Always place ARLitToonGUI.cs inside an Editor folder. It still works outside an Editor folder thanks to the #if UNITY_EDITOR guard, but placement inside Editor is recommended.

The order of the sections is the same as the display order in Unity's Inspector (the material settings screen). You can configure while comparing the Inspector and this guide.

Right below the Inspector header (✦ ARLit Toon ✦) there are left-aligned language tabs (日本語 / English). They switch the display language of labels and help text. The setting is remembered per editor and applied to all materials (it is not saved in the material itself).

To the right of the language tabs there is a "Hide help" / "Show help" tab (help is shown initially = the tab reads "Hide help"). The tab text describes what happens when you press it. Pressing it hides the explanations of all items at once, giving a compact display with only the properties. Useful once you are used to it, or when the screen is narrow. It has no effect on setting values or the look (a display-only setting, remembered per editor). The help text is the same size as the property names and automatically follows the editor's font size setting.

Press the "Web" button to the right of the help toggle tab to open the web version of this guide in your browser. When the display language is English, the English page opens.

Because it manipulates alpha, it is intended for use with transparent presets (Fade / Additive / Transparent). It can also be used with Cutout / Opaque if you turn Dither Fade ON (the alpha is reflected as the density of the dots). Setting Fade Near larger than Fade Far reverses the behavior to "the farther, the more transparent". _DistanceFadeNear / _DistanceFadeFar can also be animated.

Because it manipulates color, it can be used with both opaque and transparent presets. Setting Darken Near larger than Darken Far reverses the behavior to "the farther, the darker". Additive emission (Emission / Rim / AudioLink, etc.) is not darkened (only the body color becomes darker). _DistanceDarkenColor / _DistanceDarkenStrength and others can also be animated.

At the default values (Hue=0 / Sat=1 / Bright=1), Hue/Saturation/Brightness perform no processing at all (identity transform), so they do not affect the look or performance of existing materials.

Prepare a grayscale (black to white) mask image, drawing the parts you want to be see-through in black and the parts you want to keep in white. Intermediate colors and gradients become semi-transparent. When combined with the color overlay, the roles of the same image are divided: brightness = alpha mask / alpha = color blend mask.

The alpha mask is visible only with a transparent-type Blend Preset (Cutout / Fade / Transparent). With Opaque, opacity is ignored, so nothing becomes see-through. Cutout suits sharp cut-outs, and Fade suits smooth see-through with gradients. With Transparent, by design to keep the material's transparency, highlights such as reflections and emission remain and are not erased by the mask (for glass expressions).

The color overlay acts only on the object's color (look) and does not change opacity. Hue Shift acts only on the base color and does not affect this layer image (to keep the colors of logos, etc.). When disabled, the cost is almost zero.

Each bake is rebuilt from "source texture + bake steps", but what you baked remains as steps, so previously baked content does not disappear from the second time on. Because it is rebuilt from the original each time, image quality does not degrade no matter how many times you bake on top.

Base Color Adjust applies only to the source texture and a layer's adjustment only to that layer; they do not affect each other. To change only the color of a decal, move that layer's adjustment; to change only the underlying color, move Base Color Adjust. Neither accumulates (it is never applied twice however many times you re-bake). The adjustment captured by Also take the material's Color Adjust (HSV) applies only to the base color. If you move the material's sliders while layers already exist, the whole color changes on screen but only the base changes in the bake result; in that case a note is shown in the Inspector (use each layer's adjustment if you also want to change the layers' colors).

To check that the bake result was applied, look at Last result shown at the bottom of Bake to Base (e.g. Baked: base adjust yes / 2 layers (1 adjusted) (incl. Texture Layer)). If it says 0 layers, no image was baked that time (caused by Texture Layer being OFF, no texture set, etc.).

The bake result is saved as a new file each time (delete old bake results you no longer need from the Project window). Also, when a color adjustment (HSV) is baked, Hue / Saturation / Brightness automatically return to their initial values (0 / 1 / 1) so the same adjustment is not applied twice. These operations can be undone with Unity's Undo (Ctrl+Z).

However, the preview is uncompressed while compression settings apply after saving, so there may be a very slight difference in color. Do the final check after saving.

When the preview starts, the material's Hue / Saturation / Brightness temporarily return to their initial values (because they are included in the bake). Move these two sliders when you want to fine-tune colors (they are reflected in real time and baked with those values).

Baking is an operation in UV space. Elements that move over time cannot be baked (such as Texture Layer's Scroll). When Scroll is not 0, a note is shown and the picture in the stopped state (start position) is baked. Set Scroll to 0 and align the position with Tiling / Offset. Also, after baking, layers cannot be animated individually (scroll, fade, color change). If you have one image you want to move, use Texture Layer (runtime blending); bake designs that do not move. Note that when Color is tinted and a color adjustment (HSV) is baked, the color may change slightly before and after baking (at runtime Color is applied before HSV, while baking applies HSV to the image before Color). A note is shown in the Inspector when this condition applies. Check with the preview, or set Color to white before baking.

• Replace with the texture (default, checkbox ON) — After baking, turns the casters' Fake Shadow Mesh OFF and also turns the receivers' Fake Shadow Auto Fallback OFF. The baked shadow is always shown in every world. It no longer follows the head or light direction, but it is light on performance and works in any world.
• Keep as insurance (checkbox OFF) — Bakes while keeping Fake Shadow Mesh. The receivers' Fake Shadow Auto Fallback is turned ON, and the baked shadow appears only in worlds where Fake Shadow Mesh cannot be shown. Fake Shadow Mesh uses the depth texture, so depending on the world's settings the shadow cannot be shown — this usage fills that gap.

While this setting is ON, the drawn shadow (Fake Shadow Texture) is shown only in worlds where no depth texture is generated (to prevent it from doubling with the caster's Fake Shadow Mesh). If you bake with "Turn casters' Fake Shadow Mesh off after baking" ON (the default), this setting is also turned OFF automatically and the baked shadow is always shown.

If you already use the Shared Mask (for the 2nd Matcap, etc.), the contents of R / G / A are carried over as they are, so the settings of other features are never lost. However, if the existing mask image was set up so that it cannot be read, R / G / A are recreated as black, and the report says so. If another feature also reads B (such as a material where the conversion tool put the rim shade mask into B), that mask is replaced by the baked shadow. In this case a warning appears in the report (the original mask image remains in the project). Redraw that feature's mask in a free channel and change its channel selection.

The Shared Mask is data with separate information packed into each channel, not a color image. PNG is a format that treats alpha as transparency, so when you open a newly created mask (A = the reserved slot left at 0) in an image editor, the whole image is shown as transparent, and you cannot follow the shadow baked into the B channel by eye. With TGA (32-bit, uncompressed) the alpha remains a separate channel, so RGB is visible as it is and you can fix the shadow or swap channels. In exchange, the file size is larger. The result imported into Unity is the same for both (the import settings are identical too). The default is TGA; switch to PNG only if you do not plan to fix it and want smaller files.

They are the lines for textures actually created by that bake (material name -> save path). Warning lines starting with [!] are shown in red (the bake finished, but something needs your attention, e.g. the look would break as it is). To copy the whole report, press Copy all to the right of the heading.

It is decided by the overlap between a sphere centered on the Head bone of the avatar's Animator (humanoid) and the faces of each material (not by bone names or material names). Even if the face and body share one mesh, they can be separated per material. For avatars without a humanoid Animator this cannot be decided, so everything is checked as before (above the list, it shows how many are selected and why they could not be narrowed down).

Cancel if it takes too long. When canceled, not a single image is written and no material is changed (the state before baking remains as is). To shorten the time, the most effective step is unchecking unneeded meshes in "Casting meshes". Next most effective is turning "Inherit settings from the caster material" ON (an appropriate distance matched to the caster is used).

It reports "no material with Fake Shadow Mesh enabled", "materials exist but the geometry cannot be read" and "no shadow reached" as separate messages. Check that the casters and receivers overlap along the light direction and that the receiver materials use ARLitToon.

※ When Unlit Mode (ignore lighting) is ON, all other items in this section have no effect and are hidden from the Inspector (the Unlit Mode checkbox itself remains; the setting values are kept, and turning it OFF shows them again unchanged). The items of Lighting & Shadow, Toon Shadow and Back Light are hidden in the same way.

Both are pseudo effects decided only by the viewing direction, not by how light hits. Likewise Emission, Glitter, AudioLink, the Dissolve edge, Fake Shadow and Outline also work in Unlit. Only things that need real light sources and ambient light (shading, specular highlights, environment reflections, back light) do not work in Unlit.

The sharpness of reflections is decided by Smoothness (high = crisp like a mirror / low = blurry like frosted glass).

The shadow in this section decides its direction by mixing the real light's direction with the direction of a "pseudo light" decided from the distribution of surrounding brightness (Pseudo Light, default 0.5 = half and half). The pseudo light always comes from above, so even if light comes from below, the shadow is pulled toward a direction from above (at 1, it always falls from above regardless of the light direction). This is intentional behavior matching illustration conventions.

Only the toon shading of this section switches to the pseudo light.

Shadows overlap from the outside in the order 1st shadow → 2nd shadow → 3rd shadow. Basically make Border smaller in the order 1st > 2nd > 3rd (the smaller it is, the more it moves toward the side the light does not reach), and the defaults are already in that order. For an anime look, lower each Blur to make boundaries clear; raise them for a softer look.

Setting it to 0 removes the shadow regardless of the number of tiers.

While Shadow Flat Mode is ON, each shadow's Normal Strength has no effect on the shadow (because normals are no longer referenced). The normal map itself still works on highlights and reflections as before.

Shadows are received only when the world has a realtime directional light, its shadows are enabled, and you are within the shadow draw distance. In worlds that do not meet these conditions, the display is as before (the same look as OFF). The avatar's ability to "cast" shadows has always been enabled; this setting only concerns the "receiving" side.

When the checkbox is ON with a transparent preset, "(no effect in the current Preset)" is shown to the right of the checkbox, and the description below switches to a warning explaining the remedy (display only; the setting value does not change). The checkbox can still be operated, so going back to Opaque / Cutout makes your setting work as is.

This feature is always enabled. It works only in Lit (Unlit OFF); in Unlit mode it does not respond to light, so this item itself is hidden automatically. Emission and environment reflections are not subject to the limit. Additional realtime lights also go through one combined upper/lower bound process together with the main light and ambient light (additional lights are treated per vertex, up to 4 lights). _LightMinLimit / _LightMaxLimit are animatable.

Shadows overlap from the outside in the order 1st (Lighting & Shadow) → 2nd shadow → 3rd shadow. Basically make Border smaller in the order 1st > 2nd > 3rd (the smaller it is, the more it moves toward the side the light does not reach), and the defaults are already in that order. For an anime look, lower each Blur to make boundaries clear; raise them for a softer look.

Setting it to 0 removes the shadow regardless of the number of tiers.

When Unlit Mode (ignore lighting) is ON, the items of this section have no effect (because the shading calculation itself is not performed). The Unlit Mode checkbox is at the top of PBR (BRDF).

Turning "Use 2nd Matcap" ON shows Matcap Texture 2, Matcap 2 Color Tint / Strength / Blend / Contrast / Highlight, Shared Mask RGBA and Region Mask Channel. The Matcap is switched by the specified channel of the Shared Mask (default R) (black = 1st / white = 2nd / gray = interpolated), and the mask is read with the same UV as the main texture. The Shared Mask is a slot shared with other mask features such as Fake Shadow Texture (up to 4 kinds of masks can be packed into the R/G/B/A of one image; see the Fake Shadow Texture section for details). The contents of R/G/B/A are shown side by side right below the channel selection, and you can switch by clicking. The default channels are R for Matcap and B for Fake Shadow Texture, so they do not collide as they are. Materials that had a region mask set before do not change in look, because the default is R (grayscale images have R=G=B, so the values are the same). The 1st and 2nd can each have their own color, strength, blend mode, contrast and highlight boost, so you can build different material looks per part. Disable on Backface and the lifetime fade are applied to both Matcaps in common. When OFF, or when no 2nd one is assigned, it works as a single Matcap as before and the processing cost does not change.

Turning "Use 3rd Matcap" ON shows Matcap Texture 3, Matcap 3 Color Tint / Strength / Blend / Contrast / Highlight, Shared Mask RGBA and Region Mask Channel. The default channel is G, and because it reads a different channel from the 2nd (default R), it does not affect the region of the 2nd. It is blended in the order "the 3rd is layered on top of the result up to the 2nd", and where the mask is black the result so far remains as is. If you draw "R = region of the 2nd" and "G = region of the 3rd" separately in one Shared Mask, you can show 3 kinds of material looks in one material (e.g. fabric, leather and metal fittings). Grayscale images have R=G=B, so the same picture goes into all channels; when two or more features use it, always draw them in separate channels (the Inspector warns when two features read the same channel). Disable on Backface and the lifetime fade are applied to all Matcaps in common. When OFF, or when no 3rd one is assigned, it works as before and the processing cost does not change.

This option takes effect when the render setting Cull is Off (double-sided rendering). Cutting off Matcap on back faces makes those faces look naturally darker, since no highlight is applied (a sinking lining). When Cull is Back (back faces not drawn, the default), the back faces themselves are not displayed, so turning this item ON does not change the look. Cull is in the detailed settings of "Transparency / Rendering".

As a highlight-type effect, Matcap also fades following the alpha of the particle color (Fade/Additive, and the particle lifetime fade with Transparent). With Transparent it remains without becoming see-through by material transparency (_Color.a), and disappears naturally together with its reflections through the particle's Color over Lifetime.

Matcap also works in Unlit mode (since v47_GUIr0; before that it was not displayed in Unlit). Matcap is a pseudo gloss decided only by the viewing direction, not by how light hits, so it works even in Unlit, which ignores light. However, environment reflections and specular highlights are not displayed in Unlit (these require real light sources and ambient light). Use glass expressions that rely on reflections in Lit (Unlit OFF).

Leave Rim Light's Blend Mode at Add (default) and enable Rim Shade. Rim Light makes the edges glow, and Rim Shade darkens them. The two are independent layers, so color, width, strength and mask can each be set separately. Turning only Rim Shade ON shows only the dark edges without using Rim Light. Rim Shade uses the same calculation as Rim Light's Multiply (a multiplication that moves the edge color toward the specified color), so the kind of look is the same. The differences are that it can be used independently at the same time, and that it has its own band width, color and mask. Rim Shade also works in Unlit mode. The three Environment Adapt settings (Environment Adapt / Dark Floor / Environment Tint) are shared by Rim Light and Rim Shade, and work the same way on both.

Set Blend Mode to Multiply and Rim Color to black or a dark color. Adjust the darkening strength with Intensity and the edging thickness with Rim Power.

This option takes effect when the render setting Cull is Off (double-sided rendering). When Cull is Back (back faces not drawn, the default), the back faces themselves are not displayed, so turning it ON does not change the look. Cull is in the detailed settings of "Transparency / Rendering" (the same idea as Matcap's option of the same name).

Rim glow is originally an effect that is "constant regardless of how light hits", so in dark worlds only the rim can remain bright and stand out. Environment Adapt (default 1) follows the surrounding brightness and darkens it automatically, so it blends into many worlds as it is. The look in bright worlds does not change, so only dark places need adjustment. If it disappears too much in dark places, the guideline is to raise Dark Floor (or lower Environment Adapt a little). Conversely, if you want the rim to always glow at constant brightness as a highlight of your avatar, setting Environment Adapt to 0 gives the constant glow as before.

Environment Adapt works "only on the side darker than the brightness of being lit firmly in white". It is by design that moving the light a little in a bright world shows no change (to keep bright places looking the same as before). To check the effect, bring the Directional Light's Intensity close to 0 or switch to a dark Skybox, and the change becomes clearly visible.

This adjustment brings the color cast, not the brightness, closer to the environment, and can be used independently of Environment Adapt. It extracts the color of the surrounding light and puts only the hue onto the rim color, so brightness never drops twice. The default is 0 (color unchanged). The effect is clearer for white to pale rims (the change may be hard to see for rims that are dark-colored to begin with). If you aim to "not stand out anywhere" while hopping between worlds, combine it with Environment Adapt; if you want to protect the character's colors, keeping it at 0 is safe.

The rim normally appears uniformly on the outline of the whole model, but there are situations where you want adjustments such as no rim on the face / only the metal fittings glowing strongly. When ON, it reads the specified channel of the Shared Mask (default A), and the rim appears only in white places (the strength is proportional for intermediate colors). It is applied at the same point as Disable on Backface, so it works the same way in both Add (additive glow) and Multiply (darkening).

In the Inspector too, they are grouped in one place as "Environment Adapt (shared by Rim Light and Rim Shade)", and can be operated if either one is enabled.

The Shared Mask is a slot shared with Fake Shadow Texture and the 2nd / 3rd Matcap (defaults: R = 2nd Matcap / G = 3rd Matcap / B = Fake Shadow / A = rim light). The Shared Mask defaults to "black" = if you turn it ON without assigning a mask, the rim disappears everywhere (the Inspector warns). Grayscale images have R=G=B, so the same picture goes into all channels; when using it for multiple features, draw them in separate channels. Unlike Fake Shadow Texture, it has no Tiling / Offset of its own (same UV as the main texture).

Both Add / Multiply work in Unlit mode (since v47_GUIr0; before that Multiply did not work in Unlit). The Add rim glow fades in / out following the alpha of the particle color (Fade/Additive, and the particle lifetime fade with Transparent).

Rim Light lights "the edges relative to the line of sight" regardless of the light direction. Back Light looks at the direction of the scene's main directional light and glows only when the light is behind the subject, and furthermore parts blocked by shadows do not glow. Both can be used at the same time.

The occlusion test uses the world's shadows. In worlds without shadows (environments where shadows are disabled), occlusion does not work and the judgment is made only from the light direction, so the back light may appear even inside a jacket and the like. It is also disabled in Unlit mode (because it does not respond to light; the same treatment as Rim's Multiply).

Back light used to be judged only by "whether the light is behind" and "whether it is blocked by a shadow", so weakening the light did not change the back light's brightness. With Environment Adapt (default 1), it weakens automatically according to the surrounding brightness and blends into the scenery even in dark worlds. The look in bright worlds does not change, so only dark places need adjustment. To check the effect, bring the Directional Light's Intensity close to 0 or switch to a dark Skybox, and the change becomes clearly visible. It is exactly the same mechanism as the items of the same name in Rim Light, so the key points of setting them are shared when you use both.

The glow fades following transparency (hlFade). The effect is based on the main Directional Light, so it does not glow if the world has no Directional Light. "Disable on Backface" is meaningful only with Cull = Off (double-sided rendering) (the same idea as the options of the same name in Rim / Matcap).

The shadow must be drawn after the receiver (face, etc.). Opaque rendering is drawn from front to back, so the bangs would be drawn before the face, and as it is, the shadow would be overwritten by the face and disappear. Turning this feature ON automatically adds +1 to the Render Queue (likewise when you select the Blend Preset again), and turning it OFF restores it. It works the same way with any preset, such as Opaque, Cutout or Fade.

However, if you have changed the Render Queue manually, no automatic adjustment is made (to respect your setting). In that case, in Render Queue of the Transparency / Rendering section, make the value of this (bangs-side) material larger than the receiver. With the same value as the receiver, no shadow appears (+1 is enough). If no shadow appears at all, check this first.

This setting works in worlds that are "dark but still have light". In worlds with no light at all, this shadow cannot be displayed in the first place (the mechanism that decides how far the shadow reaches also depends on the same light source, so both are lost at the same time). Therefore "insurance for when there is no light" is handled by Auto Fallback below, and this setting should be thought of as a way to "keep the shadow direction from going wild when it is dim".

A setting that keeps the shadow from disappearing even in the "worlds where it does not appear" mentioned above. Turning "Auto Fallback" ON in the Fake Shadow Texture of the receiver material (face, etc.) makes the drawn shadow hide automatically in worlds where this feature can be shown, and appear instead in worlds where it cannot. The shadow never doubles and never disappears. Turn it ON when combining it with Fake Shadow Mesh. The default is OFF (always show the drawn shadow). If you use only the drawn shadow without Fake Shadow Mesh, you can leave it as is.

The drawn shadow "always appears but does not follow", while this one "follows but does not appear in some worlds". Neither replaces the other, so they can be combined with Auto Fallback above.

Flat is a method that places an upper limit of "no darker than this". Therefore the density stays constant even where it overlaps, but in exchange the receiver's shading and the light/dark of its texture are lost inside the shadow, and no shadow falls on parts that are darker than the shadow color to begin with (dark textures, etc.). The default is Flat. Switch to Multiply if you "want to keep the shading of skin and cloth even inside the shadow".

The Flat shadow color automatically follows the surrounding brightness. With the upper-limit method as it is, as the world gets darker the receiver becomes darker than the shadow color and the shadow would disappear. The look in bright worlds is the same as before (it only works when it is dark).

This shadow is drawn by shifting the mesh along the light direction, so the outline of the shadow on screen is "the silhouette of the casting side seen from the camera". The blur is created by making that boundary — where the surface turns sideways — lighter. Therefore it blurs well on hair with thick strands (tube-shaped meshes), but on bangs made of flat cards, the direction is constant within each card's surface, so even the edges never "turn sideways" and there is almost no change. In that case use Cast Shadow Depth Fade (unaffected by shape), or combine both.

The shape of the shadow is the shape of the mesh itself (the shape of the bangs becomes the shadow as is). Since the receiver is curved, the larger the cast distance, the more the shadow appears detached from the receiver. In VR the look differs between the two eyes, so decide the distance while actually checking in VR. The shadow does not darken emissive effects (Emission, Rim Light, Glitter, etc.). When disabled, no drawing happens at all, so the cost is almost zero.

Receive Shadow in Lighting & Shadow is a physical cast shadow that appears only when the world has a real directional light and shadow settings. No shadow appears in worlds without light or in dark worlds. Fake Shadow Texture, on the other hand, is an illustrated shadow that always appears regardless of the lighting. Their roles differ, so both can be used at the same time.

The "Shared Mask" is a slot where up to 4 kinds of separate black-and-white masks can be packed into the R/G/B/A of one image (shared by Fake Shadow Texture and Matcap's region mask). In an image editor, put a separate picture in each channel, for example following the default assignment: the region of the 2nd Matcap in R / the region of the 3rd Matcap in G / the shadow of the bangs in B / the rim light mask in A, and specify the channel each feature reads. Which channel each feature uses by default is shown in the slot name in the Inspector (e.g. for Fake Shadow Texture, "Shared Mask RGBA (shared with other features / default B)").

Right below the channel selection, the four images R/G/B/A are shown side by side, and the channel currently being read is highlighted with a frame. Clicking a thumbnail switches to that channel. R/G/B are tinted red, green and blue respectively, so you can tell at a glance which channel's picture it is (alpha is shown in grayscale). There is no need to enable "Read/Write Enabled" on the texture.

A grayscale (black-and-white) image has R=G=B, so if you use only one kind, it works just by placing it without worrying about channels (no alpha needed). Conversely, when using it for multiple features, always separate the channels — a grayscale image puts the same picture into all channels, so as it is, Matcap's region mask and the shadow would have the same shape.

Fake Shadow Texture uses this Shared Mask, so Texture Layer's color overlay and alpha mask can still be used freely as before (they can be used at the same time).

It is a still image drawn in UV space, not geometric self-shadowing. Therefore it does not follow head movement or the light direction (the purpose of the feature is to always show the same design). The shadow is applied to the object's color, so it appears the same way in Unlit mode and in dark worlds, but it does not darken emissive effects such as Emission, Rim Light and Glitter (the shadow is hard to see on glowing parts). Scrolling (flowing movement) is not applied. When disabled, the cost is almost zero.

• The outline follows the bone deformation of skinned meshes. Use Normal for Extrude Mode (PivotScale breaks on full-body meshes).
• The line thickness is proportional to the avatar's scale (the visual ratio is kept even on huge or tiny avatars).
• For parts where you do not want an outline, such as the face, turn Outline OFF on that material (or set Line Width to 0). Avatars usually have separate materials per part, so this is the basic means of per-part control. If you want to remove only part of it within one material, such as the outer corners of the eyes, use Use Outline Mask (white = line / black = no line).
• The vertex processing of that material roughly doubles, plus one more draw call. It is within a practical range even for a full body, but if you care about Performance Rank, narrow down where it is applied.

The alpha is one mask shared by Emission, AudioLink and Glitter. Each feature chooses whether to read it with the checkbox in its section (for Emission / AudioLink, Mask with Emission Map alpha; for Glitter, set Mask Channel to Alpha (A)). Because they read the same picture, they apply to the same area (you cannot separate the area per feature). An image without alpha is read as 1 everywhere (= no mask). Set Alpha Is Transparency to OFF in the Emission Map's import settings (when ON, the emission color of transparent parts may change). The Inspector warns about both of these states.

Emission also fades in / out following the alpha of the particle color (Fade/Additive, and the particle lifetime fade with Transparent). It disappears naturally together with its glow through Color over Lifetime.

Glitter is an additive emission layer calculated as Glitter Color × Intensity × (shape × view glint × flicker × (AudioLink) × mask). Being procedurally generated without textures, it adds no samplers or keywords (compile load at upload stays the same). The glow follows transparency and blends naturally with particle lifetime fades and semi-transparency. Glitter Color / Intensity / Flicker Speed and others can also be animated.

① An image without alpha (JPG or PNG without alpha) is read with alpha 1 everywhere, so glitter appears over the whole surface. ② Set Alpha Is Transparency to OFF in the Emission Map's import settings. When ON, Unity fills the color of transparent parts with surrounding colors on import, so the emission color may change where no glitter is placed. The Inspector warns about both of these states.

Like the other sound-reactive features, AudioLink Reactive works only when the AudioLink system is installed in the VRChat world (in unsupported worlds only the sound linkage of the flicker is disabled automatically; the glitter itself is shown normally). The Object space is based on object space, so the grains stay fixed to the surface and follow even when the avatar moves or rotates (UV depends on the mesh's UV unwrap, so grains also stretch where UVs are stretched). On double-sided (Cull Off) meshes, grains on the back also glow correctly.

The grains stay tied to world coordinates while always facing the camera, so the mesh's UV unwrap, surface orientation and front/back are not considered at all. Like Object, it is composited with triplanar projection, so grains are not stretched even on surfaces seen at an angle. Grain shape and size stay uniform even on meshes without UVs, places where UVs are heavily distorted, and double-sided polygons. It is also not affected by the object's scale, so grain size stays consistent across multiple meshes. In VR, grains do not shift between the left and right eyes. Note that rotating the camera rearranges the grains (a specification of the always-facing-front expression).

If normal Emission is OFF, specify where to glow with the Emission Map shown in the AudioLink section (white = glows / black = does not; the whole surface reacts if not set). If normal Emission is ON, the Emission Map set in the Emission section is used as is.

If you also want normal Emission (constant glow), turn the Emission section ON. If you use only the AudioLink glow, Emission can stay OFF.

The glow of the melting edge fades in / out following the alpha (opacity) of the particle color (Fade/Additive, and the particle lifetime fade with Transparent). Even in effects that dissolve a Transparent glass material with Dissolve, it disappears naturally together with the edge glow.

It works only when ZWrite is Off (with transparent presets). It is also disabled automatically on VRChat's thumbnail camera and the like (orthographic cameras) to prevent problems.

※ If ARLitToonGUI.cs is missing, the Inspector's custom GUI is not displayed and materials cannot be set up correctly. Bundle README.md so that recipients receive the usage instructions and these Terms of Use.

[File recommended for bundling]

• ARLitToonBaker.cs (texture baking tool / inside an Editor folder)

※ This file is not required, but bundling it is recommended. If it is bundled, recipients can also use Bake to Base (baking). Without it, the shader still works completely normally; only the baking feature is unavailable.
※ If Unity compilation ever fails because of this one file (due to version differences, conflicts with other assets, etc.), deleting ARLitToonBaker.cs restores things. This is why it is not required.

※ ARLitToonGUI.cs が欠けると Inspector のカスタム GUI が表示されず、マテリアルを正しく設定できません。README.md は使用方法と本利用規約を受け取り手に伝えるために同梱してください。

【同梱を推奨するファイル】

• ARLitToonBaker.cs（テクスチャ焼きこみツール／Editor フォルダ内）

※ こちらは必須ではありませんが、同梱を推奨します。同梱すると受け取り手も Bake to Base（焼きこみ）を使えます。同梱しなくてもシェーダーは完全に正常動作し、焼きこみの機能のみが使えなくなります。
※ 万一この 1 ファイルが原因で Unity のコンパイルが通らない場合（バージョン差や他アセットとの競合など）は、ARLitToonBaker.cs を削除すれば復旧します。必須にしていないのはこのためです。