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There’s always a compromise in turns. If you push responsiveness, you lose a bit of credibility. If you push realism, you lose a bit of control.

Indie taught me to think like a game developer first, not just an animator.

The turn is a sensitive building block. It reuses familiar constraints (support foot, angles, blends), but exposes them differently because it must operate at full speed, under constantly shifting analog input, and inside the continuity of the locomotion cycle.

Join the Turns & Banking challenge to make your locomotion more reactive, credible, and directional.

Before talking about turns, banking, or speed variations, I wanted to go back to what supports the entire system: the foundations of locomotion. Idle, walk, stops, starts. These blocks define the feeling of control, the coherence of transitions, the readability of intentions, and the way the character actually responds to player input. Over the past few months, I’ve broken these bricks down one by one. Because they are structural: they determine the stability of the system, i

Approaching a start in production means mastering where to cut, how to handle the blend, who provides the impulse, and how to maintain coherence across all starts.

“Gameplay animation is never just movement: it’s a living system, a language that connects the engine, the player, and the artistic intention.

The start is the precise moment where a game’s responsiveness is decided. Between intention and impulse, between code and sensation, the start concentrates all the tensions of gameplay. It’s the place where the gameplay animator turns an input into movement , and movement into control.

Join the challenge and add start animations to your gameplay locomotion to build a complete and responsive moveset.

The stop depends on the engine, the game style, the locomotion system, and all the constraints around it. It’s this context that determines how it must be built.

One of the most valuable skills for a gameplay animator is staying flexible and never being afraid of feedback. You can learn so much from others, and testing your animations in‑engine as early as possible completely changes the way you work.

The stop is the first transition where input, engine, and animation finally have to react together. It’s the moment when locomotion stops being a sequence of states and becomes a behavior.

“Stops are the first transition where the moveset has to react instantly. They show how the character decelerates, catches the ground, and connects to the idle, without sliding or creating latency

A gameplay walk is validated in the engine, under real inputs, inside the full system. Method, calibration, and technical decisions: everything you need to know before you start animating.

From Disney to Ubisoft, all the way to founding her own studio, Farhanaz Kassee‑Elahee looks back on an unconventional journey and shares her vision of walking animation in gameplay.

Gameplay walk is the first moment when your animation has to exist within a system

A gameplay animation challenge accessible to everyone: create a believable, fluid, and readable walk, and lay the foundations of a solid moveset.

Building an idle that withstands production changes and is designed for gameplay

For Yogesh, gameplay animation is above all about understanding systems and testing in real conditions, in order to create animations that truly fit production needs.

The idle is one of the most underestimated elements of gameplay animation. Yet it’s the one that structures the player’s experience.