"For each weapon I thought carefully about whether the existing and new actions each weapon had really fit with its concept, and whether a given weapon was detracting from the uniqueness of another." "I really went back to the basic concept for each weapon and tried to reinforce it, while making adjustments to the action to take into account new gameplay features like the seamless maps and new monster behaviours," game director Yuya Tokuda explains. Every single one of them needed to be as satisfying to wield as the next.
THE MONSTER WITHIN ANIMATION SERIES
Not only are there 31 large monsters and 17 small monsters to hit, but - as is tradition for the series - there are 14 weapons to hit them with. You could call this the artisanship of our team members who have worked on action games for many years." We analyse which parts of animations are key to a weighty feeling and which are not, and design them to seamlessly flow together, even working on the frame-by-frame level. "You want them to feel weighty but also as if you can swing them around easily. "While using huge weapons one of the concepts of Monster Hunter, it's also really important as an action game for the weapons to feel responsive," Fujioka adds. Add exaggerated audio effects for slashes or blunt force trauma, and it feels like Superman hitting a Tyrannosaurus rex around the head with a bus. All these factors are calculated together, then the animation is stretched at the point of impact - a technique Capcom developed for Street Fighter - to overemphasise the result for a fleeting second, tricking the eye. Other variables, such as weapon weight and hit strength, also play a role.
THE MONSTER WITHIN ANIMATION HOW TO
"You have to account for which part of the monster the player attacks, from what angle, how much damage they've imparted, and figure out how to make the animation work as part of the feedback you give the player while making it satisfying." "As an action game, monster feedback animations are really important," art director Kaname Fujioka explains.
Of course, this doesn't work when you want to imitate what happens when someone pelts a dinosaur in the face with an eight-foot sword (Disclaimer: no mocap actors were harmed during the making of Monster Hunter: World). Boom! Plot twist.Ĭapcom used motion capture to achieve a very specific goal: creating a baseline for animations that require a creature's weight to be thrown around its center of balance, an extremely difficult effect to do by hand. Yes, we humans were the monsters all along. That's right, some of World's creature animations began life as a person in a moleskin suit flailing around the studio, rolling on the floor, flapping their arms like wings, and scurrying about on all-fours.
Do you know what makes Monster Hunter: World's beasts so convincing? Motion capture.
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