Jelly built for business.
Sub-second wobble.
Instant finality on every cut.
HandGrab any piece, rim or mark, and pull.
A fan-made jelly by @Alf444_ for the Avalanche® community · avalanche.com
Illustrative scale: 1 sim unit ≈ 3.5 cm, gummy at 1.3 g/cm³. Volume and energy are summed live over every tetrahedron and particle. Remixed from Melon Jelly Knife.
The AVAX® and AVALANCHE® trademarks and the Avalanche logo are owned by Ava Labs, Inc. This page is not endorsed by, sponsored by, affiliated with or otherwise approved by Ava Labs, Inc.
The round is a volumetric mesh of — particles and — tetrahedra, solved with XPBD on a fixed 60 Hz step split into 10 substeps (8 or 6 on phones that can’t keep up). Each tetrahedron is pulled, with finite compliance, toward its best-fit rotated rest shape — a co-rotational elastic constraint that also flips inverted elements back out — and carries a volume constraint that keeps the jelly close to incompressible, so a stretched round necks in like the real thing.
Tetrahedra in the set outer skin are roughly three times stiffer than the soft core. Damping acts only on relative velocity along the mesh edges, so the round still falls and tumbles freely while its wobble dies away. Ground contact projects particles out of the floor with Coulomb-style friction; the grab is a soft attachment on a patch of particles, bounded in reach.
Every piece is a convex outline in the round’s original rest plane, with rounded corners. Your stroke, read on the surface it was drawn over, fixes a vertical blade plane. For each piece it crosses, the piece’s current pose is fitted with a best rotation, the plane is carried back into rest space and becomes a straight line, and the outline is split along it — the two halves are prebuilt as fresh tetrahedral meshes the moment you let go. Then the steel knife comes down: its edge first presses a groove into the jelly, and when it breaks through the new pieces are swapped in, taking over the position and speed of the flesh they came from, while the blade wedges the faces apart on its way to the board. The blade is drawn behind the jelly surface, so the part that is buried in it is seen refracted. Each piece is its own soft body — grab it, stretch it, cut it again — and pieces push against each other instead of passing through.
The smooth surface and the air bubbles are separate meshes, each vertex pinned to a tetrahedron by barycentric weights, so the bubbles stretch, turn and travel with the gel around them.
The Avalanche mark is not a mesh. It is a signed-distance outline in the rest plane: two convex shapes, the tall stroke and the small triangle, with each corner filleted to the radius of the official artwork. The shader reads it from each fragment’s rest position, so the mark is a milky column running straight through the jelly. It bends with every wobble and shows up on every cut face.
WGSL shaders render the floor and bubbles first, then the slice’s back faces to measure how much jelly each view ray crosses. The front faces refract the scene behind by that thickness, absorb it with Beer–Lambert colour, add dense milky scattering inside the mark, a back-lit glow at thin edges, Fresnel reflections of a procedural studio and GGX highlights. The floor gets a soft key shadow tinted by the jelly plus contact occlusion from a top-down height map.