Stylistic mismatches of cartoonish/exaggerated animations in realism. Professional mocap actors
The hyperrealistic style can easily slip into the uncanny valley, and when the behavior look exaggerated (excessive clapping, smiling, stomping, twitching, mb walking half‑bent, SFX and VFX like steam out of the head) it turns into a kind of grotesque stylization and feels like sims‑style cartoonish behavior placed into a hyperrealistic setting. As a result, It often barely evokes any sense of compassion toward the subjects on a screen, or feeling of omnipotence or ruthlessness, even though many of the original animations, even if slightly theatrical, are alive, smooth, well‑paced, and clearly storyboarded.
I just wish the team would
- consider what tends to work well in realism
- establish consistent tolerances / guidelines
- rely only on references from games and sources in cinematic social realism (e.g., K‑dramas)
- bring in professional mocap actors, both for motoric and for facial animation
Examples:
DEATH STRANDING 2: ON THE BEACH Short Trailer | Performance Capture
DETROIT : BECOME HUMAN - MOCAP - MAKING OF - BEHIND THE SCENE
Behind the Scenes - Beyond: Two Souls
Links :
Discord 1
K-drama actors and scenes
Kjun mentioned that in Korea people rarely express emotions openly, so capturing emotional performance is difficult for the team, but since many of us keep emphasizing that direction would be best grounded in realism (without shortcuts or stylization), I want to share beautifully crafted romantic scenes for implementing allowed motion‑capture animations / interactions in the game using real Korean actors.
I focused on GRAC 15+ K‑drama references, such as Twenty Five Twenty One, Run On, Business Proposal, My Roommate Is a Gumiho, Love Next Door, Something In The Rain, earlier It’s Okay to Not Be Okay, Nevertheless, and so on.
While we can selectively fix comedic or exaggerated animations with mods especially in moments that are meant to be subtle, real actors are something almost no one can replicate. Without those subtle, real‑life nuances, it’s difficult for a hyper‑realistic game to feel convincing and reach the audience (audience scale) the team aims for.
References: