#gamenarrative

[glitchpalantir]

Is narrative important in games?

Certain genres, such as adventure games and their various sub-genres, have narrative as an essential element, while others, such as real-time strategy, do not require detailed stories as a feature. Some games feature a "story mode" (sometimes also called "narrative mode"), a mode that is designed to focus on the story.

A video game's narrative is important because it helps the player feel more involved and more immersed in the game. It gives everything in the game meaning and helps the player understand what they need to do. The advantage of video games is that, unlike with other types of narrative, the player is part of the story.

[acronym-chaos]

Gendernarrator

[PT: Gendernarrator]

[ID: A rectangular flag with 7 stripes. The middle stripe is comparatively thinner than others. The colors from the top to bottom are: donkey brown, pale taupe, pale brown, brown tumbleweed, pale brown, pale taupe, donkey brown. In the middle of the flag is a symmetrical open book symbol. The open pages are pale silver and have same 4 light brown lines on each page immitating writing. The rest of the book ashy brown and is outlined in light brown. End ID.]

Gendernarrator: A gender system in which you are a narrator of [x]; your gender is a narrator of [x]; your gender feels like narrating [x]; you are part of [x] narrative; your gender is a [x] narrative; etc. Example of that could be: girlnarrator, boynarrator, fantasynarrator, gamenarrator or any other alignment that one feels fit this definition. While gendernarrator is a gender system it can also be used as a standalone gender in which one's gender is being a narrator or the gender itself is narrated or is part of the narrative.

[ID: A thin purple line divider shaded at the bottom. End ID.]

@radiomogai

[andreaskorn]

Need For Speed: Deluxe Edition (2015)

Meine Car Setups (01)

Setup des Subaru BRZ (Grip)

Die Einstellungen habe ich zu einer Gesamtliste zusammengestellt. Sie kann als Orientierung und Anregung dienen. Um auch für starke Kurven geeignet zu sein, hat dieses Setup auch leichte Driftakzente, aber die Grip Fähigkeit dominiert hier. Das Feintuning ist aber sicherlich sehr variabel. Den Subaru BRZ kann man freilich auch auf "Drift" optimieren. Sicherlich ist er ein guter und schicker Einstiegswagen.

[Übrigens: in meinem Beitrag vom 10.07.2024 habe ich eine Tabelle mit meinen Car Setups gezeigt. Die Werte habe ich aber am 12.07.2024 z.T. verändert, weiter überarbeitet und versuchsweise etwas optimiert]

Zudem füge ich unten Screenshot Samples dieses Wagens aus "Ventura Bay" bei, der in der virtuellen Welt des Games in Szene gesetzt ist.

[Tipp: auf das Bild klicken, Tumblr bietet keinen Zoom für Bilder; rechten Mausklick und den Screenshot herunterladen; dann kann man etwas vergrößern und die Werte gut lesen]

Mein Forschungsinteresse

Beiträge zur Geschichte des Computerspiels am Beispiel der seit 1995 bestehenden umfangreichen Rennspielserie "Need For Speed". Im Fokus: Wandel der Bildästhetik, Gamenarration, Balancing, Innovation uvm.

Von 2018-2021 habe ich selbst ein paar Computerspiele entwickelt (3D Welten mit bescheidenen Rollenspielelementen). Verwendung: Unity Game Engine, C# Programmierung, Blender 3D. Dies hat mir einen praxisrelevanten Einblick in die Arbeit der Gameentwickler gegeben und meine Analysekriterien entsprechend erweitert.

Im Moment hole ich, nach ca. 10 Jahren Need For Speed "Pause" (zuletzt: NFS Rivals), einige mir noch unbekannter Titel mit Test und Rezensionen nach. Auf der Agenda stehen, wenn mir der Abschluß dieses Games (NFS Deluxe Edition 2015; derzeit 77%) gelingt, NFS Payback und NFS Heat als nahezu letzte mir unbekannte Serientitel noch bevor (bereits über Steam installiert). NFS Unbound (EA 2022) hatte ich vor einigen Wochen bereits getestet und diverse Beiträge in meinen Social Media Kanälen hochgeladen.

[NFS World wäre mir auch noch unbekannt, dieses Game kann ich aber zu Testzwecken leider nicht mehr erwerben.]

Dr. Andreas Korn, 12.07.2024

+ + +

[omorales81]

Customizing my own Mandalorian avatar sounds amazing, but I don’t need a #Mandalorian game to be open world. A modern version the Jango Fett singe-player #BountyHunter game is A-OK! #VideoGames #StarWars #GameMechanic #GameNarrative

[petersanimation]

AX3002- Bible Research “The art of Spiderman into the Spider verse“

Next as part of my bible research I looked into the “The art of the Spiderman into the Spiderverse” while this isn’t a game bible and is instead a film I thought it would be worth doing a look into considering that I own the book along with the previous two and it will give me an insight to how a films bible is done.

Again the first thing I focused on was how the book starts with its contents page and introduction with the concepts page using a large full page illustration of the main character. The introduction to this book however used alot more writting than the previous two I had looked into  expain the thoughts and goals of the film. The next page talks more about the visual style as the film used a new style of animation which hadn’t been done before.

The next thing that comes after the introduction is more illustations showint the enviroments of the film but also attempts to esablish the tone of the film but looking at these illustrations you get a clear sence of the world and the characters.

This book did use a different layout to the previous books which would split it to characters then enviroments this book shows the character using a final render front and back with some concepts as well as a full mood board for most characters and well as some other poses of the character showing off their personality. The book presents its enviroments with the characters it relates to like Mile’s house after showing Miles and his family and the facility in the film before showing the page for Gwen.

This book did suprisingly give me some ideas for how I could present some pages of my book as I like the idea of enviroments being presented with the character they belong to though I would have to make some time to do those drawings if I wanted to present it like that.

[claudias-game-blog]

Manifesto for what a game is, a discussion I made as part of my game narrative paper.

[gameartistry]

SOON! My talk is coming up, Vitality of Visual Storytelling in Games 😍 #gamedev #gamenarrative #interactive #storytelling #stories #art #gameart #lovemyjob #pgclondon (at London, United Kingdom) https://www.instagram.com/p/Bs7wfuxhxRc/?utm_source=ig_tumblr_share&igshid=1q55d0jwaiavz

[sikadelicmu53]

This looks more like SIDE MISSIONS. “Geralt, Ciri needs your help.” “Excuse me, Geralt. Could you defeat this monster first?” “Geralt, I need some rare herbs.” #videogames #storytelling #gamenarratives #thenarrative #funnybecauseitstrue https://www.instagram.com/p/Bt_vMyoAFyZ/?utm_source=ig_tumblr_share&igshid=1oekcid1nbtlx

[naryrising]

Running an RPG online

I’ve been running “tabletop” RPGs online since 2002.  I figured I’d share some of the tools I use to do so effectively.  Some of these are also helpful for offline RPGs, general tips for GMs, and some are more specifically useful for online games.

1. I run my games over mIRC.  Yes it’s old.  Yes it doesn’t have some of the newer, sexier features Discord has. (And if you like using Discord, more power to you!)  mIRC has a few big advantages that keep me using it, though: logs, customizable window placement, and multiple connections with rapidly changeable nicknames.  Normally when I’m GMing, I will open 4 or 5 instances of IRC.  I use one for my “GM voice” - I give it a nickname like “GameNarrator”.  The others, I’ll switch out for various NPCs as I need them.  I colour-code the backgrounds of each of the the windows so I reduce my chances of typing in the wrong window (not totally eliminate, because I’m only human, but reduce it anyway).  

For any game, there’s a main in-character room, where the main plot is taking place, a secondary (and sometimes tertiary, if needed) in-character room for things like side conversations between characters, and an out of character room for jokes, random asides, planning, running commentary, and totally unrelated conversations.  This works well because it keeps distractions in the main channel to a minimum, and the secondary in-character channels allow people who might not be involved in the main scene to still do some role-playing if they want.  

Anyone can also message any other individual in the game privately.  As the GM, I use this if I need to talk with one player privately, such as to tell them something only their character would know, or they can message me if they want to tell me something their character is doing secretly.  

Here’s a screencap of what it looks like for me when I’m running:

In the upper window is the main scene.  The lower window is the out of character chat.  Along the top you can see other windows I have open - other in-character channels, or direct messages to other people.  I have arranged the windows so I can see both of these ones at once - you can drag and resize them so if you want to be able to see 4 at once, or 6 at once, or as many as you can feasibly fit on your screen, you can do so.  I personally find 2 visible windows per instance of mIRC about my limit for levels of “how much can I process at one time.”

I have my preferences set to save logs in any in-character rooms.  As long as I’m connected, my computer is saving whatever is said in there.  I use this HEAVILY for what I’m about to talk about next...

2. A game wiki.  This is something that can be useful to any game, online or off.  For my regular gaming group, we’ve got a sort of home base for all our various campaigns at rocksfall.org.  My current campaign that I’m running is Ashnabis.  The wiki serves as a centralized storage location for everything to do with the game.  House rules, setting information, character descriptions, and logs of past sessions go there.  As well, creative stuff that I or the players make related to the campaign can be linked there - stories, artwork, playlists, etc.  As this game is fairly new (only 6 sessions so far) its wiki page is still somewhat sparse, but it’ll increase as the game continues.  

Anyone (of me or my friends, in this case) can edit the wiki to add material.  That means the onus isn’t entirely on me as the GM to put content there.  If a player wants to make notes about their character’s background, write a letter in game, describe NPCs they’ve met, etc. they can put that up there.  If they want to put their character sheet there, they can (although we also store them on Google Drive).  Likewise I can add material there like maps, visual aids, and have a link to share with the players if I need to refer to something in game.  

Game logs are my faaaave though :3  They save me from having to make one million notes during game, and from those always-awkward moments when you’re like “uhhh I forget what we said we were going to do last session and now it’s been two weeks and I have no idea what we were planning anymore...”  Logs keep me consistent as a GM.  I can refer back to what I told the players in previous sessions. I can check on NPC or place names I made up on the fly.  I can confirm how long ago particular things happened (no more ”Yeah I remember I said it would take you a month to do that, but I can’t remember how long ago I said it...”).  They’re an invaluable resource.  Cannot recommend highly enough for online GMs.

3. An NPC database.  I’ve kept these for each of my campaigns since I started making them using Works in the 90s, for in-person games.  Now I use Excel or Google Sheets (although I still miss some of the features Works had...)  

I make this at the start of a campaign.  The exact specifications will vary depending on the game, what system it uses, and what information I expect to need, but there are some universal constants.  It will, at minimum, have fields for Name, Sex, Race, Age, Hair, Eyes, Height, Weight, Class, Level, Alignment [if it’s a D&D-type game], Social Class, Profession, and Description. I think those are all fairly self-explanatory. There are a few other fields I tend to use that are a bit more specialized and work for me, although I don’t use them for every single game: Events, Status, Groups, Notes, Location, and PCs Known.  

Events: notable events coming up in this person’s life.   For instance, if an NPC becomes pregnant, I would put a note there.  

Status: Mainly I use this if an NPC dies.  I’ll put a “d” in this column so I remember, oh hey, that person’s dead.  Could use it for other things too, though - like if an NPC becomes undead, or a lycanthrope, or has some other ongoing effect.

Groups: if the NPC is affiliated with a certain group, I’ll note it here.  This allows me to quickly pull up all the members of that secret cult, or thieves’ guild, or order of knighthood.

Notes: well, that’s just what it says - any random notes I want to jot down about this NPC, based on events that happen in game.  “in love with X” or “hates Y” or whatever.

Location: where does this dude live? If the game spans over a country or continent, this might be a town.  If it’s mainly set in a single community, this might be a neighbourhood or district or a general description (”out at the edge of town”).  Lets me keep track of whatever I told the PCs about where to find this person.

PCs Known: tracking which PCs know a particular person.  I tend to run fairly decentralized campaigns - the group don’t always travel around as a group, so it’s easy enough for some PCs to meet a particular NPC and others not to.  This field helps me keep track of who knows them and who they know, because it can be easy to forget after 40 or 50 sessions. 

(PSS there’s also a “Gay” column but it’s more of a formality than anything - my NPCs are all bi until proven otherwise.)

I’ll pre-populate this with NPCs I make at the start of the game, but I also use it to add in new NPCs I make up as I go along.  Not every field needs to be filled out for every character right away, but I try to update it regularly after each session.  Since I don’t want to show my current campaign’s database because I know some of my players are reading this (hi!) I’ll show an example of one for a finished game:

That database, by the end of the game that had run for 76 sessions over 4 years, had 844 NPCs in it, some more developed than others.  I fully admit that’s a crazy number and not everyone should be me.  But even if you’re keeping track of 40 or 50 NPCs (more than most people can reasonably store in their head, or in scribbled GM notes), a database can be helpful in reminding you what colour you said that guy’s hair was, or finding all the elves you’ve made up so they can gather to perform a special ceremony and you don’t accidentally leave someone out, or when the PCs say “hey maybe we need to talk to a priest about this evil curse”, looking up who that priest was you introduced back in game 4.

4. Combat is run through roll20 - I feel like this is a pretty well-known gaming tool so I won’t belabour the point, but if you haven’t tried it, it’s very good! You could probably run an entire campaign in there if you wanted - it has a chat function, it has dice rolling, it has places to store character sheets and GM notes.  I mainly use it for combats that require maps and minis.  I don’t run very combat-heavy games so we only use this every few sessions, and usually only for a small segment of the game, but when we need it, it’s great for that purpose.

All of these tools can be used for free, although in some cases there are paid versions (e.g. Google Sheets vs Excel).  There can be a bit of a learning curve if you aren’t familiar with them - learning how to edit a wiki, for instance, requires learning certain syntax.  Setting up mIRC can be a bit confusing the first time if you’re not used to it.  But anyone can use mIRC - either download the client, or use a browser-based version like mibbit or kiwiirc if you aren’t fussed with missing out on some of the customizability.  Anyone can start a free wiki using Wikia or other services that are out there.  roll20 can be used for free with ads and certain limits (like how much you can upload), or you can pay for an account to avoid those things.  (Side note: if the GM pays for a roll20 account, their players also don’t have to sit through ads on the loading screen.) 

Anyway, this is my summary of 17 years of online GMing experience, and things that make my life infinitely easier as a GM.  If you have questions, I’m happy to try to answer them!

[danielparente]

The Gardens Between's Narrative Designer Reveals How Games Get Their Stories #gamedesign #gamenarrative #gamedev http://buff.ly/2p0poX0

The Gardens Between's Narrative Designer Reveals How Games Get Their Stories #gamedesign #gamenarrative #gamedev http://buff.ly/2p0poX0 via http://buff.ly/2p0poX0

[thethirdkate]

Mundane Narratives

When it comes to game narratives, I’m really interested in micro-stories - those which are focused on something small, sometimes even mundane. I’m not sure why - maybe (ok, definitely) I’m fatigued by both game and film industries that seem obsessed with continually one-upping the epicness - but that’s another story.

What are some examples?

Although it’s nearly 10 years old Facade is one title that I still enjoy, and I recommend checking it out if you haven’t. I’m interested in how games can use nuanced social situations as a mechanic. Making a personal connection with an NPC seems like a really nice, natural reward, whether you gain some kind of explicit advantage (such as a piece of heart), or simply break down some of the character’s emotional walls and gain an insight into their personal life (an idea I wanted to play with more in With The Dust).

A more recent experience of this was Hatoful Boyfriend (I really recommend this game <3). A large number of the story branches are about performing simple acts of kindness or expressing sympathy with a character, with the sole reward of learning about their personality and uncovering their story.

It would be fun to apply this to different scenarios, probably resulting in something ludicrous. I mean, what would happen if you applied the Facade idea to a last-people-on-Earth scenario? Like, you’re stuck round a campfire trying to survive with a few people who really get on your tits? Or you’re having a really awkward conversation where you have to try to address the elephant in the room - the sensitive matter of re-populating the planet?

It would also be great to try this idea out in VR - with voice recognition and even a simple dialogue engine, something like Facade could be quite entertaining.

[somnicolossus]

Non-linear narrative issues. The four narrative topologies.

In the previous entry I've established a few definitions and mentioned the narrative topologies as ready-made solutions for writers/game-designers. This time I will discuss them at length weigh pros and con's.

Trigger warning: unpopular opinions on AAA and cult games. It's just, like, my opinion, man. If I am wrong about anything but punctuation and trying to write this blog, please let me know. I am writing this to understand and explain what I think I know.

Allow me to start with a quiz! Image you're a writer/game designer and you have a vague concept in your head you don't know what to do with. Answer these 4 questions: 1. Do I want to tell my story? 2. Do I want to design an exciting game to just fool around in? 3. Can I dedicate to it tons of effort and work hours? 4. Do I want each and everyone to experience the game differently? 5. Do I want the story to be nothing but a premise?

Now check your answers: Linear: 1Y, 2N, 3Y, 4N, 5N Modular: 1Y 2Y 3N 4Y, 5N Branching: 1-4Y, 5N Emergent: 1N, 2Y, 3Y, 4Y, 5Y

Well, I didn't quite think this through. But now that you get as vague picture as is your concept, you, probably, would like some explanations.

You see, these four topologies represent the evolution in game development industry's view on storytelling in games. Initially, the game's story was nothing but a premise, usually physically left out of the game and printed in the manual and never mentioned again. Later the game developers tried to incorporate story into their games and thus appeared dialogue and cut-scenes, both non-interactive and fed in between the levels. Then some bright minds decided that they want to let the gamer play with the story. Arguably, this is caused by influence from tabletop role-playing games and gave way for Modular and Branching topologies. But some developers that loved modelling situations systems ,particularly, Sid Meier and Will Wright  created games in which the player's actions created a story that they loved to share with each other.

For this article I've dropped the game's space concept. It is stupid to draw it for the whole narrative topology because whatever the narrative is, there might be multiple side-missions with their own plots and fail/win states. I can draw it for Max Payne as a line with few peaks, but for GTA int would be a really nuanced space.

So the 4 narrative topologies are (in order of increase in player's influence on the story): 1. Linear -  what you use when you have a movie, a story in your head but want to let the people play around a bit. Also you want everyone to experience the story just the way you intended to. 2. Modular - what you use when you want to give the player an illusion of influence and role-playing. At least he chooses to be cartoonishly evil or as kind as a sedated person. 3. Branching - what you use when you want to let the player experience the story and gameplay from few different perspectives and give the player limited but real choice and influence over the world. 4. Emergent - what happens when you concentrate on game and overall world design and let the story be just a premise for whatever the gamer's doing in the game. The script becomes whatever the player feels like doing.

Now I will clarify.

Linear

It's a go-to for a frustrated filmmaker who didn't get his funding for a real movie and for a writer/game designer who wants to make people feel more involved with his/her story. It may be as pure and clear as "Max Payne" or as obscured with cosmetic choices and well-designed gameplay that allows some emergence as "Grand Theft Auto" series is. Because no matter what you say, the latter is entirely linear with some branches that get no closure whatsoever and design that creates a clever illusion of non-linearity.

+ everyone experiences the story and game exactly as you intended; + it's a cheaper vent for your inner cinematographer's/storyteller's ambitions in a more welcoming market, I mean, the market that can take more awkward stories and pacing; + a good story and game design interaction here automatically results in flow.

- when your story's mediocre and filled with plot holes, the gameplay can't hide it. Works both ways: when the gameplay isn't right, your story can't hide it; - everyone thinks he would make better choices in game's circumstances, so you must make some extra justification for characters' actions.

Modular

Above you see a Mass Effect/Wolf Among Us binary moral decision model. It's a go-to for action/rpg the likes of "Mass Effect" and interactive movies a-la "Wolf Among Us" and "Heavy Rain". The script can be broken into few key events, as I call them, modules. There is some feedback from your decisions which means usually very little for plot advancement and your decisions influence the outcome.

+ it's an excellent way to tell a linear story whilst making people feel they have influence on the script or play themselves; + as a concept, it's genius for it looks like a non-linear with minimal effort; + you can tell everyone's story and make it optional; + it usually rewards replays for the player might not collect everything in a single run; + a good story and game design interaction automatically results in flow.

- it's very hard to give all the plot lines a proper closure, which was the main cause for anger over "Mass Effect" trilogy's ending; - the script remains the same and doesn't branch substantially, so the player's influence on the script may be considered cosmetical as choice consequences happen to minor characters and the sequence of modules is always the same.

Branching

Branching narrative topology offers the player a fairly limited, but a real choice in the script. The player gets to look at events from different points of view and play different quests, sometimes, in a single run. It is prominent in "Gothic" series and, obviously, in "The Witcher 2". The endings may vary as in "Witcher 2" and "Gothic 3" or they might split at one point and lead to a single outcome which is never a choice as in "Gothic 1-2" and all "Risen" games.

+ different perspectives encourage replayability; + limited yet actual choice; + there are N branches of different gameplay where you must create the flow for the gamer, but it is constant and strong if you resist from making spikes in difficulty.

- the journey is usually better than destination, the ending is anticlimactic due to the need to be satisfying for all the branches; - there can be too much branching so, whatever your ambitions are, please consider that each branch requires being logically sound and thoroughly polished.

Emergent

As you can see, the emergent narrative is less like a plan and is an actual complex system. As in any game we have a set of rules which determine our progress, available interactions and world's structure and behavior. But all the parts of a system shown above interact with each other and are mechanics that create dynamics.

Mechanics are the formal rules of the game. The agents, objects, elements and their relationships in the game. They define the game as a rule-based system, specifying what there is, how everything behaves, and how the player can interact with the game's world.

Dynamics are the emergent behavior that arises from gameplay, when the Mechanics are put into use.

Aesthetics are what makes a person emotionally attracted to or involved with the game.

But don't take my word for it, read about Mechanics-Dynamics-Aesthetics it in the official MDA paper.

+ the game involves the player emotionally with itself; + the player can express himself in the game; + the player can play out his own story and it will be unique; + an absolute game in Johan Huizinga's terms; + the flow is also emergent but very fragile.

.- it's not really easy to tell any kind of story is such a game and it is likely to be seen as  a distraction if aesthetics does not rely on it; - it is very hard to design and requires a lot of talent; - it also requires loads of testing to see how everything works

In conclusion, I must tell you that no matter what narrative topology you choose, there are some places where you can't spare any effort or quality:

the narrative must be logically sound either generally or, at least, in game's world;

the choices per one situation must equal, balanced, logical and clear, e.g. you cannot describe a dialogue choice on the screen as "Hello!" if it results in your protagonist quoting the Hamlet's monologue or punching others with a sledgehammer, at least if it doesn't make sense in the game's world;

the consequences of an offered choice must vary.

Follow these if you never want to frustrate your player ever. But if frustration is a part of experience we will have a completely different conversation.

[omorales81]

🎮 Obsessed: just dropped on Xbox GamePass. It plays like the Matrix, looks like a comic book, sounds like A Clockwork Orange and vibes like a skate-or-die Hunger Games! #Gaming #Rollerdrome #GameNarrative #Dystopian #GamePass #SkateOrDie @rollerdrome

[omorales81]

Guau, the first 30 minutes of Tears of the Kingdom are breath-taking, pun intended! What an opening narrative. 🪬🔆🔰🌀 #Gaming #Nintendo #Zelda  #TearsOfTheKingdom  #Link #GameNarrative #Amiibo

[omorales81]

My gamer peeps: looking for the perfect #SpookySeason experience? The Quarry, from my friends at @2K, delivers! I love games that are loaded with cut scenes and where actions have consequences. #TheQuarry #Gaming #Horror #GameNarrative #HappyHalloween ☠️🎃👻🔪🩸

[petersanimation]

AX3002- All Animation to date 26/03/2020 - Mario Feedback

Today I had I one-on-one with Mario and disscussed my work over a video call on Teams unfortanly Idon’t have a mic I can use with my computer so I had to text in chat to reply but overall I think this went well.

Idle Cycles - Mario said he thinks timing is a big thing with these animations and need to be adjusted to be quicker noticable the “Scarf Grab” which is suppose to show Rogue remanising about some who was close to him though the process to getting to the grab was too slow.

Another Idle critisiom Mario had was the check computer and has said that the character should bring up both arms at once instead of one at a time. This told me that the character wasn’t looking at the computer long enough for this to get across. While I could make the animation longer I think it would be best to go straight into the computer instead.

Walk, Jogging, Jumps, steakth walks Mario thought looked good the next  critiziom Mario had was mainly with the cover cycles though not so much with the actual animation but with the pose of the character as the character has the same pose for all the cover cycles and the arms remain in the same place too often. Which I can agree with and I do like the suggestion of using his hand to balance himself on the cover as I think I could bring the other arm round to be ready for an attack/ defence position.

As for the Drone Mario like the animations for this character though did give me some suggestions as to how to add some touches to the character to make it more appealing and alive.

There was also the suggestion of adding some effect to the characters which I  would like to do for a glow around Rogues eyes and the Drones eyes.

Overall I’m happy with how the session went eventhough it was abit differcult to communicate I am happy that Mario liked the animation presented and thought the marjority are good.

Next though he would like to see these animations in Unreal in an enviorment while I’ve got most of the current process done and programed I will be building a simulation for the player to perform my actions in.