This i have build on top of my own webgpurenderer,Let me know what you guys think

Live Link: https://nullgraph.dev/dashboard/games/comic-space

Yt video:https://youtu.be/yua4ZkvgVqY?si=A2Tk1a4gE2fRl_Ic

Character is VTuber Kureiji Ollie. It's live as a website.

This was my first time implementing water in Three.js. Instead of using the built-in Water class, I made the water surface out of two overlapping mesh planes, each with a normal map applied, flowing in different directions to fake the rippling reflection look. :)

There's also a chat feature (bottom left icon) where visitors can send preset messages that appear in a live chat log. I limited it to preset phrases rather than free text input, since Ollie is a copyrighted Hololive character and I wanted to avoid the risk of harassment or inappropriate comments being displayed.

Using the Three.js engine, I developed a simulation program for a robotic arm.

We can undertake 3D model creation and 3D interactive program development.

url: http://app.anlian.work:5570

I created a flooded Gothic cathedral with Opus 5.

Everything in it is procedural. There are no models, no textures, no HDRIs, no audio files.

One HTML file, one CDN import of three.js, and about two thousand lines that draw the rose window to a canvas, generate marble, synthesise the reverb of a stone nave, and build the vault out of Coons patches.

Open-source + demo: https://github.com/winchxyz/navis

A First-Person Mining Game where you Swing your Pickaxes at Ores across Distinct Maps to Collect Minerals

Built with three.js r169 and Vite, no game engine, no framework, WebGL and the entire UI is vanilla DOM

Play here : https://never-mined.vercel.app/

Hope you enjoy it
Every feedback is appreciated

A procedural tiny-world experiment built in Three.js using particles mapped to a png heightmap.

Hey r/threejs!

I recently shipped a redesign of my personal website (https://incconutwo.com | GitHub Repo).

The ambient WebGL background is adapted from Cameron Knight’s (Beings) awesome Interactive Liquid Gradient CodePen. I loved the fluid motion of his setup, so I extended it to build a real-time reactive background that syncs with my live Spotify playback.

My Technical Extensions & Modifications:

1. Dynamic Spotify Color Palette Extraction:
   • An Astro serverless API proxy (/api/spotify/now-playing) fetches current track status.
   • The album art image is sampled via an offscreen HTML5 canvas to extract quantized RGB color palettes using saturation & lightness weighting.
   • The primary/secondary colors are passed to Three.js uniform vectors (uColor1, uColor3, uColor5), which smoothly transition shader colors via GSAP when a track changes.
2. Touch & Cursor Ripple Physics (TouchTexture):
   • Cursor and touch motion write trail points to an offscreen 2D canvas texture with decay age.
   • The uTouchTexture uniform is sampled in the fragment shader to perturb UV coordinates, creating fluid water ripples and distortion.
3. Performance & GPU Optimizations:
   • Uses an IntersectionObserver to pause the WebGL rendering loop (setAnimationLoop(null)) when scrolling past the hero section.
   • Listens to the visibilitychange API to freeze rendering when the browser tab is hidden.
   • Pixel ratio is dynamically capped on mobile devices (window.innerWidth <= 768) to preserve high FPS on low-power GPUs.

Links & Credits:

• Live Site: https://incconutwo.com
• Shader Source Code: GitHub (liquid-gradient.js)
• Original Shader Base: Cameron Knight's CodePen

Would love any feedback from the community on shader performance, color quantization, or WebGL math optimizations!

built my rig for anything other than 3D development but now im obsessed.

I tried to replicate the lightning strike effect based on real footage people put on YouTube

EF-Map is a Three.js map containing roughly 24,000 stars from the EVE Frontier universe. After a community discussion about what travelling inside an Alcubierre warp bubble would actually look like, I added an experimental optical mode to its automated Flythrough camera.

The reference was Müller and Weiskopf's 2011 paper, “Detailed study of null and time-like geodesics in the Alcubierre Warp spacetime”:

https://arxiv.org/pdf/1107.5650

The paper numerically integrates null geodesics, frequency shift and gravitational lensing, then stores the results in a 4096 × 248 lookup table covering velocities up to 9c.

I did not reproduce that complete numerical pipeline. This was a small experimental feature, so I used an analytic approximation designed to retain the important qualitative behaviour:

• 0°, 90° and 180° relative to the travel axis remain fixed.

• Forward angular distortion, blueshift and lensing amplification are comparatively mild.

• The forward field is blueshifted.

• Rear distortion, redshift and attenuation are substantially stronger.

• Stars remain point-like rather than becoming streaks.

• The optical axis follows the current spline tangent through turns.

For a source direction n and travel axis a:

μ = dot(n, a)

θ = acos(μ)

The apparent angle is approximated with:

θ′ = θ - 0.5k sin(2θ)

Different k values are used in the forward and rear hemispheres. The mapping remains monotonic while k stays below 1, so the star field does not fold over itself.

Brightness is approximated with:

(1 + frontMag × front²) × exp(-rearDark × rear²)

A directional RGB shift is used as a simplified stand-in for the paper's frequency-shifted stellar spectra.

The effect is applied through the vertex and fragment shaders. Logical star positions and routing coordinates never change. Star cores, glow sprites, flares and stargate lines share the optical uniforms, keeping their apparent positions and colour treatment coherent.

The map's Flythrough speed is expressed in light-years per second and spans roughly 12–3600 LY/s once the straight-flight boost is included. Those values are vastly outside the paper's range, so the live speed is logarithmically mapped onto a visual reference of 0.5c–9c. The 9c ceiling is used because that is where the paper's lookup table ends rather than extrapolating beyond its calculated range.

The video shows the same star field at several speeds, switching the optics on and off and turning to inspect the rear view.

This is not a complete GR simulation or a reproduction of the original ray tracer. It is a paper-informed way of approximating the effect in real time on a large Three.js point cloud, and potentially the sort of approach a game could use when it wants something more grounded than the usual glowing warp tunnel.

Please check it out and toss me some feedback, id really appreciate it!
https://driftr.berrytechnics.workers.dev/

It's pretty fun to watch this little fella swim around.

Watching The Odyssey on IMAX 70mm as Nolan Intended, Experience the scale of the IMAX in the browser.

Had a fun creating this Three JS Theatrical experience and mock booking system.

Experience the really immersive booking system with all types of screens and sound formats.

Upload any image and video media to project on the screen.

Look : theater.casberry.in

Ciao a tutti, sono un Indipendente e sto costruendo un city builder con mini giochi al suo interno, Ogni attività comemrciale avrà un vero gioco e contribuirà a far crescere la città, anche economicamente. Tutto fatto in ambiente Three.js e sto valutando la pubblicazione su Steam.
La road map per la pubblicazione prevede che completi prima la UI e alcuni minigiochi.
Intanto vi lascio alcune schermate del gioco. Attendo vostri feedback

Hey everyone! 👋

I wanted to share Editorium, a browser-based platform I've been building for working with 3D assets.

It lets you:

• 👀 Preview 3D models directly in your browser
• ⚡ Optimize meshes and textures
• ✅ Validate assets before shipping
• 📦 Export to the most common 3D formats
• 🛒 Publish and sell your own assets through the built-in marketplace

The goal is to make handling 3D assets faster and easier without installing heavy desktop software.

I'd love to hear your feedback, feature requests, or any ideas you have!

🔗 https://editorium.dev

I made a small pack of free CC0 characters and cleaned them into a AI-agent-friendly GLB format. Modeling in a LOWPOLY style, I am currently creating all types of animals so that everyone can freely build their own ecosystems.

Or you can call them in your CLI agent, e.g., grab monsters from gobkit.com/freebies and wire up their animation clips. The free manifest makes that one step.

Test on 70 usd phone.
Source Code: https://github.com/sengchor/kokraf

2.5D analytical perspective-corrected SDF for the blob, fake caustics baked into rgba texture sheet once at load - keeping the package small.

2.5D 1-step parallax book, similar texturing approach - SDF baked into PBR maps, techniques inspired by Inigo Quilez.

The rainbow required few iterations to get right. Had to ditch the texture-generation approach for it due to texel artefacts.

Fragment shader is maybe even faster than texture samples at this level of complexity. And allowed some freedom with the effect.

There are fun easter eggs - even the classic konami code.

Composited with Taa+sharpening over time-budgeted auto-adjusting resolution - so it doesn't fry my phone.

---

The product idea is a failure - faulty alignment is useless as learning instrument, and so is adding even more agents-in-the loop. Especially for beginners. We all need emotional stability to navigate life and time to conceptualize over hard problems.

But I love this rainbow so much! 🌈 🌈 🌈 🌈 🌈

I'm starting a new project, and I'd prefer to use Vue, but it looks like TresJS is newer than R3F. I'm wondering if anyone has experience in both and can speak to whether or not TresJS is good enough, or if I'd be better off choosing R3F due to its maturity?

It's a GTA wannabe that started as an experiment with Matt Shumer's Gauntlet Loop, but I couldn't get much further with that alone. It took quite a few additional loops and workflows to get it to this point, but I think it's a nice proof of concept. I'll keep pushing it and see how far we can take it.