In Part 1 we took care of the preliminaries, setting up our assets, and getting a base layer root and hip motion going on which to start grooving. In this part we’ll take the next step and start stepping.

This is the first article in a series on implementing procedural locomotion. I’m going to walk through step-by-step generating walkcycles for a pair of robo-pants. Part 1 will mostly be setup and preliminaries, but we’ll at least go far enough for the gestures to start exihibiting personality.

This is my second article on procedural animation. This time I’ll break down a simple “trailing” effect, for joints which “hang loose” and trail behind the primary movement. This is a subtle effect which can create a physical feel without too much actual physics.

Procedural animation is a priority on Tiny Starpilot. As a designer, I like how it it improves the responsiveness and “juiceness” of interactive characters. As a programmer, it’s my area of professional expertise. Finally, as a solo dev, it lets me create more “modular” assets which can be shared between characters with different skeletons.

The biggest tool in the procedural-animation toolkit is called Inverse Kinematics. With these algorithms, designers can specify “targets” (often called effectors) for the animation system, and joints are internally rotated to satisfy those goals.

I’ve begun consolidating my various demos and prototypes into a single Unreal Engine project.

A big feature to resolve with this port is how collision is handled. Let’s discuss collision handling in general, and how to start implementing it in Unreal in particular. This will be a code-heavy post (C++).

I designed and prototyped the missile attack! The math was clever and I want to show-off!

Let’s talk about cubic bezier curves, perlin noise, and rotation minimizing frames.

I’m adding an Itano-style Missile Circus Attack right now, so let’s talk about the principles of a high-performance bullet-hell system.

Experience has made me opinionated about implementing 3rd person cameras. People naturally, but naively, think about the camera as a second actor in the world, following the player around (like Lakitu in Super Mario 64).

Lets discuss an alternative perspective, where you consider instead the player on the 2D picture plane (with code!).