Dev Diary #20 - Anatomically Erect
IT'S NUDIE MAGAZINE DAY!
A MOTHER'S LOVE by R-WADE
We're pleased to present twenty-two pages of R-WADE's fine work in FULL FUCKING COLOR! Let me tell you, seeing Lily's asshole blush a lovely shade of red as it gets destroyed is just all sorts of bueno.
While the previous manga was pretty dark, this one is about as lighthearted as you can get while featuring a woman impaled by a manticore cock the size of Dallick. If you're a fan of gang bangs and massive insertions, then this one's for you!
Just like last time, we can't post a link here due to the rules. You can find the download links on
our Discord sever or simply search for Subverse on Luscious hentai, Pururin or Sad Panda.
And now I'll turn things over to one of our talented programmers to tell you about another one of our recruitment quests.
SOLID SNAKES ON A PLANE
Greetings, perverts. Professor Bang here, and I've brought you some ALPHA screenshots from one of the most unique SHMUP sequences in Subverse. Let me tell you about the Temple of Defilement - it's dark, full of traps and sentries, and it certainly doesn't help that you have a hungry little catgirl aboard your ship.
We made this mission with stealth in mind, so you can't just whip your cannon out and blast all over the place to get through it. In this old, crumbling temple there are sentries marching and scanning the area for intruders. You will also have to deal with pressure-sensitive walls, trap doors, and since this is a video game there are of course plenty of hazards made of molten lava .
We'll be using lava or magma-like surfaces in many different environments and scenarios, so we decided to make a universal lava material. With some noise and rock texture we were able to achieve a good boiling look. Also, a lot of panning and distortion had to be added to the logic, and we even added some vertex displacement on top of it so the surface will actually be moved by the waves.
Illumination is sparse, so utilizing the headlight on your ship for navigation will be crucial. You can either play it safe and learn the sentries' movement patterns or just be fast enough to zip through them. Though it is tricky, don't worry - checkpoints are aplenty so the experience is fun rather than frustrating.
I'm excited for all of you to explore the Temple of Defilement with your eager kitty companion who unfortunately doesn't always care if it's the appropriate time to play."
But that's not all...I'm also excited to welcome one of our veteran FOW animators to the dev diary for the first time!
ENTER THE SWEDISH OINKZILLA
"God kväll, Moneyshot here. I've been with the studio since 2014, back when we had to survive the pain of animating throbbing horse balls in Source Filmmaker. For my services to smut, I was rewarded with the title of lead animator for Subverse.
I just got sent a note with the daily lowering of the bucket providing me sustenance.
It read: “For legal reasons I need written proof that you are still alive, so write something for the backers down on this piece of paper. And don’t eat it, you fat fuck.”
So here I am. Let's talk about poses first.
The hentai magic starts with getting all of the necessary characters into the scene. Both for technical reasons and easier workflow, each character and their accessories gets uniquely named rig prefixes: Demi1, BigDude1, SmallDude1, BigDude1Dick etc.
Depending on the need for the poses and animation, these rigs are altered to give a better workflow. For example, Killi's tail may need to grab something and thus the gripping section works better in FK (Forward Kinematics) while the rest is in IK (Inverse Kinematics).
The poses are blocked up either with reference images or greatest tool of all - a pervert's imagination.
Not only does the pose have to bring out the star of the show's best bits, it also has to work with the three different sex speeds: SLOW, FAST and CLIMAX. Whilst not all sex scenes follow this formula, its still good practice to consider speed variations.
With the pose finished, we animators add a placeholder light setup to spot anything that might look weird during animation. After all, shaders work in mysterious ways.
The camera is also finalized by the director during this phase. Obviously, we animate to the primary angle chosen, otherwise this game would take 16 years to make.
Now for the animation!
If the scenario requires loops for things such as handjobs and thrusts, those are firstly blocked out to get the timing, power of the thrusts, and jiggle correct so they can be checked for feedback by the director. Once the loop is finalized and cleared they can be copy/pasted and have their timing tweaked.
On top of that, the loops have some variation added and a lot of other customized animation for the bodies and whatnot gets blocked out. There is yet another round of feedback required for this step, because it's much easier to make changes if needed at this stage as what comes next is finalizing the animation. All these tiny details are just half the work for the entire process.
If the scene doesn't really require any loops, the long custom animation is blocked out and checked for feedback a bit more often in Sequencer. These kind of animations usually take longer to make so it's best to be sure it's heading in the right direction.
The final step is handing off the anim asset for the production team to insert full lights and post processing. Animating natively in UE4 is real-time, so even if some bugs are discovered during this process, fixing them is easier. Real-time is something we value highly due to rapid iteration and is a big part of why the transition from SFM to UE4 was chosen. The engine is very powerful and makes SFM look like a kindergarten toy. Seeing the final clip on max settings is pure instant gratification. Every artist wants to see their work finished without having to wait for a VFX team to finish it one year and $50 million later."
We'll see you all next month when we'll have even more programmer entries and an update on our navigation system.
Stay safe!
Sincerely,
Mr. Kristoff
- Senior Producer