Mythcastera is a small fantasy town in which AI residents walk, sit, talk, and gather around an inn, a workshop, and a strawberry patch. A project write-up by Wayne Ma, posted to DEV Community on September 16, 2026, describes how the team builds those characters, how it brings in extra animation, and how two inspection views caught a garment fault that a quick visual check had missed. The behavior it describes is experimental, and the write-up calls the work a development preview.
What the town includes and what is still unfinished
The scene is arranged in Blender. Baskets, crates, fences, and stacks of wood mark out locations so that a resident’s destination is readable at a glance. Mududu is the innkeeper and Kakka is the repairer. Their appearance, background, and starting possessions are kept apart from the animation files, so a change to one does not force a change to the other.
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Not everything moves with the same system yet. Some household activity still uses placeholder motion, and the combat showcase leaves out attacks while weapon presentation is being corrected. Walking, sitting, conversation, and gathering are the behaviors being explored.
How a character is built
The team did not model characters from scratch. It began with a purchased, licensed library of rigged models and used each model’s skeleton, skin weights, and native animation as a base. The write-up does not name the library and does not document its license terms, so readers should treat those details as unknown.
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Keep one rig and vary everything else
The team kept a shared 44-bone rig and created species, character, and clothing variations on top of it. Because every character shares the same skeleton, an animation authored for one body can be reused on another without rebuilding the joint structure. Mududu’s current asset uses a separate head-and-neck module. An earlier rough-cloth goblin is kept only as a comparison asset; it is not the current Mududu model.
Separate identity from motion
Appearance, background, and starting possessions live in their own data, and the animation files are stored separately again. The practical effect is that a costume or a backstory can change without touching the motion pipeline, and a new animation can be added without re-exporting the character.
Bringing in additional actions
Actions beyond the library’s built-in set come from Mixamo. The team’s upload candidate is a skinned human mesh with an armature, exported in rest pose with any existing animation removed. The chosen animation is then downloaded as FBX with skin, at 30 fps, without keyframe reduction. Keeping every key means the export is larger, but the motion is not thinned before the team has inspected it.
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- Prepare the upload. Export a skinned human mesh and armature in rest pose, with existing animation removed.
- Download the clip. Save the selected animation as FBX with skin, at 30 fps, with keyframe reduction turned off.
- Retarget and review locally. Map the clip onto the shared rig. Some clips return to Blender for adaptation.
- Tune in the browser where needed. The combat lab can retarget a clip and adjust its timing in the browser.
- Load at runtime. Three.js loads the character as a GLB file, while a shared runtime library loads reusable animation curves separately.
Splitting the mesh from the animation curves means one character file can serve many clips, and one clip can drive many characters that share the rig.
Two views for checking a character
The write-up pairs two inspection tools that look at the same character from different positions in the pipeline. Blender Truth works on the Blender side and reports scene and geometry information. Saccade is a browser view of the exported character running under the runtime’s animation, lighting, and camera. A model can look correct in one and still behave wrongly in the other, which is why the team uses both.
| View | Where it runs | What it shows | Documented limits |
|---|---|---|---|
| Blender Truth | Inside Blender, on the source scene | Scene and geometry information | Not stated in the write-up |
| Saccade | In the browser, on the exported character | The character under runtime animation, lighting, and camera | Not stated in the write-up |
The neckline that floated away from the shirt
The clearest example in the write-up is a loose, coarse-cloth goblin tunic with rolled sleeves and neckline details. From the front the tunic looked reasonable, and weight checks did not flag an obvious problem. Later inspection in motion showed a neckline detail lifting off the shirt, with a measured gap of about 8.5–9 mm in the sampled poses. The gap is specific to those poses in that test and should not be read as a tolerance for the whole project.
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The fix had two parts. The team changed the stitches so they became faces integral to the garment, rather than a separate piece sitting on top of it. It also added an attachment check that runs over explicit animation frames. The check reports the maximum separation along with the worst sampled frame and vertex, so a fault can be traced to a specific moment in a specific clip.
The author says the agent missed the original problem on first inspection. The useful outcome was the repair and a more specific test, not a claim that the check catches everything.
What the attachment check can and cannot tell you
- Sampled frames only. The check reads a set of frames, so an instant between samples can hide a separation.
- Distance is unsigned. A surface distance does not show whether one piece passes through another, so a small gap does not prove there is no penetration.
- Minimum distance can mislead. When one end of an attachment stays touching while the other lifts away, the minimum can look fine while the garment is visibly wrong.
- Visual review still matters. The team pairs the measurements with side-view motion inspection.
Early combat tuning
Two early combat experiments are described. The first uses Bayonet Stab, adapted as a spear thrust. The second uses Great Sword Downward Slash. For both, the team tried a 1.5× overall speed and compressed the interval between strikes. In the sword test it also shortened part of the preparation. These adjustments were chosen for those two clips and are not general animation settings. Grip and character-specific contact points still need work, according to the write-up.
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The figures in the project report
The numbers below come from Wayne Ma’s project report, not from external studies. Each one applies only to the context in which it was measured.
| Figure | Value | Context |
|---|---|---|
| Shared rig | 44 bones | Used across the species, character, and clothing variations in this project |
| Animation export | 30 fps, FBX with skin, no keyframe reduction | Mixamo clips as exported for this project |
| Combat speed experiment | 1.5× overall speed | Tested on Bayonet Stab and Great Sword Downward Slash only |
| Garment gap | About 8.5–9 mm | Maximum separation in sampled poses on the goblin tunic’s neckline |
What is and is not established
The write-up establishes a working pipeline, a shared rig, a specific export setting, a specific repair, and two inspection views. It does not name the licensed model library, document its license, or report autonomous town behavior as finished. It also does not measure how well either inspection view catches faults across a full set of animations, so the approach should be judged as a practical workflow described by one developer rather than a validated method.
This article is marked as AI-assisted. Its examples come from the project’s own development notes.
Source: Wayne Ma, “Building Mythcastera with Blender Truth and Saccade,” DEV Community, September 16, 2026.
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