Blame the cable.
The soft edges, the color fringing where orange type sat on blue, the dot crawl in the gradients: none of that was designed. It was composite video: luma, chroma and sync riding one cable to the back of a television set. Anyone recreating the look faithfully is really emulating a signal path.
The name keeps all three meanings. Composite video, the way the picture arrived. Composite reflectivity, the radar product that closed out every loop. And compositing: observations, forecast grids and radar tiles assembled into a broadcast, which is exactly what the code does.
The name is the period reference. The picture is not: no scan lines, no drop shadows, no shouting. What carries over is the shape of the thing: a header, a field, a bar along the bottom, and a channel that keeps going whether or not you are watching.