Game Assets Enhancement

Game Assets Enhancement

Turn a functional-but-plain game into one that looks hand-crafted. This skill covers three jobs, usually run in order:

1. Style guide — derive (or define) the game's visual language and write it

down so every asset generated afterward matches.

1. Asset generation — generate every visual element as its **own individual

sprite** through the fal.ai pipeline, styled against a single anchor.

1. Depth & parallax — rebuild the scene as layered, procedurally-dressed

parallax so the world has depth (side-scrollers especially), plus a juice pass of cheap code-level polish.

Works on an existing codebase (audit → enhance in place) or a brand-new game (define style first, build layered from day one). Engine-agnostic: the recipes apply to HTML canvas / JS, Phaser, SwiftUI/SpriteKit, Unity 2D, Godot — only the integration syntax changes.

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Phase 0 — Audit (existing codebase only)

Before generating anything:

1. Inventory the visuals. Find every drawn element: backgrounds, player,

enemies, obstacles, pickups, UI chrome, particles. Note which are code-drawn shapes (rects/circles), which are placeholder images, and which are baked multi-object images that need splitting.

1. Map the scene graph. How is the background drawn? One image? A looping

strip? Is there any layering at all? Where's the render order defined?

1. Find the world clock. Identify (or plan) the single source of truth for

world scroll position — parallax hangs off exactly one clock.

1. List the sprite manifest. Write out every asset you'll generate, one

line each, grouped by layer. This manifest drives the whole job — every entry becomes its own file. If the current art has a row of buildings baked into one image, the manifest lists each building separately.

Back up any existing art before replacing it (e.g. copy to art/originals/).

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Phase 1 — Style guide

Write a short STYLE.md (or a styles section) for the project before generating asset #1. Every later prompt quotes from it. If the game already has a look worth keeping, derive the guide from its best existing sprite; if not, define one fresh. A proven default that reads great for casual games:

• Hand-painted cartoon: thick warm (brown) outlines, saturated

kid-friendly colors, soft painterly shading. No flat vector, no gradients-as-style, no photo textures. (Swap this line for the game's own style if it has one — pixel art, flat-shade, etc. — the process below is the same.)

• Palette anchors: pick 5–7 named colors with jobs, e.g. warm wood browns,

a teal/sea-green secondary, cherry red for danger, leafy green for success, gold/amber for score & celebration, cream for cards/UI. Write hex/RGB values down.

• Semantic color is sacred: red = danger/wrong, green = correct/go,

amber = time, gold = celebration. Never swap these.

• Focal hierarchy: the background must be calmer than the playfield —

muted detail, a light pool at the play area's center, and a code vignette (radial gradient, clear → black ~0.30 opacity, centered on the action). If the background competes, dim the background — don't brighten the subject.

The lighting rules (what separates "cohesive" from "clipart")

Raw, unmodulated hues read cheap no matter how nice the shapes are. Every sprite in the game obeys the same five points:

1. Shared warm undertone in every color — the whole game is "warm light

falling on saturated things".

1. One light direction — pick where the sun/lamp is and light every sprite

to it: bright highlight planes on the lit side, crisp cool shadow shapes opposite, a thin warm rim light.

1. Real value range — distinct shadow and highlight shapes, not one flat

mid-tone (anime-style cel shading, not airbrush mush).

1. Aerial perspective — the farther back a parallax layer sits, the

lighter, hazier, and more desaturated its sprites. This alone sells depth.

1. A code light grade — a low-opacity warm radial wash from the light

source plus the gentle vignette, drawn over the composed scene. Cheap, and it fuses separately-generated sprites into one lit world.

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Phase 2 — Asset generation pipeline (fal.ai MCP)

The cardinal rule: one sprite = one object

Never generate a composite. Not a "row of buildings", not a "forest strip", not a "background with trees". If the manifest says skyline, generate building-1, building-2, building-3… as separate assets, each on its own transparent canvas, and let code compose them procedurally (Phase 3). This is what makes the world regenerable, recolorable, resizable, and non-repeating piece by piece.

Pipeline steps

1. Generate the style anchor first. Pick the single most important sprite

(usually the player or the hero object) and iterate on it until it nails the style guide. Everything else is generated against it.

1. Generate with fal-ai/nano-banana-pro — for every subsequent asset,

ALWAYS pass the anchor (or the best sprite of the same set) via /edit (image_urls) as the style reference: "using the exact same hand-painted cartoon style as this…". Edits preserve composition, so tuned layouts survive recolors and relights. Chain the first good result of a set as the style anchor for the rest of that set.

1. Cut out with pixelcut/background-removal, sync_mode: false always.

Edited sprites come back flattened — re-cutout every time, even after a small edit.

1. Trim to the alpha bounding box and downscale. ~512px on the long edge

is plenty for most in-game sprites; go larger only for full-screen backdrops.

1. Interchangeable set pieces share one footprint. Variants that slot into

the same spot (buildings in the skyline slot, trees in the treeline slot) all render at one fixed dimension on the shared axis so any of them fits flush; vary the other axis by kind (buildings vary height, never base width). Composite paired icons onto identical canvases so they render at the same scale in code.

1. Moving parts are separate sprites. Anything that animates independently

(a wheel, a flag, a door, a character's held item) is its own asset, and the parent is generated WITHOUT it — prompt "empty space where the X would go".

1. Animated characters get a real frame cycle, not a two-frame swap. A

running/walking/flapping character needs a proper cycle — for a run: 4 frames minimum (contact → pass → opposite contact → opposite pass). Generate frame 1 first and approve it, then generate EVERY other frame as an edit of frame 1 (not chained frame-to-frame, which drifts), with a prompt that pins everything: "keep the character ABSOLUTELY IDENTICAL — same head angle, same expression, same arms, same tail, same colors, same size and position on the canvas. ONLY redraw the legs: this is the passing frame — both legs gathered under the body, near knee bent high…". Naming only the moving limbs is what keeps the rest stable across frames. Normalize the whole cycle onto one shared canvas (bottom-anchored for ground characters) so frames don't jump, and key frame advance to world travel (distance moved), not wall time, so the cycle always matches ground speed. Pick one frame (usually a tucked pass pose) as the held airborne/jump pose.

1. No text zones baked into sprites. No sign plates, labels, or blank

panels waiting for numbers — bodies stay clean and ONE code-rendered card/label carries any words. Baked plates double up with the UI, can't animate, and lock layout to artwork.

1. Reuse beats regenerate. Mirror + hue-shift one arrow instead of

generating a second "similar" arrow — pixel-identical components read as deliberate design; near-duplicates read as sloppiness.

1. Relight in place to restyle a set. To change the whole game's mood,

edit each existing sprite ("same building, same shapes, but lit by warm sun from the upper right…") — composition survives, so no layout retuning.

1. **Big soft-edged set pieces (mountains, fog banks, clouds) must be

generated as ISOLATED silhouettes** — prompt "plain solid white background all around; the landform must not touch the left or right canvas edges; only the flat bottom edge is straight". Painted aerial haze that runs to the canvas edge survives background removal as a semi-opaque RECTANGLE, and the sprite renders as a hard-edged slab in the scene. If a generation comes back haze-to-edge, don't try to rescue it in processing — regenerate with the isolation wording (chain from a correctly-composed sibling if one exists). As a safety net when processing hazy sprites: dissolve near-white pixels (alpha × (242 − min(r,g,b)) / 30, clamped) and feather the outer ~9% of the left/right edges to zero alpha so soft slopes dissolve instead of ending in a wall.

Manifest order that works

Generate in this order so each layer can reference the ones before it: style anchor → playfield objects → background set pieces (per-layer, far to near, applying aerial-perspective desaturation as you go) → foreground props → UI/affordance sprites (arrows, guides, icons — painted in-style, not system icon fonts).

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Phase 3 — Scene construction & parallax

The layer stack

Rebuild the scene as ordered layers, back to front. For a side-scroller the canonical stack (with scroll factors relative to the playfield = 1.0):

| # | Layer | Factor | Content | |---|---|---|---| | 1 | Sky | 0–0.05 | Painted gradient/backdrop; essentially fixed | | 2 | Clouds | ~0.1 | Individual cloud sprites, plus their own slow self-drift | | 3a | Far hills / mountains (required) | 0.10–0.15 | Big hazy desaturated range pieces, near-continuous chain | | 3b | Near hills / mountains (required) | 0.25–0.35 | Warmer, more contrast, still calmer than the playfield | | 4 | Buildings / trees (mid) | 0.4–0.6 | Individual set-piece sprites, one footprint per slot family | | 5 | Playfield / ground plane | 1.0 | The gameplay: player, obstacles, pickups, ground | | 6 | Foreground whip layer | 1.5–1.8 | Occasional props that sweep past close to camera, slightly blurred |

The hills are not optional decoration — they ARE the depth. Every outdoor scrolling scene includes the two hill/mountain layers, and they should be dominant: sprite heights around 0.30–0.50 of screen height for the far range and 0.22–0.36 for the near ridge, with LOW skip rates and spacing well under a sprite width so pieces overlap into continuous ranges rather than isolated bumps on the horizon. Two ranges sliding at different factors is what sells parallax; one timid strip of hills reads flat. Differentiate them with aerial perspective: far = palest, haziest, least contrast; near = warmer and more detailed but still visibly calmer than the playfield.

Readability rule: the background must never impersonate an obstacle. If a sprite family is used as (or resembles) something the player must react to — the cacti they jump, the rocks they dodge — it must NOT appear in any background or mid layer at any size: a small background cactus reads as a thing to jump and causes false inputs. Dress background layers only with shapes the gameplay never uses (mountains, dry trees, ruins, clouds). The foreground whip layer is the one exception: obstacle-family props are fine there because big + blurred + faster-than-gameplay reads as camera depth, not threat — the blur is mandatory for that reason.

For a non-scrolling game the same stack still applies as static depth: backdrop → object layer → foreground framing props that crop off the screen edge (depth without 3D). In all cases nothing interactive is ever baked into the background, and every playfield sprite is its own element — its own asset, its own view/node, its own layout anchor — so any piece can be regenerated, resized, or repositioned without touching the rest.

Parallax rules

• One constant world clock drives every layer's offset

(offset = worldX × factor). The drift never speeds up, slows down, or jumps for any game event — only the focal element moves on events. A steady world is what makes the moving parts read.

• Mid-scene dressing is individual sprites placed procedurally — never one

giant looping strip. Strip loops need mirror-tiling and the mirrored twins are visible. Mirror-tiling is acceptable ONLY for genuinely uniform textures (a plain ground fill, a flat wall).

Procedural placement recipe:

• The world is divided into slots per layer (e.g. a building slot every

~220 world units).

• hash(layerId, slotIndex) — any cheap deterministic integer hash — picks

the variant, the spacing jitter (±30–40% of slot width), the size wobble (±10%), and an occasional skip (empty slot). Deterministic means the same scenery reappears if the player backtracks, with zero storage.

• Spawn slots a screen ahead of the camera, cull a screen behind. Never

store the whole world.

• Adjacent slots avoid repeating the same variant (re-hash or +1 the pick).
• Foreground props sweep past occasionally — roughly one per long cycle,

not a constant stream — with a slight blur for depth of field, and they NEVER hit-test. Gameplay input is always the topmost interactive layer.

• Layers resize from their anchored seam. A strip pinned to the horizon

grows UPWARD when scaled — shared edges between layers must never move, or gaps flash at the seams on resize.

• Aerial perspective per layer (from the style guide): far layers get the

lighter/hazier/desaturated versions of the sprites. If needed, apply a cheap per-layer tint/haze overlay in code instead of regenerating.

• Camera = a focus value, not teleports. Interpolate the camera/world

position along a focus index so rolling/walking parts can read the interpolated travel each frame and match ground speed exactly (in SwiftUI that means Animatable; in a canvas loop it's just per-frame lerp).

Polish pass (cheap, high-impact)

• Never open static. A scene whose fantasy has motion opens already

moving (ease-out, no delay) — the player must never see the world "start up".

• Idle life on the focal element — a gentle bob, an ambient particle loop —

with ground-contact parts staying planted.

• The code light grade from Phase 1: warm radial wash + vignette over the

composed scene. Do this last; it's what fuses the layers.

• Landings never overshoot. Anything dropping onto a surface: ease-in fall

that stops DEAD at contact, a quick squash (≈0.78 wide / 1.12 tall, anchored at the bottom, ~0.07s), a dust burst at the contact seam (anchor the burst slightly BELOW the visual seam — burst patterns fan upward), then spring back.

• Reactions are layered: instant snap within one frame of input

(~0.04s) → rattle/jitter → brightness flash → recover. Input registers on touch-down/press, never on release, and the first visual reaction lands within one frame.

• Settled things freeze forever. Physics debris drops, tumbles, settles —

then becomes immovable. Nothing idles, twirls, or jitters in the background competing with the playfield.

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Phase 4 — Integration & layout conventions

• All positions are fractions of the viewport/scene size in a per-scene

Layout constant table — never absolute pixels. The playfield focal point sits around (0.5 × width, 0.55–0.72 × height) for portrait; center-weight horizontally for landscape scrollers.

• One sprite, one node/view, one layout anchor. The file structure mirrors

the manifest.

• Render order is the layer stack, explicit and in one place — not

emergent from insertion order scattered across files.

• Time bases live in state, not locals. A phase anchor or start-time

captured as a plain local in rend

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Source & license

This open-source skill is cataloged on AgentStack and links to its original source — we do not rehost the code.

• Author: adamlyttleapps
• Source: adamlyttleapps/claude-skill-game-assets-enhancer
• License: MIT

Install and usage instructions live in the source repository linked above.