Player Character
Having been assigned the task of creating and animating the player character for the game, I referred back to the reference in the art style guide, and noting tutor feedback, when modelling, would incorporate the glasses from Heather’s initial concept art that would create additional character and charm.
Having previously shared assets during group projects, and had earlier suggested creating a base mesh to simplify and streamline the modelling process, I created the base mesh below reflecting the character proportions in the style guide summary, and confident of everyone’s modelling ability to tweak this where required to achieve a more masculine or feminine body shape, shared this with the other members of my Animation team.
I only slimmed down the torso and arms slightly on my mesh to achieve a more feminine appearance, and with this being the protagonist in the game, I tweaked and relaxed the hands to facilitate more realistic overlapping action and follow-through when animating. This same base mesh was then duplicated to model the clothing, and as detailed in the style guide, simple geometric shapes were used to create the hair.
Additionally, with the hat now a sentient character in its own right, to add personality but at the same time not interfere with facial animations, I placed the hat at a jaunty angle, but only from the rear. Also creating differentiation between the hat, an older and more seasoned character, and the younger and inexperienced wizard wearing it, to reflect this I intentionally reduced the geometry of the edge of the brim.
With the topology checked, and all ‘quads,’ the above models were then coloured and textured using the agreed colour palette, and as in the reference image, yellow, a colour complimentary to purple which would create high contrast and visual impact, and in colour psychology is known to create a sense of optimism and positive energy, was used in the hair.
Also, while in Adobe Substance Painter, using the reference and tutorial below, I had taken the opportunity to add some detailing to the front of the robe of a waxing and waning moon, each phase of which offers differing energies that can be harnessed for magical effect.
Source: YouTube, 2022a
Having recently completed a ‘robot rigging’ workshop tutorial, providing not only a welcome refresher on creating IK/FK rigs, switches, drivers and movement chains, but how to increase functionality and realism by, for example, creating foot roll with a single controller and how to polish the rig for a cleaner look, the initial rigging and weight painting processes went without a hitch.
However, unaware, until a later tutorial, that Blender modifiers could not be imported into Unreal Engine 5 (UE5), as I’d only rigged the hat and sleeves, and used a ‘mesh deform’ modifier to create movement in the skirt and bottom of the robe, I would have to find an alternative.
Having first searched online, I sought advice from my tutor, Alec Parkin, who directed me to the video tutorial below – a UE5 cloth simulation. However, when trialled, the robe movement was much too ‘floaty’ and realistic for the art style and game genre.
Source: YouTube, 2021
As it had also been suggested that, to animate the clothing, I use ‘extra chains of bones on the sides,’ to create the required movement, I rigged both the skirt and bottom of the robe using the process detailed in the online tutorial below, and later used the walk cycle animation I’d created using the ‘mesh deform modifier’ as a reference.
Source: YouTube, 2022b
Although my tutor had said my original model did not need redefining, at this stage, some modifications were implemented that I felt allowed the player character to remain true to the art style guide brief, but be more in keeping with some of the more modern NPC models with 2D animatable faces created by my teammates, below.
Firstly, eyelids, similar to those used in the characters ‘Labelle’ and ‘Sable’ in the ‘Animal Crossing’ game franchise were added, and the lip colour darkened to create a more modern ‘Goth’ vibe. Finally, a bolder and more playful hombre hair colouring inspired by the mood board below was applied, and with this, my model was ready for animating.
Animations
Remembering useful tips provided during a workshop tutorial such as animating the idle cycle over 140 frames to smooth the movement and give a better impression that while static, the character is living and breathing, and that with sequences cycling, that animations must start and end in exactly the same pose, I created the generic idle and walk cycles for the player character below:
Idle animation
Walk Cycle
By this stage, too, David had created a script covering three complete days of gameplay, with this narrative displayed on the game’s UI as the characters interacted with one another, and player choices were made.
Having interrogated the script to establish what reactions, expressions, and emotions would be required in the associated dialogue/acting sequences, I drew up the list below and created cycle animations for each:
- A neutral expression
- Shock
- Shrug/Indecisiveness
- Anger
- Sadness
- Smile/Happiness
While gaming industry projects require convincing lip-synced animation sequences, in this case, only generic talking cycles, where mouths open and close, were needed. However, they too had to relay the mood and tone of the interaction, such as here, where, complimenting the animation of the player character, the hat looks away to avoid eye contact with the customer when the wizard becomes angry.
Upset/Angry
Additionally, with the hat having scripted dialogue of its own, a hat ‘talking’ cycle was also animated, but disappointingly, due to time constraints, was not included in the final game.
Hat ‘Talking’ Cycle
All of the aforementioned animations can be found by following the link provided to the ‘Player Character and Animations Portfolio’ page for this module; however, this excerpt from my showreel provides a brief taster.
As can be seen, many of the 12 Principles of Animation have been incorporated, including the use of slow in and slow out, arcs, follow through, and overlapping action in the arms and hands, secondary action in the hair and clothing, squash and stretch in the torso, and, most importantly, appeal and exaggeration. Shape keys were also used to create talking cycles.
With opinion divided within the team as to whether a jump cycle animation would be required, one was quickly created but was not edited to clean up the landing or polished further when deemed unnecessary for game mechanics.
Jump
Also, with the Games Design tutor suggesting an element of spellcasting be included within the game, inspired by the Yen Sid Fantasia sequence below, I had created a similar Blender animation for our game, incorporating additional cauldron effects; however, ultimately, it too was not included in the final game.
Source: Gifer.com, 2025
Spellcasting Animation
Cauldron Asset: Heather Meehan
Finally, following a prototype playtesting and industry feedback session, where many positive comments were received, with advice that there was ‘too much dialogue before gameplay,’ the script was significantly pared back, but fortunately, the player character animations were not affected.
References:
Gifer.com (2025). Fantasia Yen Sid GIF. [online]. [Accessed: 8 May 2025].
Available at: https://gifer.com/fr/Z8Le
YouTube (2021). Unreal Engine 5 Cloth Simulation – For Characters: TriGon. [online]. [Accessed: 7 April 2025].
Available at: https://www.youtube.com/watch?v=zXjpX-SirM0
YouTube (2022a). Substance Painter: Stencils & Projections (EXPLAINED) – Royal Skies. [online]. [Accessed: 4 April 2025].
Available at: https://www.youtube.com/watch?v=QSFMe5Q06qo
YouTube (2022b). Skirt and Dress Rigging in Blender – Pierrick Picaut. [online]. [Accessed: 7 April 2025].