UE 5.7 Update Boosts Open-World Performance

Proud to share a new look at ROTTED – A Brain Rot Simulator 🎮 , our upcoming game developed by the team at Sector4 Interactive In this showcase, we’re highlighting two interactive in-game task systems, dishwashing and laundry mechanics, designed to make the gameplay world feel more immersive and alive. Alongside these interactions, we’re also presenting some of the atmosphere and technical work behind the experience, including detailed interior environments, particle systems, lighting, shaders, animations, and overall visual polish. Everything shown here takes place inside a single room, where gameplay mechanics and environmental storytelling work together to create the unique feel of ROTTED – A Brain Rot Simulator. We’ll be launching on Steam soon, and your support can make a huge difference for our team. Please consider wishlisting the game here: Wishlist on Steam - https://lnkd.in/gFxAZXDH #GameDev #IndieGame #3DArt #GameDesign #EnvironmentArt #Animation #VFX #Roguelike #SteamGames

Ever wondered how you build a first-person shooter that looks like a 1930s cartoon? That's exactly what Fumi Games pulled off with MOUSE: P.I. For Hire a noir FPS rendered in classic "rubber hose" animation style, built in Unity. The premise: You play as Jack Pepper, a war veteran turned private eye in the corrupt city of Mouseberg It started as a single sketch by art director Michal Rostek The whole world blends hand-drawn 2D art with 3D environments The challenge: Mixing 2D sprites with 3D worlds is a technical nightmare clipping, draw calls, and memory all fight you Recreating a 1930s animation style in a playable FPS had never really been done The results: 🎨 54,000+ hand-drawn animated sprites brought the world to life ⚡ 80–100% performance boosts via Hierarchical Level of Detail (HLODs) 💾 50–80% memory savings through a custom sprite compression solution with publisher PlaySide Studios The takeaway: A bold creative vision and clean technical execution aren't opposites The most distinctive-looking games are usually the ones that solved the hardest problems under the hood #GameDev #Unity #IndieGames #GameDesign #Animation #TechArt

In the rapidly evolving world of 3D animation and game development, staying innovative is crucial. Tribute Games, known for their nostalgic hit "Scott Pilgrim vs. The World: The Game," recently delved deep into their pixel art pipeline and animation techniques. By leveraging a collaborative workflow, they've managed to seamlessly blend classic design with modern practices. Their process emphasizes meticulous attention to detail in the pixel art pipeline, a crucial aspect for maintaining the game's retro aesthetic while ensuring fluid animation. A key insight for professionals is the importance of interdisciplinary collaboration among artists, animators, and programmers to achieve a cohesive end product. Tribute Games' approach demonstrates how effective communication and shared vision can elevate a project's final output. For industry professionals, this is a reminder that combining traditional techniques with modern technology can forge unique experiences in games. It's about balancing creativity with technical precision, fostering an environment where innovation thrives through teamwork. Source: https://lnkd.in/g6RZacwP #3danimationindustry #Gameartoutsourcing #avgc #avgcxrmp #3danimation #vfx #pixelart #gamedevelopment #teamwork #animationpipeline #innovationinanimation

The "floating hand" problem of two-hand weapon animations breaks immersion and looks like a bug. UnrealEngine's animation blueprint makes it easy to apply IK to an arm, so it works beautifully in-game. Hint #1: Apply Two-bone IK to the right arm as well, to better stabilize the system. Hint #2: Feed the IK(s) Alpha (interpolation) with a float variable, then after you switch to the weapon, interpolate that variable along time (0.5s usually works) for a smoother transition. Epic Games Vertex School

𝐓𝐮𝐞𝐬𝐝𝐚𝐲 𝐦𝐞𝐚𝐧𝐬 𝐆𝐑𝐄𝐀𝐓 𝐍𝐄𝐖𝐒! 🤩 Unreal Engine 5.8 is bringing MASSIVE updates & introduces major improvements across #Animation, #ControlRig, #MetaHuman, #MeshTerrain, Sequencer, physics workflows, and much more. Take a look at what’s new in this version! I’m super excited! Enjoy 😊 https://lnkd.in/gfdAw3CQ #unrealengine #ue58 #sequencer #gamedevelopment #realtime3d #virtualproduction #gamedev #3danimation #epicgames #indiedev Epic Games

🚀 Unreal Engine 5 Development Update I’ve been actively working on enhancing my UE5 project, with a focus on gameplay systems, animation integration, and level design. Here are the recent updates: ⚔️ Implemented sword equip and unequip animations for the character 🎯 Currently developing core sword combat mechanics 🚪 Designed a teleportation system using box collision for seamless level transitions 🔊 Integrated sound effects for assassination sequences and weapon interactions 🌍 Working on the design and development of a new game environment 🏃♂️ Improved character locomotion for smoother and more responsive movement These improvements are helping me deepen my understanding of real-time gameplay systems, animation workflows, and interactive environment design. Looking forward to continuing this journey and building more advanced features. #UnrealEngine5 #GameDevelopment #UE5 #GameplayProgramming #LevelDesign #Animation #SoundDesign #IndieDev

A high-poly sculpt of Ellie had around 10 million triangles. The version running in The Last of Us Part II uses 30,000. That difference is retopology. The stage where every game character is rebuilt from scratch, not to look better, but to function. Clean topology is what allows a character to deform correctly in animation, perform within hardware budgets, and integrate cleanly into the engine pipeline. It is one of the most time-consuming stages in character production. It requires deep technical knowledge and directly affects every stage that comes after it. And players never see it. At Kevuru Games we understand that the most critical work in character art is often the work that is completely invisible in the final result. Getting it right from the start is what separates characters that hold up in production from ones that create problems at every downstream stage. How many people on your team actually understand what retopology involves? #3dcharacterart #gamedev #characterart #gameart #characterdesign #3dcharacter #gameartoutsourcing #aaagames #fullcyclegamedevelopment #kevurugames #hire3dartists #gameartstudio

Creating a 3D game is far more difficult, with complex processes such as skeletal 3D animation, rigging, lighting, shadow pipelines, model optimization, animation blending, IK systems (wow!!!), GPU bottlenecks, and LOD management — things that only expert 3D game developers are truly capable of handling. So, as just an ordinary programmer, I can only make 2D games instead. As for this game, it does not revolve around cyberpunk, medieval Europe, zombie apocalypse themes, or the anime fantasy genre that many Malaysians are into. Instead, we are trying to bring a Malay identity into the game. We have Malay villages, tropical rainforests, ancient Malay kingdoms, the mystical bunian realm, keris weapons, silat martial arts, Malay legends, and Malay warriors. And of course, we also have terrifying creatures from Malay folklore and mysticism such as the hantu raya, polong, pelesit, langsuir, hantu tetek, pontianak… and what else?

Check out MeshCache Studio, Jasper Brekelmans' promising dedicated tool for viewing 3D mesh caches from animations and simulations. It handles caches in a range of common file formats, from Alembic and USD to MDD and vertex animation textures, and provides more options for playing back, comparing, annotating and converting caches than you get in standard DCC apps. It's currently free in beta. Find more details on CG Channel: https://lnkd.in/erbH3yJZ

One frame that breaks the visual language breaks the whole sequence. In game animation, consistency isn't a detail — it's the foundation. Whether it's a character rig, a transition, or an idle loop, every frame has to speak the same visual language as the one before it. That's what separates polished game art from a product that feels unfinished at launch. This is the standard we apply across every 3D animation services project — from casual titles to AAA game art outsourcing. What's the animation mistake you notice most in released games?