Art
All of Leo: twenty-three animations, in the game
Idle, walk, run, two-cut attack, jump, shield dodge, defeat. The full catalogue running inside Godot, at game scale and real speed, half of it driven by the controller rather than played back.
Four days ago I published the sword draw and said the rest of the animations were not approved, that a pipeline working for one action does not automatically work for all of them, and that I was not going to assume it again.
They are done. All twenty-three.
What you are looking at
This is not a montage of rendered clips. It is the game: Godot, at 60 frames per second, at the real scale you play at and at real speed, with no slow motion and no zoom.
The floor is a test field with its markings painted on — reach, combo, push, direction — and two blocks standing in as targets. That arena exists to measure, not to show off.
And there is a distinction the video labels itself, which is the one that matters to me. Some sections say “catalogue animation presented in Godot”: those are clips being played back. Others say “routine executed with the game controller”: there nobody is playing anything back, a gamepad is being pressed and the character responds.
Having the animation and having it come out when you press the button are two different problems, and the second is the expensive one.
The list
They are numbered. Idle and breathing, walk in eight directions, run, two-cut attack, vertical jump, shield dodge in eight directions, defeat. In between, the ones that hold all that together: the links, the returns to idle, the impacts against the guard.
The cover of this entry is one of them — the charged spin — laid out as its frame sheet. It runs past sixty frames. For one attack.
What it cost
The sword draw was approved as revision 227. When I started assembling this catalogue, five days later, the count was at 336.
More than a hundred revisions in five days, and the folder names read like a list of body parts: wrist anatomy, arm mechanics, sweep alignment, second sweep, guard impact, guard pushback, defeat, breathing idle, breathing accent.
None of those is “make an animation”. All of them are “this is nearly there, but the wrist turns wrong”.
What I take from it
That the slow part was not any single animation: it was making all of them share the same body. A character with twenty-three moves is not twenty-three jobs, it is twenty-three chances for the face to change, for the shield to shift, for the boots to lose their finish.
That none of that happened is what makes this a catalogue and not a collection.