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"?
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?
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?
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?
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?
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?
Starting the combat set with a raw, "non-pro" punch using my own recorded references for a more organic, unpolished feel. The main challenge is balancing this realism with gameplay "snappiness" to ensure the attack is repeatable and responsive. Next step: testing frames-to-impact in Unreal to find that perfect hit window.
For combat: Do you prefer "Raw & Human" movements or the hyper-fast "Snappy" style?
Wrapped up the aquatic set by cranking up the intensity of the freestyle stroke, shortening the reach and increasing frequency for a high-speed feel. Refined the timing and fixed minor clipping to ensure the entire swimming library feels cohesive. The momentum is strong, and the workflow is now fully optimized.
IK or FK for swimming? After this set, I’ve definitely made my choice.
Transitioned to the Front Crawl, applying lessons from the previous struggle by jumping straight into IK for the arms. The difference was night and day making the alternating pulls more intuitive, rhythmic, and significantly faster to animate. Once the rig was dialed in, the motion felt natural and fluid.
When animating repetitive cycles, do you prefer IK for control or FK for "free" movement?
Starting the aquatic set by navigating the shift from FK to IK mid-process to achieve a solid, natural "push-off" feeling in the water. Building these assets now allows me to focus on physics and technical polish later in Unreal without starting from scratch. Even with unknown water physics, the foundation is ready.
Do you animate swimming with IK for the feet, or do you find FK enough for "floating" movements?
Leveling up agility by evolving the double jump into a high-leap Triple Jump with a mid-air flip. Focused on momentum by animating a seamless transition from the landing directly back into a run cycle. The library is getting more stylized, pushing the limits of character movement.
How many jumps are "too many" before it breaks the game's logic?
Added a Sideways Roll starting from the Idle pose, animated forward but on the character's side. The movement is broken into three distinct phases: the start, the mid-roll cycle, and the recovery. Handled the fluid motion in Maya, leaving the technical splitting for the Unreal Engine stage.
How do you handle rolls single animations or procedural splitting?