I’m playing through Braid again after the initial realisation that years of hand-holding in 3D have softened my platforming and puzzle-solving skills, and took a trip over to the portfolio site of David Hellman, artist behind the beautiful painterly worlds. While not earth-shattering, the animation does fit the unsettling Czechoslovakian fairytale stop-motion aesthetic perfectly, (especially the  expressionless goombas that wander the levels – creatures that could have been lifted right out of my childhood nightmares).

Beyond examples of animated gifs like the one included here, you can download Photoshop PSDs of all the character animations in the game from this handy location. Certainly worth a look to get an idea of the animation process behind this wonderfully frutrating little game.

Here’s a fantastic game-influenced pixel animation from director Jérémie Périn. Hilarious, and about as NSFW as a bunch of moving pixels can be.

[via Motionographer]

I’m currently playing through this one on my new PS3 slim and must say that of all the unique features Little Big Planet has, the puppet-like emoting is the most fun I’ve had in ages. Here’s a little bit of info on the animation in (I believe the incoming PSP version of) the game.

Looks like a simple rig in Maya to compliment the game nicely, and they use morph shapes for the facial emotes which seems a natural fit given the squashiness of the character.

Still with Capcom’s fighter, the more I play it the more I realise the actual animation is merely “functional”, but I imagine that’s what is required to ship a reboot of a franchise where every animation is subject to timing changes for game balancing throughout the project. What appeals most about this visuals are the incredibly solid models and their accompanying rigging and facial poses, so it’s nice to see that the Japanese Softimage site has a page up regarding both these aspects, (with a link to another page demonstrating Resident Evil 5’s volume-retaining arm rig too). Check it out here.

Via the Google translation I see that the game has 25 characters of around 16,000 polygons each, comprising some 5000 animations. The rigging videos are of most interest however, highlighting both their facial & finger sliders and the unique controls for Dhalsim’s squash and stretch limbs. In a break from what I’m used to , the team take a less modular approach to facial expressions, with broad sliders for various facial expressions as opposed to sliders for each area of the face which can afford greater control for the animator but proves more time consuming and being prone to going off-model. This might be a viable approach with such stylised characters however, and they control the following variables:

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An enterprising player has figured out how to swap out animation sets on the PC version of Streetfighter IV, to great comic effect. What’s most interesting about this is that it’s all handled very gracefully (doesn’t break the system, which could have happened so easily) revealing a little about how their animation is stored. That the animations remap so well displays a consistent skeleton hierarchy (or bone naming convention) across all characters shown, which one would expect given the humanoid shape of each character in the game.

All body animation appears to be rotation-only, given that the limb lengths do not warp and stretch to assume the positions of the bones in the animations. IK does however appear to be solved for each limb as the arms and legs of the shorter characters hyper-extend (stretch out) to meet the required feet and hand positions of the original animations. The only visual artifacts like this occur in the face, showing that position keys must be involved in creating the facial animations.

The camera animations for intros and special moves are bundled with the animation sets, highlighting that both the sound and visual effects of the chosen character remain intact on the character rather than the animation sets and play out on corresponding actions quite well. This illustrates that there must be identically organised sets of each for every character.

[via GiantBomb]

By some strange paradox, E3’s lack of announcements regarding the next “next generation” of hardware has prompted many news sites (and publishers) so speculate as to when the next cycle will begin.

When I first began animating games at home in my highschool years and was invited up to the local game studio, DMA Design, back home in Scotland it was exacly at the time of the big shift from the 2D of the 16bit consoles (SNES and Genesis) to the impending 3D revolution of the as-yet unrealeased PlayStation and N64. I still clearly recall being informed by my tour guide (Art Director Oz, who by some strange twist of fate now works just up the road from me in Montreal at local studo A2M) that it would be “a long time before we’ll be seeing round edges in games again” with the move to hard-edged low-poly games like the original Tomb Raider and Tekken. As such, I promptly ditched my computer and all my 2D skills and instead decided to apply for art college to get drunk and meet girls.

On completing my studies and joining the industry proper it was 5 years later and the old-hands I learned from and I were wrapping our heads around the leap from the original PlayStation to the PlayStation 2, with its analogue input and superior power and memory specifications. During this period a lot of over-estimation of these specs on our part resulted in much trial and error, (with the latter being most prevalent), and the unfortunately disproportionate ratio of actual creative-to-technical work was quite the learning experience. But hey, I didn’t know any better…

4 years later and I make the jump across the Atlantic. After a brief stint with the Xbox, it’s on to the Xbox360 (at the time, known as Xenon) and the then unfinished Unreal 3 engine. Again, lots of over-estimation of hardware specifications despite being some of the first developers to receive the new hardware kits and being the UE3 early-adopters. Again, having to relearn how to create animation in games from scratch as we apply new methods such as blending, additive animation, IK and an entirely new facial system, not to mention the poor artists who had to completely rethink their workflows with the move to normal maps and Z-brush modelling.

So here we are once more. 5 years later and on the verge of when another hardware generation cycle is expected to be announced, so I’m going to put it like this…

Can you imagine how crippled the art of filmmaking would be if every time shooting starts the vast majority of the crew’s time is spent creating reels of film and re-designing how it works inside the camera? If every time an author sits down to work on his or her next bestseller they must first spend years establishing workflows for simply getting the words down on the page? And every new album is delayed months as your favourite band is holed up in the studio, luthering their own guitars?

For the first time ever I’m coming into work and purely creating art. Not worrying about whether I’ll get the tech in time to finish the workload. Not dealing with crashes, bugs, delays and instead just knowing that when I want something to work, it does. For the first time in my career I’m spending 100% of my day creating mature, thought-provoking content, and it’s really something of a marvel to be discussing character motivation and story arcs safe in the knowledge that everything else is taken care of.

To this end you can keep your new hardware and your fancy camera inputs and magic wands, because I’m concenrating on content.

Last summer, Sony announced the cancellation of internal projects The Getaway 3 and Eight Days, with the former garnering most of the press. Sometime later, a video demonstrating the basic navigation and cover system of Eight Days was uploaded to YouTube by near-legendary former BioWare/Ubisoft/Sony (& more) animator Jim Jagger, demonstrating a system far in advance of anything else out there to this day. The orignal has since been removed, but thankfully another user has reinstated it at the time of writing so appreciate it while you can.

Though it looks a little slow in relation to real gameplay balance that might have come later in production, the sheer fuidity of the actions and camera, and the multitude of states (poses) the character can move between is something of a marvel. One can only hope that we’ll see some variation of it in an upcoming game.

It’s Oscar season. More importantly for this space however, the nominations for the 2008 Academy of Interactive Arts & Sciences awards are in. Why is this relevant? Because unlike most end-of-year videogame awards these are peer-based, not to mention having two awards devoted to animation and character performance.

Additionally, after missing out on Console Game of The Year in 2007, Mass Effect is back in with a shot at Computer Game of The Year after the later PC release, though is once again up against some seriously tough competition. (UPDATE: Though it did pick up RPG of the Year – don’t want to sound like sour grapes). Congratulations this year must go to Dave for Prince of Persia and Jay and Laurent for Gears of War 2’s nominations.

Outstanding Achievement in Animation

• Castle Crashers – Microsoft Game Studios – The Behemoth
• Gears of War 2 – Microsoft Game Studios – Epic Games, Inc.
• Left 4 Dead – Valve Software – Valve Software
• Metal Gear Solid 4: Guns of the Patriots – Konami Digital Entertainment, Inc. – Kojima Productions
• Prince of Persia – Ubisoft – Ubisoft Montreal

Outstanding Character Performance

• Gears of War 2 (Dom) – Microsoft Game Studios – Epic Games, Inc.
• Gears of War 2 (Marcus) – Microsoft Game Studios – Epic Games, Inc.
• LittleBigPlanet (Sackboy) – Sony Computer Entertainment America – Media Molecule
• Metal Gear Solid 4: Guns of the Patriots (Old Snake) – Konami Digital Entertainment, Inc. – Kojima Productions
• Tomb Raider: Underworld (Lara Croft) – Eidos/Warner Bros. Interactive – Crystal Dynamics

Computer Game of the Year

• Fallout 3 – Bethesda Softworks – Bethesda Game Studios
• Left 4 Dead – Valve Software – Valve Software
• Mass Effect – Electronic Arts – Bioware
• Spore – Electronic Arts – Maxis
• World of Warcraft: Wrath of the Lich King – Blizzard Entertainment – Blizzard Entertainment

At the risk of coming across as a fanboy, here is a second dose of Metal Gear 4 details divulged on the net. It appears that the Kojima Productions team did the rounds quite a bit post-release as it includes yet more images and information on the making of Metal Gear 4.

The image to the side shows the skeleton used for main protagonist Snake, revealing the inclusion of deformation bones to maintain volume on the elbows, knees and wrists on top of the now-standard twist bones for the shoulders, hips and wrists. Unidentifiable, however, are the curious bones at the neck – perhaps to aid shoulder deformation or simply to attach weapons to?

Some stats from the article:

• 115 bones in total, comprising:
• 36 in the face.
• 47 in the body.
• 32 in the hands, (3 for each finger, with an additional bone on each hand between the thumb and index finger – presumably to maintain volume).
• 1700 animations, over MGS3’s 1200.
• 1400 polygons, up from MGS3’s 4400.
• 5MB of textures, with a 512×512 for the face and 1024×1024 for the body.

Additionally, a higher-res screenshot of the FaceManager facial animation sliders allow us to peer deeper into the variables used to bring their fantastic characters to life. Here’s the modest list of facial expressions to accompany their similarly conservative facial bone-count:

• Nose_Up
• Open_Jaw L/R
• Smile L/R
• Anger L/R
• Kiss L/R
• Frown L/R
• Extra_A L/R
• Extra_B L/R

One imagines the last two to be unique to each character, and there are clearly additional tabs for Phonemes, Eyes and Wrinkles.