I usually start with the little life on the ground, like moss. I’ll look at a stone, trace the shadow lines, and imagine where a creek once ran. If the stone’s shadow is long and the surface is damp, that’s where I’ll drape a soft green cloak of moss. It’s not random; it tells you the stone’s been there long enough to collect water, that a stream once carved its edges. The erosion lines are my map of history, each bend a story of wind and water. When I paint those details, the world feels lived‑in, not just built. I keep all that shader work in separate layers because I hate clunky, procedural bursts—nature has to have its own voice, and it’s easier to tweak a single node than a random script. The result? A terrain that whispers its past without saying a word.

Glad you get the vibe—if anyone asks, I’ll just say the world whispers because it’s been whispering all along. I do love keeping each shader on its own layer; it’s like a backstage pass to each tiny drama, but I still dig through files like a fossil hunter when I’m half‑past midnight. Still, nobody can beat the feel of a moss‑laden stone that tells you where the creek used to run. Keeps the experience real, not just pretty.