Week 13 | The Slide | 35

 

Experimenting with a surface-driven Slide. This isn’t just a basic crouch-slide; it’s an intentional move to maintain high momentum by "surfing" across surfaces like ice or sand. The challenge was balancing the character's cool composure with the physics of a slippery surface, making it feel like a skilled maneuver that could easily transition into a low-level strike later on.

When animating a slide that transitions into combat, do you prioritize "Style" (cool poses) or "Function" (keeping the hit-box predictable for the player)?

Week 13 | The Dive | 34

 

Expanding the movement library with a high-stakes Dive. This lunging motion is designed for clearing gaps or making a narrow escape under pressure. The focus was on creating a snappy, aggressive arc that conveys both the character's weight and their desperation to reach safety.

When animating jumps or dives, do you prefer a "Flat Arc" for speed or a "High Arc" to emphasize the physics and air-time?

Week 12 | The Roll Attack | 33

 

A simple but effective Roll Attack designed to bridge the gap between evasion and offense. This move transforms a defensive forward roll into a quick strike, ensuring the combat flow remains fluid without breaking momentum. It’s a small mechanical addition that significantly impact's the character’s "threat level."

What's your favorite "simple" move that completely changes the gameplay feel for you?

Week 12 | The Hand Walk | 32

 Taking the handstand into motion with a full Hand Walk sequence. I decided to animate the entire flow from the start transition to the walk and the final recovery rather than just a loop. It’s always more efficient to trim a complete sequence in Unreal Engine than to realize later that a crucial transition is missing.

Animate the whole story, then let the State Machine do the rest.

When animating transitions: Do you prefer baking everything into one long sequence or keeping them modular for more granular control in-engine?

March Recap: Combat, Swimming & Stealth

 

was so focused on the viewport that I almost forgot this recap! March was a massive milestone where I finalized three core sets: Swimming, Basic Combat, and the Stealth system. The biggest technical takeaway was embracing IK it was a total life-saver, making the hits feel solid and the strokes more rhythmic while cutting my production time in half.

13 animations in just 4 weekends! The workflow is getting sharper, and the momentum is only growing.

For those balancing a 9-to-5: Do you find your best creative "flow" happens in these weekend sprints, or do you prefer consistent daily increments?

#Animation #IndieDev #UnrealEngine #UE5 #Maya #GameAnimation #ProcessOverPerfection

Week 12 | Handstand | 31

 

I recently discovered an amazing project from Luigi Lucarelli’s "Leo's Forest" a project that perfectly captures character personality. I found many similarities with my current direction, but even more ideas to learn from moving forward. Starting with this Handstand; it adds a layer of playfulness and show off a bit.

When you find a project that resonates with yours, do you stick to your plan or pivot to incorporate new inspirations?

Week 12 | The Spin Kick | 30

 

Integrating ground-level combat into the stealth set with a powerful Spin Kick. This move executes a low-profile leg sweep from a crouch, providing a perfect blend of defensive utility and a quick, stealthy strike. It’s designed to catch enemies off-guard while maintaining a low center of gravity.

For spin kicks, do you prefer a 'Linear' speed for gameplay clarity, or do you use 'Slow-to-Fast' spacing to emphasize the centrifugal force?

Week 11 | The Backflips 02 | 29

 

Refined the backflip into a tighter, "grounded" version that prioritizes function over flair. By keeping the arc lower and the movement more compact, the flip now fits the character's weight and stealth profile perfectly. It’s a solid reminder that in game animation, "less" is often "more."

Do you prefer animations that prioritize "Cool Factor" or "Functional Realism"?

Week 11 | The Backflips 01 | 28

 

Experimented with a high-energy, acrobatic version of the Crouch Backflip. While the leap looks visually impressive and "cool," it pushed the boundaries of stealth a bit too far, feeling more like a show-stopping move than a tactical evade. Great for flair, but maybe too much for a low-profile character.

Is there a place for "flashy" acrobatics in a realistic stealth game, or does it break the immersion?

Week 11 | Crouch Frontflip | 27

 

Took the crouch set a step further by exploring high-speed, low-profile movement: the Crouch Frontflip. This compact forward roll keeps the character’s silhouette small while providing a burst of agility. It’s the perfect hybrid move for stealthy maneuvers that require a quick change in position.

Do you think stealth characters should stay slow and grounded, or is it better to add these "agile" escape moves?

Week 11 | The Crouch Set | 26

 

Starting the stealth set with a Standard Crouch, the essential foundation for low-angle traversal and ground interactions. The focus was on keeping a low center of gravity while maintaining a clear, readable silhouette from the player’s camera. A simple move, but critical for gameplay feel and stealth mechanics.

For stealth mechanics: Do you prefer a "Deep Crouch" for realism or a "High Crouch" for better character visibility?

Week 10 | The Uppercut (Combo Finish) | 25

 

Completed the combo by layering a powerful Uppercut as the "Finisher" to the previous double-punch set. I’m currently evaluating the best implementation in Unreal blending separate clips for flexibility versus using one long, baked sequence for precision. The combat library is finally starting to pack a real punch!

When building combos: Do you prefer modular clips for gameplay logic or full sequences for better flow?

Week 10 | The Double Punch | 24

 

Expanded the combat set into a double punch combo, continuing the exploration of the "Game vs. Film" balance. While the movement feels cinematic and fluid, the challenge is maintaining that heavy impact without losing the frame-speed needed for gameplay. It’s a delicate dance between weight and input responsiveness.

Game Animators: What’s your secret for making a punch feel "heavy" without sacrificing the speed required for player input?