[0:00] motion
[0:02] the movement of an object from one place
[0:04] to another it can be described by its
[0:06] speed direction and acceleration in the
[0:09] world of video games motion plays a
[0:11] crucial role in creating realistic and
[0:13] immersive experiences but it can also be
[0:15] used to exaggerate those things as well
[0:16] for example in sports games like FIFA
[0:18] the motion of the players and the ball
[0:20] are often based on real life physics to
[0:22] create a more authentic experience but
[0:24] in something like arcade racing games
[0:25] things like motion blur speed lines or
[0:28] other effects are often embellished to
[0:29] make the cars feel faster than they
[0:31] would be in real life but one thing that
[0:32] both games have in common is how
[0:34] important character movement or object
[0:35] movement is the only physical thing
[0:37] connecting a player to the game is the
[0:39] controller so the input of a player's
[0:41] device must feel smooth and match up
[0:42] with what is happening on screen even
[0:44] the way those characters react to their
[0:46] environment or other players must be
[0:47] executed carefully in order to give that
[0:49] sense of immersion it's hard to get lost
[0:51] in a game that doesn't make you feel
[0:52] like you're there
[0:54] [Music]
[0:59] this implementation of motion is
[1:01] especially crucial when it comes to
[1:02] fighting games as even the tiniest of
[1:04] movements and have a significant impact
[1:06] on the game so today we're going to look
[1:08] at the importance of motion and fighting
[1:10] games and how it's the key to making
[1:11] them great if you want to see more
[1:12] videos like this then make sure to
[1:13] subscribe it helps the channel out and
[1:15] you can always change your mind now when
[1:17] I talk about motion and fighting games
[1:18] I'm referring to everything the
[1:20] characters do on screen this includes
[1:22] attacks movement like running and
[1:23] jumping and even things like blocking
[1:25] there are some cases where the movement
[1:27] of stages or other factors come into
[1:28] play but for Simplicity I'm gonna stick
[1:30] with just the characters as that is
[1:32] something that every fighting game has
[1:33] from a visual perspective motion is
[1:36] obviously important for making the game
[1:37] look good a character with smooth and
[1:39] fluid movements can create a more
[1:40] Dynamic and exciting experience for the
[1:42] player while a character with choppy and
[1:44] sluggish movements can worsen the
[1:45] overall experience part of the reason
[1:47] why Street Fighter third strike is so
[1:48] popular and is still being talked about
[1:50] today is because of its incredible
[1:51] animation the character designs are all
[1:53] incredibly detailed with each fighter
[1:55] having their own unique style and
[1:57] moveset the in-game animation also flows
[1:59] really well making the fights look and
[2:01] feel like real martial arts matches the
[2:03] way they did it was using a combination
[2:04] of traditional hand-drawn animation and
[2:06] computer generated Graphics the game's
[2:08] character sprites were mostly hand drawn
[2:10] and then transferred digitally allowing
[2:12] for a lot more control and detail at the
[2:14] cost of time and probably sanity however
[2:16] this wasn't the case for some characters
[2:18] like Elena you can tell something looks
[2:20] different about her from the rest of the
[2:21] cast and that's because some of her
[2:23] moves are rotoscope someone was actually
[2:24] able to find the sword's material for
[2:26] her Victory pose which kind of led to
[2:28] people looking further into it and it is
[2:30] believed that the same method was used
[2:31] for her Idol animation as well you can
[2:33] even see the Sprite change for a split
[2:34] second in Street Fighter New Generation
[2:36] when her heel animation is active an
[2:38] advantage that rotoscoping gives is the
[2:40] smoothest in animation and less time
[2:42] spent because every Sprite is basically
[2:43] drawn for you you just have to trace it
[2:45] but just like everything else it also
[2:47] comes with the cost you can clearly see
[2:48] the loss in detail when looking at the
[2:50] hands and feet compared to other
[2:51] characters that were fully drawn it's
[2:53] kind of like what happens when people
[2:54] use that Tick Tock filter also once you
[2:56] realize this it's very obvious that her
[2:58] head was just pasted on afterwards as it
[3:00] never moves which is kind of uncanny in
[3:02] the grand scheme of things it's not
[3:04] really a big deal as the game moves so
[3:05] fast anyway so you probably wouldn't
[3:07] notice it's just something once you
[3:08] notice you really can't unsee but the
[3:10] technique of how artists choose to
[3:12] animate motion plays a big role in the
[3:13] overall art style and feel of the game
[3:15] for example Mortal Kombat uses motion
[3:17] capture to realistically showcase moves
[3:19] accurately it's basically like how Elena
[3:21] was rotoscoped but for 3D this technique
[3:24] makes the game feel and look modern as
[3:26] you're essentially using real life moves
[3:27] and attacks for the base of your
[3:28] characters then changing or tweaking
[3:30] certain parts whenever needed it also
[3:32] makes the animation process slightly
[3:33] easier in terms of getting the core
[3:35] movement down at least as most of your
[3:37] time will be spent tweaking the
[3:38] animation instead of creating it it's
[3:40] been clear since the beginning that
[3:41] Mortal Kombat has always gone for a more
[3:43] realistic approach in how their
[3:44] characters move the first iteration of
[3:46] the game used real people as Sprites and
[3:48] then imported them straight into the
[3:50] game so it's only fitting that they'd
[3:51] use motion capture to retain that same
[3:53] Essence Tekken also has adopted this
[3:55] technique as well and in my opinion it
[3:57] gets to Showcase it better because the
[3:58] game's movement allows players to use
[4:00] every aspect of the 3D space if you've
[4:02] ever seen tasks used on Tekken
[4:04] characters the way they Dodge each
[4:05] other's attacks feels like you're
[4:06] watching a martial arts movie where both
[4:08] opponents are at similar skill levels
[4:10] now something that this style of
[4:11] Animation lacks in my opinion is
[4:13] elasticity it's not a bad thing if
[4:14] you're going for a more modern approach
[4:16] like Tekken or Mortal Kombat but it's
[4:18] definitely something you have to
[4:19] consider when choosing a style of
[4:20] Animation elasticity is what gives
[4:22] cartoons its dramatic feel when a Looney
[4:24] Tunes character gets bonked in the head
[4:27] the extreme movements and reactions of
[4:29] that character effectively showcase that
[4:31] the compressing and stretching of Limbs
[4:33] really sells how hard that frying pan
[4:34] hit Tom's face even though that kind of
[4:36] body Distortion isn't realistic you can
[4:38] see this technique in a lot of 2D
[4:40] animated games like skull grows the
[4:42] wind-up and release of attacks have this
[4:43] effect to show how powerful the move is
[4:45] the more your character basically breaks
[4:47] its limbs the more damage that move does
[4:49] although there are a few exceptions like
[4:50] dulcim whose whole moveset is based on
[4:52] him being stretchy this technique is
[4:54] often paired with something called
[4:55] smearing while elasticity can show the
[4:57] windup and release of an attack smearing
[4:59] displays the speed of it as it is often
[5:01] used between frames of key poses there
[5:03] are usually two different ways of
[5:04] smearing and animation the first way is
[5:06] to quite literally smear the in-between
[5:08] frames distorting them and stretching
[5:10] them as they move from one to another
[5:11] the second way is by sort of duplicating
[5:13] the frames with all of them kind of
[5:14] overlapping each other until the
[5:16] animation is finished both methods are
[5:18] effective and is sometimes used together
[5:19] as there really isn't a correct way to
[5:21] do it it will always look smooth as long
[5:23] as you can create some sort of motion
[5:24] blur between the frames because that's
[5:26] all you're basically doing one of the
[5:27] challenges in implementing Motion in
[5:29] fighting games is achieving balance
[5:30] between realism and creativity super
[5:32] realistic fighting games require
[5:34] accurate simulations of movement this
[5:36] introduces the element of Randomness
[5:37] where some reactions to moves don't
[5:39] always have the same result just like in
[5:41] real life for example in UFC you might
[5:43] be able to get a knockdown a certain way
[5:44] but if that situation happens again
[5:46] there's a chance that you won't this is
[5:47] why in the UFC game you don't have a
[5:49] health bar as there's no fixed amount of
[5:51] damage that moves have on the other hand
[5:53] overly creative and flashy moves can
[5:55] make it really hard to balance the game
[5:56] especially when those attacks have a lot
[5:58] of forward move I mean look no further
[6:00] than Luke I've talked about him enough
[6:02] so you guys already know and when you
[6:03] start to drift really far from the realm
[6:05] of martial arts at what point does the
[6:07] game stop being a fighting game and turn
[6:08] into something else like a shooter for
[6:10] example this is the reason why many
[6:11] fighting games share similar mechanics
[6:13] especially when it comes to martial arts
[6:15] because it's how the genre Roots itself
[6:16] but don't get me wrong it's good to
[6:18] think outside of the box but at least
[6:19] make sure you visit it once in a while
[6:21] something I never realized before is how
[6:23] important it is for each move to
[6:25] communicate info to the players every
[6:27] single move should have these three
[6:28] things startup frames active frames and
[6:31] Recovery frames now depending on what
[6:33] type of move it is these three
[6:34] parameters are tweaked accordingly light
[6:36] attacks should usually be very quick
[6:37] with minimal amounts of startup active
[6:40] and Recovery frames while special moves
[6:42] are usually slower heavily telegraphed
[6:43] attacks that have a large portion of all
[6:45] three and you can probably recognize why
[6:47] it's a bad idea to give normal moves
[6:49] long startup and Recovery frames or give
[6:51] special moves no startup or recovery
[6:52] another interesting thing to look at is
[6:54] how characters react to their attack
[6:55] missing or being blocked usually when
[6:57] this happens the animation looks
[6:58] different and a different audio queue is
[7:00] played this lets the opponent know that
[7:02] the other player has made an error and
[7:04] they can punish accordingly overall
[7:06] motion plays a significant role in
[7:07] fighting games as it affects the
[7:09] gameplay strategy and the smoothness of
[7:11] the game so it's important for the devs
[7:13] to consider the pros and cons of the
[7:14] ways they choose to implement it whether
[7:16] that's by 2D sprite animation 3d motion
[7:18] capture or even computer simulations
[7:20] each method has their own ways of adding
[7:22] excitement to the game if you guys
[7:23] enjoyed this video please make sure to
[7:25] like And subscribe join the Discord to
[7:26] hang out with us follow my Twitter for
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[7:30] and if you want to get access to extra
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[7:33] my patreon as always I hope you guys
[7:34] have a great day peace
[7:39] [Music]
[7:54] [Music]