You can rotate and zoom the models by dragging around the canvas, and control the animations with the GUI on the left.
This model was weight-painted, rigged, and animated for Spectra Hunt. It was my first attempt at animating quadrupeds, and the most challenging aspect was understanding the anatomy of a mammal.
To animate it, I had to review in .25x speed footage of foxes walking and running around. It was brought to life with a few procedural animations in engine.
This model was animated along the fox for Spectra Hunt.
One major challenge along with the fox was to weight paint the models. The issue with low poly models is that deformations can get pretty ugly if care is not given. I had to edit some geometry on the hare to make it deformable without making the model collapse on itself.
Neon Souls's biggest challenge was definitely the scope of the animation system for the game. 90 animation clips were produced in total, split amongst the player and the different type of enemies in the game.
The player was the starting point, and I don't look back too fondly and my first walk cycle, though other clips, like the rolling animation, came out beautifully.
Neon Souls is a Soulslike, so enemy variety was important. It was not feasible to model and rig other characters, so the model was reused, but given different animations. This enemy has a different pose from the player, and even possesses the bosses's attacks, since they are a reskin of the base enemy with scaled-up model and different swords.
Finally, a ranged enemy was added into the game to make the player approach fights differently. This one sticks his ground and shoots at the player periodically when he detects him, but will use some different moves as retaliation if the player is too close.