All Star Wars fans have dreamed of becoming a Jedi. But what’s so fascinating about being a monk-like guardian of peace and justice? Sure, the lightsaber is cool and those robes look ridiculously comfortable, but the real attraction is to use the Force to lob the stormtrooper like a bipedal putty.
Respawn was tasked with bringing that incredibly concrete power fantasy to life in the latest release. Star Wars Jedi: Corrupted Order.. However, to do so, the development team needed to understand how to make the power of Force feel real. Really grounding the mysterious energy field meant ensuring that the enemy responded to it in a believable way. In short, when you threw cannon feed at the wall, they had to sell it.
As Bartlomiej Waszak, senior software engineer at Respawn, explained at GDC SummerTalk, the studio sought to reach that goal using physical animation techniques. Unlike regular animations, where you simply see the cycle of an object or character through a series of preset movements, physics animation incorporates ragdoll physics into the animation cycle, allowing for more versatility and interaction.
Waszak explained that there are three main ways to drive physics to follow animations. Is to use a motor, speed, or constraint.
“The first method is a motor. The motor is part of a joint constraint between the bodies of the stuffed animal and uses the specified animation target to generate a local force between the connected bodies. Its local. The Force makes the body follow the animation target, “he said. ..
“The second way is to use velocity. In this case, calculate the velocity required to move the body from one place to another during a particular frame time. In this way, the body You can reach the animation target.
“The third way is to use a constraint. In this example, we will create a new constraint between the ragdoll’s dynamic body and the animation target. All the parameters of this constraint are the dynamic body. Defines how to force the animation target to obey.
To Jedi: Corrupted order, The Respawn team used a motor to add physical animation. This technique helped create a reliable collision between an enemy and an object such as a crate or wall.
For example, in the past, teams needed to make sure that death animations worked in a confined space. Thanks to the use of ragdoll physics towards the end of the animation, it looked fine in large open areas, but in walled corridors and rooms, limbs shook when the enemy tried to circulate in its final stages. Animated sequences that often clip objects.
In this case, the stormtrooper’s root body (the “hip body” highlighted in red above) was simply trying to perform an acrobatic flip in a small area that was impossible. The team still wanted the root body to move in the same way, but as a result it had to stop clipping.
“The solution was to keep the hip body as a physically simulated body and create new restraints on that body,” Waszak continues. “That constraint is between the hip body and the specified animation target. This new constraint drags the physics body of the hip bone to follow the animation target and removes all degrees of freedom. ..
“The question was what would happen with this new solution if there were obstacles. So what if the waist body hits the wall and the animation target is still pushed forward? What do you do with that physical body you are doing?
“What we are doing is monitoring the distance between the actual position of the waist body and the desired animation target. A constant drive of that waist body targets within a certain threshold. If you can’t reach, switch to a free-falling sewn doll. Mode. “
If you switch to freefall ragdoll mode as soon as your hip body reaches that threshold, the stormtrooper will fall against the wall when thrown backwards by the force (see below). Immediately sell the power of “force push” -like abilities while preventing arms and legs from passing through the environment.