u/Will_W

It’s lonely at the top. But it’s all for the people

Are you going all in on just her or spreading some of that around to supports for her?

Animate it with a simplified version of your rig and then use that as reference to draw your sprite. The rig will be better for quickly getting the motion and proportions you are happy with and then in your art program you can focus solely on the rendering to nail the style.

Mostly that’s perhaps too much rotation for what is a pretty small jog.

I dunno, if his popularity keeps slipping at some point survival instincts will kick in. If he’s a lame duck and his base finally turns its back, the winds will shift.

This is adorable. keep this kinda vibe in the game and you’re gonna go far, friend.

I'm no expert either, but priority seems to be on whatever limited rewards you can handle (within reason). Events are kinda gimmes and you should scoop up whatever is happening there for free rewards. Exploration rewards are good since the bonus does go away eventually. And then end-game, it's worth dabbling in the lower levels but don't beat your head against it too hard, maxing that out has very diminishing rewards compared to how much effort you have to put in to collect every primo.

As a relatively new player just starting up the Sumeru desert: uh oh

Traded assets don't have to be artificial--just overvalued. Internet bubble, housing bubble, heck look at the historic railroad or tulip bubbles. None of those things were "artificial" just priced significantly above their actual value.

It's true that AI is not NFTs (for example), but their current values are based way too heavily in speculative value rather than their current capabilities. It's a risky crossroads.

I started playing shortly before Varesa specifically to get her, and she showed up in a double which felt crazy. … and then like a month later I got too busy and sort of fell out of playing.

Only just now came back because her C2 looks fun but now that I am dabbling again I am… really feeling the lack of account variety lol.

Depends on the shot and what you’re going for.

You can bring movies and PNG sequences right into a 3D program and have them exist right in the composition, but that might be very hard to set up the initial animation for.

You can export CGI backgrounds and props etc and animate directly on top of them in your 2D program but that may have diminishing returns if those assets are also moving a lot.

You can also draw directly into some 3D programs but this is maybe the maximally difficult learning curve as there’s a lot going on.

But having a clear vision and plan going in for why you’re using each strategy or a hybrid approach is pretty essential to save your time and sanity

Do you just mean progressing the world quest? You don't have to do any of these little side-missions, just go sit on the couch to the right of the stairs.

Simply replying to posts yet again!

What program are you wanting to animate in?

It’s more about how quickly a 2D artist can draw a pose and set a tone. Modeling sets, new assets, and even posing characters can take a long time, so especially when you need to convey information quickly to a large team of people, a drawing is more useful than a basic 3D blockout.

If it’s a solo project it is much easier for you to visualize what the blockouts mean, so skipping that step is fine and normal.

Innnteresting, not that I'm anywhere close to those level of calcs. (I have E0S0 Sparxie and None Yao Guang Nothin', but I do at least like the opportunity / hope that she might not have been an insta-brick)

So does Sparxie replace Yao at high investment? Most people seem to talk about Yao Guang like she is indispensable.

Yep the only way to truly learn is to just jump in! Hands on experience is the only kind that will stick.

I just slot in the basic boring version of the shot and keep rolling. No use pounding your head on the artists block. If you have a cool idea later you can always swap it out, and some things don’t occur to you until the sequence is more complete and you’ve had a little time away from it.

Besides, not every shot has to be dynamic and crazy through a whole runtime. Sometimes you need some basic dull ones to ground things and let the audience focus later on what’s important when it’s important.

The way Noodle does it is with just literal popsicle sticks.

Animating it is just tweening (put the pivot point at the bottom / off camera and animate mostly by rotating back and forth a lot). Doing this manually can be tedious, but I know with some programs you can even just waggle it around in real time which will give it a very authentic vibe.

It’s one of the styles where being a little imprecise and messy can add to the effect (if it just pivots back and forth perfectly like a clock pendulum it won’t quite look right)

Unless you are friends with an investor or already somewhat famous or well connected, you’re probably not “selling” a show the conventional way right now. And that’s okay, that means you are not constrained.

But also, you probably shouldn’t get bogged down in writing dozens of episodes right now anyway. For even a traditional pitch you would at most write a few episode synopses and maybe a broad outline of how the first couple seasons might go (if you’re planning on some overarching narrative).

Beyond that, character designs, maybe some key art, you should really pivot from the “pitch” to just making something. If you’re capable, start making a pilot. If you aren’t, scale it down to something you can make (an animatic, a script, a radio play, a comic) and just make something exist.

It’s hard to make execs care about ANY story unless it already exists and is proving capable of getting attention. So don’t sweat the big picture, just start making a thing exist!

For android, grab Flipaclip or Rough Animator just for starting out.

Best way to practice is then just studying, figuring out timing is sometimes easiest from reference. Look at fights you enjoy from film, anime, or in real life, watch them in real time, pause at key poses and sketch simplified versions of them, and then… just noodle around.

Studying the principles of animation goes a long way but there is no teacher like doing. Get in there and make some mistakes. Keep everything simple and don’t get bogged down in details for learning timing. Stick figures and bubble forms go a long way and if the timing doesn’t turn out perfect you won’t feel like you wasted a lot of time.

My recommendation? Don’t start with animation. At least not only that. Spend some time working on your fundamentals. Pick art you like, try to copy what they do, but also draw things in the real world. Draw your friends, draw your pets, draw a posed action figure or your room. Draw on paper, have fun with it.

Programs are great and at some point yeah grab a cheap or free Android app and do it there as well, but the ability of your brain to interpret your thoughts and the world around you and put that into a drawn form is a muscle. Developing that is the foundation of everything else you will do.

I can teach a skilled artist how to use the basics of a program in a couple days. I cannot teach someone who knows how to use a program how to draw, at least not on that kind of time frame.

The answer is that it depends! Which I know isn’t helpful but it’s a subject of taste, budget, style, and also your skill as an animator.

The general rule however is most actions (at 24 fps) look best on twos, most of the time, unless you have a really specific reason to not do that.

Ones you really only want to use sparingly for a specific action that is going very fast (putting everything on ones is difficult, it can look smooth but unless you’re using a CGI model or are just VERY skilled you will end up making the animation jittery rather than smooth) and even if you have the skill to do it on ones it just doubles your effort for vanishingly minimal returns.

Threes or fours (or longer) are either for holds (especially in limited animation) where you want to hold a pose for a long time to save on budget (going back to twos to move into the next pose). Sometimes some styles (anime, stop motion) will animate everything on threes or fours even on actions for budget reasons, but you have to be very efficient with your posing and staging for this to not feel extremely choppy so I wouldn’t advise it for beginners.

Sometimes it’s more than thick lines, some of these shows will occasionally comp in a subtle drop shadow to exaggerate the effect, simulating that the character is on a cel slightly raised up from the BG.