Animating Quill: Creating an Emotional Experience
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- Опубліковано 8 вер 2024
- In this 2018 GDC talk, Polyarc's Richard Lico details the methods he uses to create honest performances for Moss's mouse protagonist which elevate the emotional bond between Quill and the player.
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I just cried during the whole talk.
It's so amazing to see the love and dedication Lico and the Polyarc team put into this game. Especially into Quill's animations/personality.
Moss is an incredible game and it represents what I love the most in VR: the potential to be an immersive and emotional experience in a way that you never have had before.
I think this talk helped me remember why I love games so much and why I chose to make games for a living. When you make someone laugh, smile, or even cry like that girl, I see it as a trophy, it's like a reward for all of your effort and commitment. I believe that that is what drives most of game devs out there, seeing that your work was recognized and that it affected people in a profound way.
Lico is probably my favorite animator of all. He works in such a smart way and knows so much about animation. It's truly inspiring.
I hope one day I can be just as good as him.
Me too, bro! Me too. This is pure art, so inspiring!
Quill is just so absurdly endearing and a true breath of fresh air in a gaming world that seems to be obsessed with horror and war. We need many, many more such games and characters. I wait and wait for these games! They rarely ever come. So sad. Kudos to all of these guys for having so much heart and for doing such an amazing job.
The vocals in the trailer shown at the beginning were recorded by the amazing Malukah, one of the most beautiful singers I've ever heard. She has a UA-cam page where she posts a lot of her songs. She mostly does covers from other games (skyrim being the one she's most famous for), though she has a few originals too.
ua-cam.com/channels/S613EogLXE0lTsxyC1cWLA.html
Love these interaction!
I'm still confused by the bones all having aim contraints for the IK/FK switching. Is he posing in FK, baking the position/rotation/scale, and then breaking the heirarchy and applying aim constraints? I wish I could see a better view of the heirarchy of before and after the switch
Found a video he made explaining it. I'm intrigued by this way of working but It still feels weird to me vimeo.com/171164594
Adorable!
Great talk!
Incredibly efficient!
I just wish there was a version that didn't need VR
I wouldn't have been interested in Moss at all if it were mostly the same game but without VR. (As someone who's played it and enjoyed it)
I have seen people say this so many times about Moss; every time I find myself answering, shore I think you could make a game that plays well outside of VR with Moss, but it will simply not connect with players in the same way. VR along side all of the elements that Richard spoke about, adds the difference between playing a video game and actually becoming a living part of the magical storybook adventure that is Moss.
I think that is the part that many do not get when they say 'I want a non-VR version', that what is then being asked for is a fundamentally different experience?
It was kind of a neat game. I only ever saw a let's play for it, and I'm not ashamed of that considering I don't own a PS, or any kind of VR setup, i'm simply way outside of the market for this, so I might as well just watch it instead. I gotta say I was disappointed it was so short. But since it seems they're doing a sequel, I hope they've gathered enough resources, knowledge and ground-work to build on to make a bit more of a robust sequel. Still probably not going to play that one though, but I would appreciate seeing it.
I'm having trouble finding an explanation of everything that Quil says in the game. There's more then a few articles, but no translations.
I love the game moss and able to intereact with Quill can you make more games like this but add in talk to Alexa app to intereact with the npc characters
Has anyone managed to find the physics script this guy mentioned in the Q&A? He says he's pronouncing it wrong, and I sure as heck can't figure out how to spell it based on audio alone, but I would love to get that script for myself.
I don't know if that is the same script, but the name of the author sounds Spanish (although it sounds nothing like what is said in the Q&A) and it looks to me to be something very similar:
www.paolodominici.com/products/zvdynamics/
@@Clairvoyant81 It's Iuri Monteiro. He's from Portugal, tho.
Here's the tool Lico talked about www.ycdivfx.com/product/physics-tools-for-maya/
Neat
9:21 cute!!
>How do we create a cheap animation workflow? ... Let's use Maya!
Well... if you have to pay your animators because they need to live and all your animators are comfortable in Maya, it may very well be cheaper to just get Maya than to waste their time learning a different software. The initial price of a piece of software is not the only thing to consider when talking about cost.
Clairvoyant81 >implying Maya is a one-time cost
Yeah, sorry about that... yeah, rental licenses suck, but my point still stands: Price of software is not the only thing to consider when talking about cost. That doesn't change at all with yearly rentals.
Clairvoyant81 of course it's not, but it's porbably still worth it to use Blender. Assuming he gets paid $30 per hour, the company saves over $600 if it takes him two strait weeks to learn Blender, and uses it for the two-year dev cycle. Learning Blender in two weeks is an easy task for someone already familiar with 3d animation, so it's well worth using in this case.
Assuming your animators and artists will really be up to the same speed and level of quality in Blender after two weeks, yes, you're right. IMO, that's a bit of a gamble that could go either way and I think there's probably a reason Blender hasn't wiped the entire market clean yet.
I'm not an animator nor an artist, I'm only getting into Blender for a bit recently, have used Cinema4D ages ago and had a look at 3DS way over a decade ago, so I'm definitely not an expert on the topic, but I would assume that most companies, especially small start-ups, choosing paid solutions over a free one have thought about it and came to the conclusion that the paid solution has benefits that are worth the asking price.
I think it's a bit presumptuous to just go ahead and call that decision wrong without knowing anything about the company and the people involved, which is why I pointed out one possible reason they might have picked Maya despite the price tag.