My time with Activision gave me the privilege to work on 2 consecutive Spider-Man properties.
Spider Man 3 and Web of Shadows.
On Spider-Man 3, QuickTime events were all the rage as a result of God of Wars critical success integrating them in pivotal moments to exhilarate the climax of a combat sequence.
Although, in comparison our implementation at times left the player feeling detached from the moment and lacked the polish of a crescendo coming together for that one two punch followed by a knockout. Yet, as a young animator it was a fantastic learning experience. Spider-Man was a character with so much expressive possibility to explore with bipedal movement.
Animating Spider-Man, felt like channeling the kid acrobat in you. If you could imagine yourself doing it then you could execute it, with little to no practice any action will be hit precisely. Swinging the edge between dangerously stupid and purposefully accurate. All while having fun saving the day. Non chalant, amateurish, raw. Talent.
Expressing a new Spidey Sense. Is what I felt for Spidey when starting on Web of Shadows. That Project was a different team altogether and design was heavily influenced by Capcoms rapid, no I mean, instantaneous feeling for responsive combat. We DMC'ed the heck out of Spidey. This game for me was my master class in responsive player feedback and jubilant character style. Anticipation was the input of the player, impact was the feedback.
Click, pow. Click Pow, Schee-Bap!
We were obsessed with the rhythms of our combat chains. Design would offer me little beat box sessions of what there punches would sound like and I would interpret it with anything I dug up from gymnastics, capoeira, parkour, skating and ballet. Anything that wowed me to the degree of what humans could already do and then plus some.
Spider Man 3 and Web of Shadows.
On Spider-Man 3, QuickTime events were all the rage as a result of God of Wars critical success integrating them in pivotal moments to exhilarate the climax of a combat sequence.
Although, in comparison our implementation at times left the player feeling detached from the moment and lacked the polish of a crescendo coming together for that one two punch followed by a knockout. Yet, as a young animator it was a fantastic learning experience. Spider-Man was a character with so much expressive possibility to explore with bipedal movement.
Animating Spider-Man, felt like channeling the kid acrobat in you. If you could imagine yourself doing it then you could execute it, with little to no practice any action will be hit precisely. Swinging the edge between dangerously stupid and purposefully accurate. All while having fun saving the day. Non chalant, amateurish, raw. Talent.
Expressing a new Spidey Sense. Is what I felt for Spidey when starting on Web of Shadows. That Project was a different team altogether and design was heavily influenced by Capcoms rapid, no I mean, instantaneous feeling for responsive combat. We DMC'ed the heck out of Spidey. This game for me was my master class in responsive player feedback and jubilant character style. Anticipation was the input of the player, impact was the feedback.
Click, pow. Click Pow, Schee-Bap!
We were obsessed with the rhythms of our combat chains. Design would offer me little beat box sessions of what there punches would sound like and I would interpret it with anything I dug up from gymnastics, capoeira, parkour, skating and ballet. Anything that wowed me to the degree of what humans could already do and then plus some.
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