In motionHow heroes move
Every human in the world, heroes, companions, townsfolk, guards and human enemies alike, moves on a layered animation tree rather than one animation at a time. A walk that turns into a jog or a sprint picks up at the same point of the stride, so no step is skipped, and each stride is matched to the speed over the ground.
Weapons stay in hand at a run: a crossbow levelled in both hands, a two-handed axe, sword or staff carried across the body, a shield held up on the left arm. Attack or cast while running and the swing plays on the upper body while the legs run on; standing, it plays on the whole body, and the two blend as you stop or set off mid-swing.
Every blow is felt. A hit makes a figure flinch over whatever it is doing, chest and head knocked away from where the blow came, and a heavy blow knocks it back. Bodies lean into turns from the feet up, lean forward setting off and rock back pulling up, the head leads a turn, and townsfolk and guards turn their heads to a hero passing close by.
Feet find the ground. The animations are made on flat ground, so on a hillside the ground is read under each ankle: the hips sink as far as the lower foot needs, each knee bends to reach its own ground and a planted foot tips to lie along the slope. It works on open ground within about 32 metres of the camera; on bridges, house floors and in dungeons the animation's own legs stand. Eyes blink every few seconds, now and then twice, and glance about every second or two, and long hair swings on a spring: it trails behind a runner, swings out on a hard turn, lifts in the wind and settles.
Skin carries light under it, so shadow edges are soft and warm, with pores and a faint fuzz up close. Hair shines in bands along its strands, brows and lashes are darker than fair hair, eyes are wet and catch the light, and cloth has a soft sheen at grazing angles and a faint weave.
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