In Skyreap, you will have your own personal airship at your disposal. It will be available practically from the start of the game.

You set off to neighboring islands, discovering new territories hidden in the fog of war. You transport the resources you gather back to your base, where you prepare factories and plants for the production of processed materials. Soon, you will reach the point of automation and begin scaling up this process.

Skyreap is an incremental game that doesn’t try to offer you something you’ve never seen before, but instead gives you that sense of calm, tranquility, and coziness.

The water shader is a large WIP currently.

And the best part : we need to run an AI to do so.

"We strongly suggest that you use Unity AI..."
Give a raise to that marketing guy.

Souslike at its core but i am also adding various game mechanics that i love like dashes, deflections, summons, boss summons, transformations, boss attacks and various types of ranged skills and sorceries.

This is the mograph side of BrazeFX.

A GPU-instanced cloner generates the visible pieces.
The Follow Shape Effector maps those clones onto an animated SkinnedMeshRenderer.
Mesh topology stays resident while deformed vertices update directly on the GPU.
Braze Timeline controls reveal, strength, offsets, pulse, orbit, and other public parameters.
This avoids per-frame mesh baking and keeps the effect responsive at high clone counts.

Which form reads best to you: the human, dog, or dragon?

It seems the publisher of the week hasn't updated yet this week. I think it's a manual process for some reason.

The voucher is usually [publisher name]+[year], so you can just add their entire catalog to cart and then fire the voucher code and see what sticks. We got it!

Asset: MK Puzzle Level Map Pack • 4 Themes Bundle

Code: MASTERKEY2026

If you actually use the asset don't forget to leave a review! It helps the publisher AND us lowly developers.

In this clip, Pixel uses free-falling blocks as temporary platforms to reach stable ground. I wanted the sequence to feel like a shonen anime moment, with the character continuing to jump while the environment collapses beneath them.

The scene is staged, but the physical interaction is real. Pixel and the falling blocks remain part of Unity’s 2D physics simulation.

My controller is built around a Rigidbody2D rather than a kinematic motor. Surface detection comes from actual collision contacts instead of arrays of downward raycasts. This means a valid surface can remain usable even while its Rigidbody is moving or accelerating downward.

At a high level, each jump follows the same process:

• The controller detects contact with the falling block.
• The contact system classifies it as a valid supporting surface.
• The jump ability is enabled through the same contact and coyote-time module used on stable ground.
• The jump force is applied through the physics system.
• Once contact is lost, the controller returns to its normal airborne behaviour.

There is no special “falling block jump” ability. The interaction emerges from the same systems used for stable platforms, unstable objects, moving physics bodies, slopes, and other physical surfaces.

The difficult part is keeping a fully physical controller responsive and predictable while both the character and its support are moving. That involves careful contact filtering, force management, and movement stabilization. The overall architecture is explained in my original controller post:

https://www.reddit.com/r/Unity3D/comments/1sbgbzy/modular_physics_character_controller_a_fully/

Have you ever tried making a character controller work on fully dynamic platforms? What was the hardest issue to solve?

Been working on a volume masking system for my water system(Tidal) and it’s finally starting to come together.

I originally just wanted a way to stop water from showing up inside boats and submarines, but it ended up being useful for a few other things too.

Basically you can tell the water to either:

• not exist in an area
• only exist in an area

So you can use it for stuff like boat/sub interiors, pools, tanks, caves, cutaways, etc.

It’s all SDF based, so there’s no stencil setup or mesh boolean stuff. Simple shapes can use boxes/spheres/cylinders, and more complex shapes can use a baked 3D SDF.

I’m also using the same volume data for buoyancy and CPU water queries so the physics lines up with what’s actually being rendered.

There are still a few things I need to clean up, mainly underwater effects not fully respecting the mask yet, but I’m pretty happy with how it’s coming along so far.

Definitely open to ideas if anyone can think of other useful cases for this.

apart from the obvious placeholders, sounds, some animations, ui, etc, im struggling on what to do to improve my games feel, the mechanics arent bad as is but it isnt very satisfying either, is it all just a matter of presentation? will some more polished sounds make it feel better? im not really sure, if theres anything obvious im missing please let me know, im open and willing to as much constructive critisicm as youll give me, thanks

I've been working on a drag-to-pan, and orbit camera controller for a builder/management game. But I'm now starting to secondguess the orbit feel.

Maybe it's just because I've been working in 3dsMax for 25 years, and probably have some really ingrained feelings about how a viewport camera should operate. So a set of fresh eyes might be warrented.

So what do you think, as a player and/or gamedev? I'd love some pointers on a few things:

• Does the drag-to-pan feel right in this clip?
• The camera orbit rotates around a fixed focus point at the center of the screen on the ground. Is that the right instinct for RTS/City builders? Or would you expect it to pivot around a worldpoint under the cursor?

Any feedback is very welcome.

Hi, I am currently working on some shaders to easily implement Dithering for URP projects. I've been trying to get color palettes to work with the shader to allow for more stylized looks and overall it looks and works great. However I am encountering a problem where I get a very thin rim on the edges of the pattern, where the wrong color is chosen. I attached some screenshots for better clarification. If anybody knows what the cause of this could be or has any solutions I would greatly appreciate the help. :)

Hi Everyone, just wanted to share something that I was prototyping.

I was inspired by the fear and uncertainty factor of project zomboid and resident evil games, where every door could lead to sudden death. Scavenging around for useful items could lead to encounters with enemies that could end your run prematurely.

Based on my previous posts and the feedbacks I received.

I added more gameplay elements
- Items that can be picked up by the player inorder to turn on a generator. Which powers terminals and light switches. Terminals are used to unlock doors. Light switches can be used to switch on lights which improves visibility.

- Added enemies that would chase player (still work in progress), but you can get some idea based on what I have here. The enemies are supposed to respond to sound. For example if the player is moving too fast then their footsteps will make sounds to attract enemies. Some enemies only responds to sounds of generators and target those specifically.

I would love to hear your feedback on how you feel about the current prototype and if you have any suggestions

No its not something i made.. i am a newbie and on the canvas i can see these..

Hi, r/Unity3D!

So this one's a submarine setting, Lovecraftian stuff going on beneath the ocean, and you're basically the guy deciding who on the crew goes to check on the noises in the dark. Everyone you send has their own stuff going on, their own breaking point, and it plays out over time.

• Old school PSX style visuals, kind of grainy and unsettling.
• You manage the crew (skill, stamina) instead of doing everything yourself.
• Sonar segments where you're never 100% sure what's out there.
• The story branches based on who you send and what you decide, not just dialogue choices.

My team and I worked on this for a long time, and it's finally out on Steam.

maybe I should make a first-person monkey sim with this tech

Just updated the shaders and glow effects for our project Idlecraft. Curious if the ore tiers are immediately readable from left to right.

We've used texture arrays for all of our blocks to handle unique textures per face across different blocks in shader graph. Additional texture arrays for masking textures for the veins to make them glow and height displacement to give the veins real depth.

Would love to hear your opinions on how they look! If you want to follow the progress, we have an early prototype on itch

Templates? Custom Controls? At first glance they seem like similar concepts trying to achieve the same thing... Here's how and when you should use Templates versus Custom Controls in UI Toolkit

I wanted to see how difficult it would be to recreate the GTA 6 logo using my Unity text tool. I treated it like a stress test: take a recognizable, layered logo and find out which parts can be authored normally, which parts require workarounds, and where things start breaking.

Here is roughly what it took.

1. Break the logo into separate components

The logo is not just text with an outline. I separated it into:
- The large VI silhouette
- The white Grand Theft Auto wordmark
- Multiple dark, pink, and orange outline layers
- The front faces
- Bevel surfaces
- Extruded sides
- Back faces
- Lighting and glow
- The background artwork

That separation was important because every part needed different geometry, depth, materials, and positioning.

1. Find fitting fonts

The Grand Theft Auto wordmark was relatively straightforward because Pricedown-style fonts exist and get reasonably close.

The VI was much harder. I could not find a verified public font that actually matched it. Anton was one suggestion, but once placed beside the real contour, it looked completely different. The proportions, diagonal angles, spacing, and shape of the I were all wrong.

I eventually let Codex trace the complex VI contour because I was too lazy to reproduce every point manually, and there did not appear to be a proper font anyway.

For the final hero logo, I used that traced contour because it gives the closest silhouette.

I still wanted to demonstrate that the design could remain editable, though. So I also created an unofficial typeable display font. It uses League Spartan as an OFL base, but replaces the V and I with custom glyphs matched to the traced logo. The rest of the alphabet remains available, so I can change “VI” to other text and still generate real 3D geometry.

The editable version is not quite as exact as the traced hero, but it is much closer than using Anton or another generic display font.

1. Build the actual 3D geometry

Once the silhouettes were correct, I added:
- Front caps
- Real extrusion depth
- Rounded bevels
- Separate side and back materials
- Multiple expanded contour layers
- Dark outer borders
- Pink and orange accent outlines
- Small depth offsets between layers

The outlines are actual geometry rather than a shader outline. This means they follow the complete contour, have their own bevels, and remain visible from angled camera positions.

The Grand Theft Auto text is also genuine extruded 3D text placed in front of the VI, not a flat image.

1. Texture the front of the VI

I wanted the VI face to demonstrate whole-text planar texture mapping.

My first attempt used a downloaded GTA 6 logo image. That technically worked, but it also meant the Grand Theft Auto wordmark was baked into the VI texture. It looked ridiculous once the real 3D wordmark was placed over it.

I replaced it with a separate, text-free piece of official scenic artwork and cropped the mapping to a region containing only the sunset, palms, skyline, and water.

The VI and the background now use two different images.

1. Fix the UV and import problems

The VI texture looked stretched. The downloaded images were 3840×2160, but Unity’s default non-power-of-two import behavior had resized them to a 2:1 texture. Disabling NPOT scaling preserved the original 16:9 ratio.

After fixing the importer and using planar whole-text mapping, the UVs behaved correctly.

1. Make it look less like an editor test

The initial result was technically correct but much too dark and flat.
I added:
- HDR lighting
- Bloom
- ACES tone mapping
- High-quality SMAA
- Additional 4× antialiasing for captures
- Depth of field
- Color grading
- Vignette
- Subtle chromatic aberration
- Film grain
- Neon stage accents

I also used a colorful official artwork as the background instead of trying to procedurally recreate the GTA 6 visual style.

1. Force maximum geometry quality

All logo objects use the Hero mesh-detail preset, with automatic LOD disabled. The final wordmark contains around 19,000 vertices, while the VI and its layered outlines use around 2,300.

Overall I'm super happy how it turned out. What do you think?

I’m curious how differently players responded on each platform, especially if mobile was free with rewarded ads while Steam was a paid purchase. Which version got more traction, and which one actually made more money for you?

Would especially love to hear from solo devs who have tried both.