the camera swaps which walls stand. A grid camera sees its side walls edge-on, as the tops of their thickness. Benches and chests are boxes built from a footprint like the buildings, posts are as tall as the camera makes a wall, and the floor is baked with its plank seams running along the hall in world coordinates, so they turn with the room.
Turning without 3D. Ground coordinates go through a quarter turn before the camera projects them. Billboards (trees, people, the well) stay as drawn; the ground is rebaked and each building is rebuilt from its footprint as the turned camera sees it, door and gable following the side they belong to.
Seeing behind things. Each figure marks the stencil where it is drawn, anything drawn over it counts that up, and a final pass shows the covered part of each figure in a light silhouette. Low cameras hide more of the yard behind trees and roofs, and this is what keeps them readable.
The same people. The villagers are the ones settled on the sprite page, unchanged: they walk the yard, stop, talk by the fire and stand about, and they keep their side and front drawings under every camera.