Earlier today I took the wraps off of the private repo for our Chambers Bay interactive flyover. You can find the source code here, and a post on our dev blog about it here. It was a really fun challenge, and a rare example of using WebGL in a news capacity (the NYT did the Dawn Wall, but that's the only one I can remember recently).
From a technical standpoint, this was my first three.js project, and the experience was largely positive. I think there's a strong case to be made that three.js is basically jQuery for WebGL: sure, you don't need it, but it only takes a couple of features to make it worthwhile. In this case, I didn't particularly feel like writing a model loader or a scene graph. There are still plenty of hooks to write the parts that I do enjoy, like the fragment shader for the landscape (check out that sweet dithering), or the UI for directing the camera. Sure, three.js is a relatively large library, but I'm loading 4MB of textures and another 4MB of gzipped landscape model, so what's a few more hundred KB of code?
WebGL itself runs surprisingly well these days, although failure modes do not seem to be its strong suit. For example, the browser may have WebGL support enabled, but then crash when it tries to render (or it may be lying about support, as with the remote VM sessions used in Times meeting rooms). That said, I was astonished to find that pretty much everything (mobile included) could run the landscape at a solid frame rate, despite the fact that it's a badly-optimized mesh with 150,000 triangles. Even iOS, which usually falls over and dies when WebGL pushes past its skimpy RAM limits, was able to run smoothly once I added a low-res texture for it to use.
This was an ambitious project using some pretty cutting-edge web technology, which makes it interesting in light of arguments that the web suffers from "featuritis". After all, when you're talking about feature overkill, WebGL is a barnstormer. But this story would have been tough to tell another way, and it would have never had the same reach siloed in an app store.
Or take Paul Ford's mind-boggling What is Code? in Businessweek this month: behind Bloomberg's Trapper Keeper design aesthetic, it's a powerful article that integrates animations, videos, and interactive demonstrations with the textual message. Ironically, I saw many of the same people that criticize web apps going wild for Ford's piece, a stance that I can only attribute to sophistry.
My team at the Seattle Times has gradually abandoned the term "news apps," since everyone who hears it assumes we're actually writing iPhone clients for the paper. As a term of art, it has always been clumsy. But it does strike at a crucial quality of what we do, which occupy a gray area between "text" and "program." And if it seems like I'm touchy about pundits who think we should abandon the web, this is in large part the reason why.
Arguments that browsers should just go back to being a document viewers ignore the fact that HTML is not just a text format: it's a hypermedia format, and those have always blurred the already-fuzzy lines between data and code (see also: Excel, Hypercard, and IPython notebooks). It's true that the features of the web platform are often abused. Nobody likes slow navigation, ad popups, or user tracking scripts. But it's those same features that make new kinds of storytelling possible — my journalism is built on the same heavily-structured, "over-tooled" web platform that critics find so objectionable. I wouldn't give that up for all the native apps in the world.