Saturday, 9 March 2013

The character animation workflow for Awesomenauts

One topic that I have been asked repeatedly to write about, is how we made the animations for Awesomenauts. This is indeed a big and interesting topic, so today, I would like to discuss that in more detail!

I have previously shown how we make characters aim in all directions and shoot in all directions, but that did not explain the workflow and tools that our artists use to actually make those animations and put them in the game. Today's post will!

The core animation work for Awesomenauts is done in After Effects. This may come as a surprise to people who don't know the tool, since After Effects is mostly known as a video editing tool, but it is actually a great general animation tool.

It is also a big step up in comparison to Swords & Soldiers, which was animated in Flash. The biggest problem with Flash was that it only works well with vector-art. Our artists generally don't like working with vectors and would rather paint in Photoshop instead. This was especially a hot topic in our studio just after the release of Swords & Soldiers, because some commenters on the internet thought the stylised vector-art meant it was a small Flash-game that needed to be free. Flash is a great platform of course, but mostly known for small, simple games. Swords & Soldiers had way more content and polish than most Flash-games, so we felt insulted and wanted to make sure our next game had visuals that didn't remind anyone of Flash. This was an extra reason that we didn't want to use vector-art for Awesomenauts.

Another reason not to use Flash is that Flash is a rather basic animation tool. More advanced things just don't work as well as they do in After Effects. Looking for an alternative to Flash, we took a little detour around other tools before we found After Effects. We tried some things like Toonboom, but either the interface or the price were not to our liking. Then our former art intern Marlies Barends demoed After Effects to us and to our surprise it was exactly what we were looking for.

After Effects is only one part of our total animation workflow, though. In the end, we combined Photoshop, After Effects and our own tools and exporters to create this pipeline:



Note that although I was the architect of the technical parts of this pipeline, I did not actually write a lot of the code: that was mostly done by our programming interns Niels and Thijs. The art, of course, is all made by our great art team: Ralph, Olivier, Martijn and Gijs, and our more recent additions Koen and Tim. Especially Martijn came up with a lot of smart tricks to speed up the workflow in Photoshop and After Effects.

A particularly important choice here is how to make animations. There are roughly two approaches here. The traditional method is to animate frame-to-frame: the entire character is redrawn every frame. This creates extremely dynamic animation, but also costs an enormous amount of time. So we chose a different solution: the art is drawn in separate elements and these are animated by moving, rotating, scaling and deforming them. These transformations can be interpolated and thus it is possible to create a lot of frames in relatively little time.

After Effects is a great tool for this. Not just is animating basic transformation great there, but it also has tools to do skeletal animation (I believe with plugins, not sure) and, more interestingly, the so-called "Puppet Pins". Puppet Pins make it extremely easy to deform a shape, so that things like bulging muscles are easy and fast to animate. Puppet Pins are a simple concept, but also an extremely nice one, so if you never used them: be sure to give Puppet Pins a try!

Besides After Effects, the scheme mentions a lot of tools, exporters and converters. We made those ourselves and they come with a lot of features. I think they are a pretty impressive bunch, so I'd like to show this trailer of them again, which shows all of our editors in action:



The scheme above is a nice example of how complex game development really is. For an indie game, Awesomenauts is a very big production, but it is still small fries in comparison to the big AAA games like Uncharted and Killzone. Tons of development topics have many details to them, and making the wrong choices can cost so much time, that I can hardly even imagine the complexities of making something like the incredible new Killzone: Shadow Fall for PS4 (Dutch glory, woohoo!). Awesomenauts is small in comparison, but there are still many complex topics like this animation workflow. For example, I previously wrote a similar post about how we make level art for Awesomenauts, and that big scheme didn't even include any info on the foregrounds and backgrounds!

Looking at the animation workflow scheme, you may have noticed that the small image at the top shows concept art for alternative designs for Genji, the new Awesomenauts character that we released recently. Especially the Space Marine Butterfly is so insane that I'd like to show these a bit bigger:


Click for high-res

There are so many interesting details to all the parts of this workflow that I could talk about it forever, but I have to stop somewhere and I hope this blogpost gives a nice overview.

Now, let me get back to the waiting queue for Simcity! I have been looking forward to a new Simcity for years, so looking at a screen that tells me it is going to try to start the game again in 20 minutes is incredibly exiting!