Bad guys dying in a hail of pretend bullets is an art.
"We're not really shooting a gun, so how do you do that? You do it with sound, animation, those are the things where you feel you're a badass," adds lead level designer Jerry Keehan."The feedback is why we put so much into the animation and it's where people feel the most fun, because you're getting the reaction from what you're doing."
But if you should hit any of the slices with a powerful enough blow, several things immediately happen. The skinning for that part is switched from smooth to rigid so it's visually separated from the rest of the body, and then the physics constraints which attach it to the monster are broken, allowing it to fly off as an independent chunk of body.
The final part of the puzzle are animation systems which blend a large number of canned animations into physics-based ragdoll. If you hit a monster with a bullet and it doesn't die, it'll stagger depending on where you hit it. Kill it, and it'll fall back in a direction based on from where you hit it."There's almost no death in Killing Floor that looks the same, and that's largely due to the insane variation in animation that we have," says Hensley.
The glory kills are a big part of Doom's personality, and they came with a huge production cost."It's not just animation, actually, but also making how you rip and tear the enemies, how you gore them up," says animation director Shinichiro Hara."You can rip their arms off, you can tear them in half, you can blow them into pieces, and all that stuff is a lot of work. I'd say, per enemy you have 12 glory kill animations at least.
The X-ray sequence itself is a slow-motion moment of heady gore in a game that can feel a little unsteady against its real-world setting and efforts to humanise enemies. But it's always striking, in part because it appears so dynamic as a jaw or eye socket explodes as your bullet passes through. But the actual shattering of bone is pre-defined."If you're fully procedural you run into problems because you get unexpected results," says Beesley.
Well, they don't in the final game. During early development, legless zombies and imps could sometimes still squeeze a few shots off, something id soon realised was extremely frustrating. Lessons like these are a sign that the future of the craft of death isn't purely a matter of technology and the ability to throw things around the screen.
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