Page 57 · cinematic kill animations · live on real DARK VIVID arenas

25 NEW KILLS FOR THEASSAULT RIFLE

The rifle is the gun that does not stop, so its camera language is volume: tracer streams you can walk along, cover chewed down to nothing, a burst that is still going after the man it was aimed at has finished falling. Every kill here runs as long as its own story needs, up to 15 s, built on its own from its first frame to its last, with the gore at full.

YOU SAID“Even if we are building 1000 kill animations, each one should be very well designed and crafted.”

YOU SAID“From start frame to end frame everything should be very very different.”

1PLAY THEMTap any kill card. Nothing plays by itself. 2THE LANGUAGEWhat makes a kill a rifle kill. 3HOW THEY PLAYRarity order, what a kill needs, the stage. 4THE BOARDAll 35 weapons and what is ready.

TAP A CARD TO PLAY IT

THE ASSAULT RIFLE KILLS

Tap any card and it plays in the phone above, on a real arena, at full gore. PLAY AGAIN restarts it, SLOW drops it to a third speed, and the track under the phone carries that kill’s own beats — drag it to stop anywhere. Nothing plays until you ask for it. Tap CHANGE on any kill you want rebuilt.

THE ROTATIONMost epic first, then the next

1Your owned kills for this gun play in rarity order, the biggest first. › 2If the spot can’t host one, it is skipped and comes back later. › 3Once they have all played, it starts again from the top.

WHY THESE LOOK LIKE RIFLE KILLS

THE CAMERA LANGUAGE

Each weapon family has its own way of being filmed, so a kill reads as that gun’s even before you see the gun. These are the rifle’s. The pistol films from inside arm’s reach; the rifle never does — it films the distance between two people and the stream of light crossing it.

THE STREAM, NOT THE ROUNDA rifle kill is filmed along the whole tracer stream at once — a rope of light between two people — never on one bullet.

COVER IS A COUNTDOWNWalls, fences and bar tops do not stop the rifle, they only delay it. They are chewed down round by round until there is nothing left to be behind.

THE BURST OUTLIVES THE TARGETThe trigger is not let go on the kill. Firing keeps going into the fall, the floor and the wall behind, and the frame holds until it stops.

HEAT AND WEIGHTThe barrel glows, the air over it warps, and the brass is not one spinning case but a heap that keeps growing on the floor.

THE CAMERA IS PINNEDSuppression is shot from cover: the lens flinches with every burst, dust curtains come up, and nothing is allowed to stand still.

IT ENDS ON THE DAMAGERifle kills end wide, on what the volume did to the room, not on the killer’s face.

DECIDED 23 OCT

HOW THEY PLAY IN THE GAME

These are the cinematic kills, on top of the 238 skin kills that already exist. Nothing is replaced.

ROUND-ENDING ONLYAnd the match-winning kill, exactly as the kill cam works today.

THE APPROACH STAYSWalk-up, dash or ranged as now — the kill itself is the next animation in the rotation.

WHAT A KILL NEEDSA wall, a ledge, a second foe, room. If the spot can’t host it, the next one that fits plays instead.

THE CINEMATIC STAGEA mini map built only for kill animations. The kill cam cuts to it so a set piece is never lost.

ANY TAP SKIPSSame as today. Up to 15 s, as long as the kill's own story needs, never padded.

EVERYTHING IS OWNEDFor now. Kills are sold on their own as well as inside a skin.

‹ THE BOARD · ALL 35 WEAPONS PAGE 40 · THE SKIN KILLS PAGE 56 · THE FOUR VISUAL CALLS