Sven

Bit of additional info! The textures are computed. Every effect is eroded and broken up by noise, and that noise is generated in TypeScript into a THREE.DataTexture at runtime: integer-hash value noise, FBM, domain warping, plus a radial crack field for the ground ruptures. The geometry is procedural too. Ten generators build the shapes from triangles, crescent, flare ring, ground disc, star, shard, rubble, puff, flame shell, flame tongue and the trails, beams and bolts use a tube that is rebuilt every frame along a path with parallel transport, so a beam can be straight, wobbly, jagged or split from parameters. The shading is GLSL. Around 29 shader blocks, including a small shared chunk library (noise, shape and edge helpers) that the individual effects compose. Erosion, the flat colour banding, the ink contour and the heat gradient all happen in the fragment shader against that generated noise, driven by uniforms. Everything reskins from a palette. Eight named palettes of five colours each core, body, edge, ink, ash and any effect takes one, so the same slash is steel, ember, gold, arcane, frost or venom without a shader edit. They are tuned as sets rather than picked individually, because hue has to drift one way from core to ink or two of the flat bands land on the same value and the eye merges them. There is no post-processing and no particle engine. No EffectComposer, no bloom pass. The glow is layered additive geometry, which means a game embedding this adds nothing to its render pipeline to use the effects. Sparks and debris are meshes, not a particle system. The last piece is that effects are fired from animation cues. Sized from the rig's own measurements, a slash reaches as far as the weapon's actual tip and aims where the blow lands.

Some clarification on WHAT an asset actually is made of, quite interesting approach! ASCII art in a TypeScript file 🤯

Add me as a friend: PET-RWMQ-5S