The makers of God of War recently went into detail about the intricacies and planning of the project’s industry-leading animations.

Sony’s Santa Monica Studio , in conjunction with Gnomon School, hosted a ‘Making of God of War‘ talk, to discuss some of the design aspects of the lauded title. The first of the event focused on animation and was given by lead narrative animator Erica Pinto and lead character technical artist Axel Grossmann. Pinto began the panel, detailing the foundation process of the game’s cinematic animation, which involved the animators acting out roles in person.

The project followed documentary-style cinematography and was planned out on ersatz sets in the studio, a glimpse of which is included in the gallery below.

Upon these sets, the primordial stages of each cinematic were crafted, with film clips acting as the basis. Pinto went on to say that the game was “weaved on top” of these relatively simple scenes. The scenes were present not just as an animation tool, but to capture and meditate upon the subtext and emotion of the scene.

Pinto also mentioned a deleted scene wherein Kratos and Atreus discover a marine creature in the lake of Alfheim, with the shooting of that scene also included in the gallery.

Grossmann also explained some of the technological aspects of the studio’s animation, which prioritised a move from the comic book-style proportions of previous games to realism:

Autodesk MotionBuilder was the primary tool employed by the animators, with a F.A.C.S. system allowing for more specific facial movements. Primarily, the goal of the animation team was to create specific, precise, and realistic animations. Instilling emotion was essential, with much of the game’s narrative coming through implicit moments.

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Ben Newman

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