Throughout this whole Development Blog series, we’ve always described SPINE as cinematic, where every level feels like a short action movie. But here’s the question: how do we make it feel that way without taking control away from you?

In today’s devblog, we’re diving into one of the boldest design challenges we’ve taken on in SPINE development: building what our Game Director, Dmitry Pimenov, calls an "action movie within a game." The result is our Intellectual Camera System. It doesn’t just follow the action. It shapes the scene, supports the flow of combat, and knows when to get out of your way.

Let’s face it: cinematic games often shine the brightest when you’re not even touching the controller. But that’s not how we wanted SPINE to feel.

From day one, our goal was to make every dramatic moment fully playable — from rooftop duels and train fights to every takedown. You’re not watching the movie. You’re making it happen.

So we decided to treat our in-game camera like a real object, not just a functional viewfinder. One of our favorite moments? When Redline finishes a wall run and spins into a close-quarters takedown, the camera slides into a low over-the-shoulder angle, just like in a classic Hong Kong shootout. 

"From the start, we wanted players to feel like they’re part of a live-action scene, not just watching it happen, so the camera had to feel like it was breathing with the action, like a real piece of cinema gear."
— Dmitry Pimenov

Our Intellectual Camera System has momentum. It always reacts. For some cases, we even mocapped real camera movement with cinema professionals to capture that realistic feel — the tiny shakes, the imperfect movements, the breathing parallax. All of it adds life.

At its core, it’s a smart system that constantly evaluates what’s happening and picks the best way to show it. We calculate enemy visibility, choose a tactical environment that is useful to the player at the moment, try to avoid obstacles, and frame key actions like you would in a real movie.

Here’s a glimpse of what it considers every frame:

• Which shoulder gives the clearest view?

• Is the player surrounded or flanking?

• Will the camera clip through geometry if we rotate here?

• Should we push in slightly to emphasize a finisher?

It’s all about keeping the action readable, responsive, and cinematic at the same time.

Players always have the option to override. The moment you nudge the right stick, full manual control returns. But internal testing shows most players don’t even think about it — they just feel that it's working. Many of them forget about camera controls, immersing completely into the cinematography of our combat.

To get it right, we partnered with a real director of photography. He helped us break down why movie cameras feel alive, and we baked that logic into gameplay.

We simulate natural camera behavior, including inertia, subtle movement lag, slow push-ins, and realistic positioning, just like in real life.

"Even the imperfections of a real camera add this feeling of authenticity. A slight parallax, a low angle, a moment of instability — that’s what makes it feel alive." — Dmitry Pimenov 

We spent a lot of time tuning the field of view, zoom behavior, and blend timings. When do we take control away from the player? How can we avoid this? All of this was tested across dozens of combat scenarios.

We don’t rely on stock camera systems. Everything is built by us, using Unreal Engine 5’s Blueprint system.

That means our combat and boss designers and animators can jump in and prototype directly. The camera logic is fully modular — we have different behaviors for boss fights, group encounters, scripted events, staged combat encounters, and finishers.

For example:

• During boss fights, the camera focuses on telegraphing bosses’ attacks, and gives extra breathing room for the arena.

• With multiple enemies, it prioritizes tactical information and threat visibility, and dynamically adapts to flank movements, blending seamlessly into various abilities and finishers.

Blueprints gave us speed and flexibility. Our animation software, Cascadeur, gave us great character movements. Unreal gave us the tools to bring everything together, from logic blocks to visual polish.

The system wouldn’t exist without the games that inspired us. Uncharted 4’s prison fight. Sifu’s grounded takedowns. Marvel’s Spider-Man and its smart post-effects. We studied all of it.

And then we started to ask questions: what if we place the camera in the middle of our combat design? What if it moved like it knew what you were about to do, and what you wanted to see?

That’s how we ended up with advanced camera movement blending, dynamic shoulder swaps, reactive FOV shifts, and finisher cameras that frame Redline like she’s in a high-octane action flick.

We’re still tuning. Still testing. Still adding new scenarios. Every new boss, every new level gives us more opportunities to refine how the camera moves, reacts, and supports you.
So the next time you land that slow-mo headshot, know that the camera saw it coming.

Want more behind-the-scenes?

• SPINE DevBlog: Spinemations[//]

• SPINE DevBlog: Bosses

• SPINE DevBlog: Cinematic Narrative

• SPINE DevBlog: Art Directionhttps://psteamproxy.yuanyoumao.com/news/app/1731290/view/544484746860691694