Interview Sylvan Kim: Gameplay Animator of Clair Obscur Expedition 33

Why Interviews ?

Gameplay animation is a profession with many faces. Each animator has their own journey, preferred tools, and philosophy. I'm launching an interview series that will alternate with my usual technical articles, to highlight this human diversity: from beginners starting out to recognized experts, because there are as many paths to excellence as there are animators.

To inaugurate this series, I'm pleased to present Sylvan Kim, a South Korean freelance gameplay animator with 13 years of experience. Known for his work notably on Clair Obscur: Expedition 33, Sylvan shares here his unique approach to animation, centered on character personality.

Download the "Gameplay Animation Personality Guide" (Free PDF) 

The Interview :

Background and Training

How did you specifically become a gameplay animator? Had you done classical animation before?

I never studied classical animation, which is why I sometimes feel my fundamentals are a little weak.

The story of how I became an animator goes pretty far back.

It’s not a grand reason — actually, it’s quite simple.

I always had a desire to create, and since I was a kid, I wanted to work in something related to that.

At university, I majored in design, and that’s where I first encountered 3D.

I tried modeling and simple animations like bouncing a ball, and I was hooked immediately.

I simply found 3D to be incredibly fun.

So I decided that this was the path for me, and as I explored the field, I felt games were where I belonged.

I also liked choosing a career path that felt a bit rare — something not many people picked seemed more exciting to me.

And I thought animation was the art form where I could express my ideas most freely.Animation really is a truly free form of art.

It’s the best!

What was your most formative project as a gameplay animator? What did you learn from it?

I learned and experienced the most from my first company project.

It was a game with what you might call a subculture or “otaku-style” concept.

Through that project, I feel I established my own definition of animation creation.

That concept was character personality.

Even if two people look the same, their personality will change how they walk, run, or even breathe.The same goes for monsters — their behavior and animations will differ depending on their temperament.

For example, if a monster is lazy, its footsteps might be slow and heavy, almost collapsing under its own weight.

But if it’s savage, its steps will be forceful, with stronger timing and bounce.

Thinking about and applying those elements is what I believe makes animation far more interesting.

Tools and Techniques

What's your favorite animation software and why? Do you have any plugins or scripts that save you time?

I mainly use 3ds Max.

I don’t think it’s particularly suited for hyper-realistic muscle movement or the kind of high-end quality work needed for consoles.

But for developing lighter data-oriented games, 3ds Max is really an efficient tool.

In particular, the built-in Biped system for humanoid rigs is extremely effective for handling key work.Its IK/FK switching is excellent, layer management is very easy, and it’s strong for handling data, so managing lots of tasks is convenient.

Of course, it’s a bit disappointing that development of the software feels slow.

Also, there are tons of plugins and scripts out there that make animation easier (though you do have to look them up on the internet).

Do you work more with mocap or keyframe animation? What makes you prefer one over the other?

It’s hard to give a simple answer, since both have very clear pros and cons.

If I had to pick, I would say I prefer mocap.

I’m currently working on cinematic projects, and if I had to keyframe every single bit of that data by hand, it would take an incredible amount of time.

Mocap lets me quickly capture detailed expressions and movement data, which is very convenient.

That said, there are motions and expressions that just can’t be captured through acting. For those, keyframing is the only option.

When it comes to creating rich, flashy skill animations, keyframe animation is a must.

In the end, it’s best to be able to use both approaches.

These days, there are also advanced tools to help refine details or handle lighter motions, so in the long run, I think being able to create strong keyframed poses is even more valuable.

Gameplay Animation Philosophy

What do you do when an animation looks good but doesn't "feel" right in the game?

In Clair Obscur: Expedition 33, how did you approach turn-based combat animation with real-time elements? What specific challenges does this represent?

These two questions are closely related, so I’ll answer them together.

This ties into my view of the role of a game animator.

In my opinion, an artist working on games is first and foremost a designer.

A designer is someone who creates in line with the creator’s intent.

The same goes for animators in game development.

So whether it’s about “when the animation doesn’t feel right” or “how I approached Expedition 33,” the answer is the same: the top priority is aligning with the director’s and the team’s intent.

Unless you’re a solo developer, games are built through collaboration among many people.You can’t just do your own personal art.

Your creativity and artistry have to serve the collaboration and produce the best performance through it.

(Of course, if you’re extremely talented, sometimes you might end up at the center of that process, haha.)

When an animation doesn’t “feel” right in-game, you have to revise it so it blends with the overall atmosphere.

For Expedition 33, I first made sure I understood the creative intent, and then created animations that fit that vision.

Once that foundation was set, my focus was on delivering clear, readable poses and rhythmic timing so that players could instantly recognize what was happening.

That became a core part of my process.

Do you have any advice for gameplay animators?

Recently I’ve often received DMs saying things like: “I want to be able to animate like you!”

Yes, you can do it.

At first, I couldn’t make animations like this either.

I even struggled to express my own ideas. And of course, there are still plenty of people far better than me.

What I want to say is: just keep going.

I believe being an animator is a profession where you grow in steps.

At some point, you’ll have a breakthrough moment and your skill will jump up significantly.

Also, be persistent.

Stick with it until you can produce the feeling you want to express.

That’s incredibly important.

When that moment arrives, you’ll understand.

Finally, don’t do it alone — get feedback.

I studied on my own, and it was very tough… Classes, mentorship, and feedback are huge sources of help.

Nowadays, there are so many good videos and resources out there, which makes it much easier than before!

Key Takeaways

Sylvan Kim's journey perfectly illustrates that there isn't just one path to excellence in gameplay animation.

His self-taught approach, his philosophy of the animator-designer, and especially his vision of personality as the foundation of animation offer valuable perspectives for our community.

His ability to combine technical pragmatism (with 3ds Max) and artistic vision (centered on character personality) demonstrates that excellence often comes from deliberate choices and a deep understanding of one's role within the team.

Download the "Gameplay Animation Personality Guide" (Free PDF) - A practical cheat sheet to bring your characters to life through movement, inspired by Sylvan Kim’s insights.

Share Your Journey Too!

This interview is just the beginning of a series dedicated to the diversity of paths in gameplay animation.

Whether you're junior, senior, specialized in a particular area, or a generalist, your experience can inspire and help other animators.

Do you work in game animation and want to share your vision, tools, and journey?

Contact me to discuss it , all animator profiles are welcome.

The goal is simple: enrich our community by showing that there are as many ways to succeed as there are passionate animators.

📧 vanessa.ruffra@animotionx.com