Third Person Combat Demo
Tool: Unreal 5.4
Team Size: 4
2025.1~2025.4
Anecdote 1
Situation:
In the first few weeks of discussion, we finalized our game's combat system and compiled it into a design document. Since we wanted the characters to have something akin to an ultimate skill, cutscene-style animations for these abilities became a necessity. No one else in the team had experience with animation editing, so I took on the task of creating the cutscenes.
Task:
In the first few weeks of discussion, we finalized our game's combat system and compiled it into a design document. Since we wanted the characters to have something akin to an ultimate skill, cutscene-style animations for these abilities became a necessity. No one else in the team had experience with animation editing, so I took on the task of creating the cutscenes.
Action:
In the first few weeks of discussion, we finalized our game's combat system and compiled it into a design document. Since we wanted the characters to have something akin to an ultimate skill, cutscene-style animations for these abilities became a necessity. No one else in the team had experience with animation editing, so I took on the task of creating the cutscenes.
Result:
It led to the successful implementation of our first version of the ultimate skill animation.
Anecdote 2
Situation:
For the ultimate design, our initial plan was to create something similar to Diluc's ultimate in Genshin Impact (multiple instances of main damage + temporary weapon enchantment). However, since our demo doesn't include attribute-based mechanics, we need to modify it to a sword energy projectile instead, which means we need VFX, but nobody in my team has VFX experience except me. But I only have Unity VFX experience before, it's my first time touching Niagara.
Task:
A blade slash VFX based on Niagara system
Action:
I took the time to learn Niagara and created a simple sword energy effect. During testing, I noticed that the player's perspective made it difficult to see the sword energy being fired. After adjusting the rendering range, the effect now works properly.
Result:
We now have a clear and feasible sword energy VFX effect.
Anecdote 3
Situation:
Since our demo requires a large number of combat animations, most of our assets come from free resources available online. The advantage of this approach is that we can quickly implement most of the animations we need, but the downside is that if a required action isn't included in the asset pack, it becomes difficult to create. During early playtests, we received feedback regarding the character's parry animation. Some players mentioned that they had trouble recognizing when the parry skill was activated because the default animation in the asset pack had very subtle movement and played too quickly, making it hard to notice.
Task:
Try to adjust the necessary animation package
Action:
After receiving this feedback, I started researching ways to modify animations within the asset pack. At first, I attempted to edit the animation directly in the engine, but due to the lack of a proper joint controller and difficulties in adjusting frame positions, the results were unsatisfactory. Later, I exported the assets to Maya, where I overlaid my newly edited sequence onto the original. After making the necessary adjustments, I merged the two sequences to create a new animation while maintaining smooth motion transitions.
Result:
The results of the reworked block animation were significantly better, which also means we now have greater flexibility in modifying animation assets, allowing us to implement a wider variety of animations.
Week 1
In the first week, we basically established our gameplay direction through the meetings, drawing inspiration from the combat systems of other games, such as 《Tales of Arise》 and 《Granblue Fantasy》.Our current idea is that the character's combat experience will primarily revolve around parry, minor skills, and ult(The most important thing is to ensure that all these mechanisms facilitate a cycle of combat resources, such as energy bars, cooldowns, ultimate meters, and so on.). Parry can be understood as a type of defense ability requiring players to press at the right time to trigger an attack parry for benefits. For minor skills and ult, we might consider the available resource animations for our character, Kwang, when deciding on production. If time permits, we may decide to add cinematic ult animations similar to those in Genshin Impact (Camera tracks and character actions won't be too complex tho).
I've mainly focused on learning Niagara effects tutorials this week, considering we may need to create some collision and sword trail effects later on (I've only worked with effects in Unity before). Although we have animation resources for Kwang, if we plan to design some custom skill effects for the character, some animations might need to be modified as well, which could require extensive research in action design.
Week 2
Last week we discussed some potential attributes that both players and enemies would have, and we summarized these in a table. Last week's main focus was developing the characters' basic attacks and the feedback for attack collisions(also we built the gas). Additionally, we replaced the original animation assets because the footstep animations didn't suit our needs (they were more appropriate for MOBA games). I worked a bit on character ultimate cutscenes. I initially planned to use sequence actors, but due to the lack of tutorials and the absence of a preview window for the camera, I ended up using level sequences(thx zexuan for helping me solve the track issues), though I'm still not sure about the final performance. I've completed about half of the keyframing for the camera trajectory. Currently, I'm working on some slow-motion effects. Later this semester, I'll also add some VFXs into the animation.
Week 3
This week we chatted about what triggers character skills and what kind of enemies we want in the game, including different sets of actions for boss and regular enemies, along with their abilities. We also touched on the concept of "impact feel" because we feel it's super important for making an action game more engaging. On my part, I delivered on last week's goals. Now our character has a full ultimate move cutscene, similar to what you see in Genshin Impact, that can be triggered in real-time during levels. I initially planned to use rail and crane shots, but due to some issues with the levels, I ended up going with manual keyframing, which turned out pretty decent. For the next week, I might tweak some of our other animations to meet our action and performance needs based on Zexuan's feedback. I’ll keep refining the ultimate move cutscene or add more ult versions, and once we nail down exactly what we want, I’ll keep optimizing our effects.
Week 4
This week, I primarily focused on researching VFX. Our team's upcoming main direction for VFXs will involve player attack and skill release visuals, as well as boss transformation effects. I’ve been gathering online references that resemble the effects I want to achieve. For instance, I looked at Diluc’s flaming greatsword release. Given the implementation challenges, the final result won’t be an exact replica, but I aim to include at least a burning greatsword effect. In addition, I plan to make some adjustments to existing animations. For example, the blocking animation—which is triggered frequently and plays a crucial role for the player—currently just looks like holding the sword in front of the face, which might confuse players. Refining this will be a priority.
Week 5
This week, I created a Niagara-based “flaming sword energy” effect, which can be used as a ranged attack for a certain period after the ultimate. In addition, I’ve been looking into how to adjust our existing animation assets. The assets exported directly from UE5 don’t include any controllers, and trying to modify the original assets directly inside the engine has proven inefficient with poor results. I’m hoping to finish updating the parry animation by next week, because in its current form, players have a hard time telling whether or not the skill has actually been activated.
Week 6
This week, I rebuilt the parry animation by exporting the source file into Maya; the issue is the file doesn't include controls for joints; the good news is I can merge the two sequences together so Maya can help me calculate most of the animation. Also, I made a blade slash for the player's ultimate cutscene; it still needs more details to look "cool," but Zexuan hoped we could have at least one version to use. I will keep working on that for the next couple of weeks. Our cutscene sequence needs rework because we hope the player can see the slash once the cutscene is over, so a little bit of adjustment for the cutscene as well.
New Parry:
Old Parry:
Week 7
This week, I was sick with a high fever and didn't participate in the group work.
Week 8
This week, I fixed the issue where the blade slash effect was invisible from the inside by adjusting its rendering range. Now it works properly and can be fired as intended. Zexuan gave me feedback on the ultimate cutscene, mainly focusing on the player's perspective and the timing of the time dilation. The pacing of the animation and the use of time dilation nodes need to be balanced; otherwise, it will be difficult for him to create the montage. Overall, the cutscene needs to be completely redone. Zexuan recommended a few ultimate move cutscenes from in-game characters as references. I plan to use those as inspiration to design a cutscene with faster pacing, fewer perspective changes, and fewer time dilation nodes.
Spring Break & GDC
Week 12
I showed Zexuan an early draft that combines several different versions of the animation, hoping to get some feedback from him. Additionally, due to missing animation assets, some parts had to be reconstructed in Maya. After showing him the latest version of the combined animations, he felt it was good to go. Next, I moved on to editing the camera tracks. I didn’t review this part with him step by step—instead, I briefly described my ideas to him and then went ahead to work on the level sequence.
Week 13
I’m dealing with some issues from other group projects, so I’m pausing for a week.
Week 14
This week, I completed the final version of the ultimate move animation sequence. Compared to the previous version, the current version has a faster pace, with the camera mostly fixed on the player, and significantly fewer time dilation nodes. I also informed Zexuan of all the node positions where time dilation is applied to help him with the montage creation.
