Documentation Locomotion Framework

Locomotion Framework animates a third-person character: walking, running, stopping, turning around, jumping, getting over obstacles, drawing a weapon and aiming. There is nothing to wire up. You sort your animations into a grid, and the plugin picks the right one at the right time.

The plugin is replicated: your characters stay in sync in multiplayer, on the host and on clients, with no extra network setup on your part.

The one thing to remember

The whole plugin comes down to two grids that look and read the same way. A cell is always where its row meets its column, clicking it opens it, and right-clicking it shows what you can do with it.

The first grid defines who your character is. There is one row per profile (unarmed, rifle, sword) and one column per state (standing, crouched). Each cell is your character in that specific situation, such as holding the rifle while crouched.

The second grid lives inside a profile and defines what it plays. The columns are gaits: Idle, Walk, Run, Sprint. The rows are moments: the cycle, the start, the stop, the pivot. Again, each cell is where the two meet: “what my character plays when it is running and comes to a stop”.

The second grid is the one you’ll open first. A new character has only one profile, so until you add a weapon or a posture, the first table is a single cell. Fill in the cells you need: an empty cell plays nothing and breaks nothing. That holds true from the first page of this documentation to the last.

What you need

• Unreal Engine 5.8.
• A character: a Skeletal Mesh and its skeleton. Any rig works.
• Animations. At a minimum, an idle and a run cycle. You can add the rest whenever you like.
• No C++. The plugin ships precompiled, so a Blueprint-only project is fine.

1. 1On the plugin’s FAB page, click “Add to My Library”. The plugin is added to your Epic library.
2. 2Open the Epic Games Launcher, go to the Unreal Engine tab, then Library. The plugin appears at the bottom, under “Vault”.
3. 3Click “Install to Engine” and choose your Unreal Engine version.
4. 4Open your project and go to Edit ▸ Plugins. Search for Locomotion Framework and tick its checkbox.
5. 5When the editor asks you to restart, accept.

The plugin also enables the six plugins it depends on: Enhanced Input, Editor Scripting Utilities, Animation Locomotion Library, Animation Warping, Motion Warping and Niagara. You don’t need to do anything; they are ticked automatically along with it.

The plugin window

After the restart, the Locomotion Framework window opens automatically. This is where you create characters. You can reopen it at any time from Tools ▸ Locomotion Framework, and the “Don’t open at startup” checkbox in its header stops it from opening at startup.

This window builds the entire character in one click. Fill in five fields.

The Create Character button stays greyed out until a folder, a skeleton and a mesh are all set; the line below the button tells you which one is missing. Once you click it, the form clears: that means the character was created successfully.

Double-click your DataAsset. It opens in an editor with five panels, which you can move and close like any other Unreal tab.

A profile is your character in a given state: unarmed, holding a rifle, crouched, aiming. The Profiles panel is a two-way table, with one row per weapon and one column per posture.

• The + on the left adds a row, which means a weapon.
• The + at the top adds a column, which means a posture.
• Clicking a cell opens that profile, and the rest of the window then shows that profile.
• Right-clicking a cell lets you rename, copy, paste or delete it.

A simple character has only one profile, and you’ll never need to touch it. Weapons and aiming are covered much later in this documentation.

Crouch, Prone: switching to a low posture

A low posture is a column of the table like any other (Crouch, Prone, or any lowered profile), except that it also shrinks the character’s capsule. To switch to one, the plugin’s component provides the LF Toggle Low Posture Blueprint node, which you connect directly to an input, with one node per key.

For gameplay, LF Enter Low Posture and LF Stand Up force a specific state instead of toggling, for example to stand the character up before a sprint or a cutscene. Get Low Posture returns the current posture (None when standing), and Is In Low Posture tells you whether the character is in any low posture.

A new character can’t play anything yet, because it has no sections. You add the ones you need, one at a time. The + button in the Sections panel lists the ones that are missing.

The menu only lists sections that haven’t been added yet, and only those that make sense for the current profile: a profile without a weapon never offers Equip, and a weapon profile never offers Lean. Once a section is added, it disappears from the menu and gets its own tab instead.

A new cell is inactive. It shows a dash and won’t play anything until you tell it what to do, which you do with a right-click.

The same right-click menu also lets you switch off an entire column or row. “Disable” takes it out of play without erasing anything, while “Delete” removes it from the grid; its animations come back if you add it again.

Click an active cell. The Anims panel shows its contents.

The breadcrumb

The top line shows exactly what you’re editing: the profile, the gait, the section and the state. The grid fills up quickly, and this is the only thing that tells you for sure where you are.

A cell contains several slots

A cell almost never holds just one animation. A start has six (three directions, two feet), and a strafe cycle has eight. Idle is the exception, with just one. The panel lays the slots out like a compass: the top card is forward, and the bottom ones are backward.

Three ways to fill a slot

• Drag the clip from the content browser onto the field.
• Open the dropdown and search for the clip by name.
• Select the clip in the content browser, then click the arrow to the left of the field to use the selected asset.

Start Position

Many slots have a Start Position field: the time in the clip, in seconds, where playback starts. Use it when your animation begins with a lead-in that you don’t want to replay.

The link button

Between two foot slots there’s a small chain-link button. When it’s closed, a single clip plays whichever foot is leading. When it’s open, each foot gets its own clip. Click it if your animation only exists for one side.

The + to the right of the columns adds a gait: Walk, Run or Sprint. Each one becomes a column with its own Loop row to fill in: the walk cycle under Walk, the run cycle under Run, and the sprint cycle under Sprint.

None of them is required: a character that only ever walks just needs Walk.

Movement Settings

An animation alone isn’t enough. You also have to tell the character how fast it moves, or its feet will slide. The Movement Settings pane, below the grid, has one column per gait.

Auto-Fill: let the plugin measure

The Auto-Fill button reads your animations and fills in Speed, Acceleration and Deceleration for you. Here’s exactly what it measures:

• Speed: the distance the Loop clip travels divided by its duration. This is the speed the animation actually moves at.
• Acceleration: the time the Start clip takes to reach that speed. It measures only the ramp-up, not the total length of the clip.
• Deceleration: the same measurement in reverse, on the Stop clip.

You can change these values while a game is running in PIE and see the result immediately; there’s no need to recompile.

Forward is the basic locomotion: the character moves in the direction it’s facing. It’s the only section that can never be disabled; all the others build on top of it.

The + below the last row adds a state. Nine are available, and the following pages cover them one at a time.

Idle is the cell where the Loop row meets the Idle column: what the character plays when it isn’t doing anything. It has a single slot for a single animation, and the same clip plays whichever foot the character has just stopped on.

Mirror and Right Foot

Breaks

When a character just breathes on a loop for thirty seconds, players notice. Breaks are short animations that bring the character to life (looking around, stretching, checking its weapon), played from time to time between loops of the idle. The + below the slot adds as many as you like. There’s nothing to configure per clip, just the animation itself. The plugin picks one at random, never playing the same one twice in a row, and cuts it off as soon as the player moves.

Enter controls what happens when the character changes column in the Profiles table: from standing to crouched, from crouched to standing, or to any other state you’ve created. The transition belongs to the destination column: switching to Crouch plays Crouch’s Enter, and standing back up plays Default’s.

You add the row with the + in the Forward tab or the Strafe tab. It’s the same row in both tabs, so adding it in one also shows it in the other. A game that only uses Strafe can therefore use it just the same.

Blend Time

The field next to the row name is the duration of the transition into this state, in seconds. It applies both at a standstill and while moving, and it also works without a clip: for a crouch transition that’s simply smoother, add the row, leave the cell empty and set this field. At 0, the Phase Blend Time is used.

The clip

The row’s Idle cell opens the Anims panel with the slot for the transition clip: crouching down for Crouch, standing up for Default. It plays when the character changes state at a standstill, including during the end of a Stop once the character has stopped moving, in which case it cuts the stop short. If the character moves or jumps during the clip, it sets off immediately, with a blend. While moving, there’s no clip: only the Blend Time applies.

From

A state isn’t always reached from the same pose: going from Crouch to Swim doesn’t start from the same position as going from Default to Swim. In the Anims panel of the Enter row, the + next to “From a specific profile” adds a transition that only plays when coming from a specific column. The From menu lists the columns in your table, and each transition has its own Blend Time and its own clip. When the character comes from that column, this transition replaces the Enter row.

Without a start clip, the character snaps from a standstill straight into its run cycle and slides through the first few steps. A start replaces that moment with a proper acceleration.

There are six slots, laid out like a compass seen from above:

• Forward — L Foot and Forward — R Foot: setting off straight ahead, on the left or right foot.
• 90° left and 90° right: setting off to the side, with the quarter turn built into the clip.
• 180° on both sides: setting off backwards, including the turnaround.

Which of the two Forward starts plays depends on Idle’s Mirror button. With Mirror on, the standing pose actually matches the foot the character stopped on, so it sets off on that same foot. With Mirror off, the pose is the same on both sides, and the direction the player pushes decides: left plays the left-foot start, right plays the right-foot start. This doesn’t apply to the 90° and 180° starts, which describe a side, not a foot.

Each slot has its own Start Position. Filling in the two Forward starts is enough to feel the difference. Empty directions don’t play anything wrong; the character simply sets off directly into its cycle.

There are only two slots: one clip per foot, each with its Start Position. The plugin picks one based on the foot the character was running on when you released the input.

A stop ends on one foot, left or right, and the pose of that stop clip determines Idle’s foot. Idle has only one slot: with Mirror on, it plays mirrored when the leading foot isn’t the one in the clip; with Mirror off, it plays unchanged on both sides.

Stopping in the right place

A stop should end where the character comes to rest, not two steps further on. The plugin achieves this by reading the clip’s motion: it enters the clip at the point that matches the distance the character still has to cover.

If your clips have no root motion, tick Use Distance Curve in the Config panel and enter the curve’s name in Distance Curve Name. The plugin then reads the remaining distance from that curve in your animations instead of from their motion. The curve is in centimetres and negative (it’s the distance still to cover), and it crosses zero at the moment the character comes to rest.

A pivot is a turnaround at full speed. Without it, a character moving at speed that’s asked to reverse direction spins on the spot while still playing its run cycle, and it slides.

There are four cards (90° left, 90° right, 180° left, 180° right), each with one slot per foot, a link button and a Start Position.

The 180° aligns itself

A full turnaround involves slowing down, and the plugin uses that as an anchor. It reads the clip’s motion, finds the plant (the moment the foot lands and the movement reverses), and enters the animation just in time for that plant to happen in the right place.

If the clip has no root motion, give it a distance curve and enter the curve’s name in Config ▸ Distance Curve Name. The curve must be in centimetres, negative before the plant, and cross zero at the moment of the plant. A curve that’s already at zero at the start is ignored, since it doesn’t describe any approach.

With neither root motion nor a curve, the plugin falls back on Pivot Start Position 180, which you can set per gait in the Config panel. The clip then enters at a fixed time that you tune by eye.

The 90° is tuned by hand

A quarter turn happens without slowing down. The character keeps its speed, so there’s no deceleration to align with. The plugin doesn’t try to retime it: it enters the clip at the cell’s Start Position and lets it play freely.

That Start Position therefore decides everything: raise it to make the foot plant earlier, lower it to leave more momentum. Tune it by eye, once per clip.

Blend Time

Below each pair of cells, Blend Time sets the duration of the blend into that pivot clip. There’s one value per card (90° left, 90° right, 180° left, 180° right), because both feet of the same pivot blend in the same way. In strafe, each compass direction has its own.

Without this state, going from a walk to a run just cross-fades between the two cycles: the character hasn’t sped up, it has simply switched animations. A transition clip makes the change feel real.

Each card shows the direction of the transition, such as Run → Walk or Sprint → Walk. The column you’re in is the destination gait, so the Walk column contains everything that leads into walking. Each transition has two slots, depending on which foot it lands on.

Reface plays the switch between running straight ahead and moving while facing another direction, and back again. Without it, the upper body swings around rigidly in one piece.

There are four directions (left side, right side, back left, back right), each with one slot per foot. The bottom row controls when a reface triggers:

At a standstill, there’s no movement to hide a rotation: without an animation, the character turns like a statue on a turntable. Turn In Place plays an actual turning step. This row only has a cell under Idle, the only place where it makes sense.

There are four angle steps (45°, 90°, 135° and 180°) on the left and on the right. The plugin picks the step closest to the angle the character needs to turn.

When strafing, the character keeps facing the same way (towards the camera or a target) while moving in another direction. The section has the same states as Forward: Loop, Start, Stop, Pivot and Reface.

The big difference is the number of animations. There’s no single strafe cycle: you need one per direction. The panel lays them out as a compass.

There are eight directions: forward, forward-left, forward-right, left, right, back-left, back-right and back.

Yaw Warp: covering the angles in between

Eight directions don’t cover the full 360°: there’s still a gap between two clips. Yaw warp rotates the mesh slightly to fill that gap, instead of asking you for sixteen animations.

Lean tilts the character while it turns, like a cyclist taking a bend. It’s the only section without a grid: it doesn’t depend on the gait, and its settings apply to all four gaits at once.

The Mode row at the top lets you choose between two ways of producing the lean: Procedural or Blend Space. They’re mutually exclusive, and one of them is always active. The tab opens on Procedural.

Procedural: the plugin tilts the bones

No animation needed. The plugin calculates an angle, which grows the faster the character turns and moves, up to Max Angle. It then applies that angle itself to the bones you list in Lean Bones, each with its own axis and share of the angle. If the list is empty, it falls back on spine_01 and neck_01.

Blend Space: the lean comes from your animations

This mode replaces the bones with a slot: Lean Blend Space takes an additive 2D blend space, applied on top of the locomotion pose. The plugin samples it automatically, with X as the turn (−1 left, +1 right) and Y as the acceleration (−1 braking, +1 accelerating), so there’s nothing for you to wire up. Max Angle and Lean Bones are hidden: your blend space determines the pose.

Once the character is seated on its mount or in its vehicle, it no longer walks: the Drive section takes over. It handles the seated pose and steering, with the upper body following turns and the body absorbing climbs and descents. ⚠ Drive ONLY exists on a Vehicle profile. To make a column one, right-click its header in the profiles table, then choose Profile type ▸ Vehicle. Only the columns you’ve created have this menu; the original Default column doesn’t.

There are two ways to author it, depending on the animations you have. The Mode row at the top of the tab has two buttons, Blend Space and Clips. Click the one you want: the other switches off, and the tab only shows what that mode needs. One of them is always active.

Three moments, on three rows.

• Start: the take-off.
• Falling: the top of the jump, then the loop that plays on the way down.
• Land: the landing.

Any, or one column per gait

By default, the jump has a single column, Any: one animation, whatever the character’s speed. The + on the right adds gait columns if you want a different take-off when walking, running and sprinting.

This is also how you restrict jumping. If you only want a character to be able to jump while running, add the columns and disable the walk and sprint ones with a right-click: they keep their animations but no longer play.

The jump chain

The Start cell doesn’t say “Start” but “1 jump”: a character can have several jumps that chain together, such as a jump, then a double jump, then a third. Their order in the list determines which one plays.

When you collapse a jump in the list, these settings stay visible; only its animation slots collapse. A thick line separates each jump from the next.

Start Loop

The take-off has two phases in the same card: Start, the push-off, and Start Loop, the loop that plays while the character is rising. It stops on its own at the top of the jump, so there’s no duration to set.

Blend Time and Play Rate

Below each pair of cells, Blend Time sets the duration of the blend into those animations, and Play Rate sets their playback speed: 1 for normal speed, 2 for twice as fast, 0.5 for half speed. There’s one value per pair, because both feet of the same move blend in the same way.

• Start and Start Loop, in the jump card.
• Apex and Falling Loop, in the Falling window.
• The landing, in the Land window: per gait, and per direction in strafe.

Land Anticipation: starting the landing before contact

At the top of each card in the Land window, Land Anticipation sets the height above the ground (in cm) at which the landing starts. It can be set per gait. Without it, the landing starts on contact and always looks late. With it, the landing starts in mid-air and the contact happens right on time.

Heavy Land: a landing based on fall height

Each card in the Land window has two pairs of cells: Light, the normal landing, and Heavy, which plays after a big fall. Just below Land Anticipation, Heavy Land Height sets the height (in cm) from which Heavy plays. Like Land Anticipation, it can be set per gait.

With only the Any column, the Idle card applies to all landings: its Land Anticipation and Heavy Land Height are also used while moving. The same goes for a gait whose column is disabled.

The height is measured from the highest point reached in the air down to the ground where the character lands. So a jump that lands lower than where it took off, or a step off a ledge, counts the full fall.

In strafe, each compass direction also has its own Heavy pair, below the Light pair in the same card.

Land (Additive): an impact on top of the pose

Instead of a landing that replaces the pose, the Land window offers Land (Additive): an impact clip played on every landing, on top of the current pose. The run carries on, and the impact is layered over it. It’s the same slot in every card, and once it’s assigned, it replaces the Light and Heavy landings, whose cells are hidden.

Below it, Land Heavy (Additive) is the impact for big falls: it plays instead when the fall exceeds the gait’s Heavy Land Height. Each one has its own settings, shown once its clip is assigned: Blend In and Blend Out (the fade in and fade out), Play Rate, Weight (the strength of the impact) and Position (the point in the clip where it starts).

In Air: the character in mid-air

At the bottom of the Jump tab, the Jump Settings panel contains the In Air group, which controls what the character does during a jump or a fall. Each profile has its own settings: a crouched character can fall or steer differently.

Five moves, each on its own row.

The move panel

There’s one montage per foot, each with the settings that put the hands in the right place:

The two notifies to add to your montages

These settings rely on the plugin knowing two things about your montage: the frame where the character is on the obstacle, and the frame where the move is finished. It reads them from two notifies that you add yourself in the montage editor. Both are optional; without them, the plugin estimates these points, but less accurately.

The exit

You don’t have to provide everything

Each move exists per gait and per foot, but two fallbacks save you unnecessary work: an empty sprint cell uses the run one, and an empty standstill cell uses the walk one. Start with the run clips.

A weapon isn’t an animation, it’s a profile. Add a row in the Profiles panel, give it a name, and a cell appears where the weapon meets the posture.

Right-clicking that cell brings up the most important decision in the whole system:

Equip: drawing and holstering

On a weapon profile, the section menu offers Equip and no longer offers Lean.

• Draw: the montage played to draw the weapon.
• Sheathe: the montage played to holster it.
• Draw VFX and Sheathe VFX: the effects that go with them.

These montages exist per gait: drawing on the run isn’t the same as drawing at a standstill. An empty gait cell uses the standstill one.

Add an aim creates a sub-row under the weapon, with its own cell. It’s the same weapon in a different state.

Aiming is authored in a single cell, in the Any tab. This is by design: aiming is a pose, not locomotion. It’s layered over whatever the character is already doing (walking, running, jumping) without replacing it.

A link icon on the aiming row ties it to the weapon’s row by default. Open the link to make it independent: the weapon can then vary its animations per posture while keeping a single aim shared across all of them, or the other way around.

Layer order

1. 1The posture provides the legs and the movement.
2. 2The weapon adds its poses on top.
3. 3Aiming adds its own poses on top of that.

Body Layer adds poses on top of the locomotion: heavy breathing after a run, an injured shoulder, a clenched hand. These don’t belong in a run cycle; they need to be able to come and go during any cycle. Several layers can be stacked.

These settings apply to the whole character, whatever the weapon or posture. You only touch them once, during setup.

Everything covered so far is set up in the editor, with no code. This page covers the other half: what your Blueprint can ask the character to do. The Locomotion LF component, on the Blueprint you created at the beginning, exposes everything described below.

The Blueprint created for you already wires up the ten actions in the Input folder. You don’t need to do anything for the character to respond to the controller; this table is here so you know where to look if you want to change something.

The pattern is always the same, and it takes just three nodes: the input action, the component and the function. Movement is the typical example.

The blue “Locomotion Component LF” node is simply the component dragged in from the Components list. It is what you connect to the Target input, and you’ll see it in every one of these graphs.

Some actions need two outputs from the event instead of one. Jumping is the typical case: pressing and releasing call two different functions.

Showing the weapon mesh

The plugin doesn’t spawn any meshes: it plays the animations and switches profiles. Attaching or hiding the weapon is up to you, but the plugin tells you exactly when to do it.

At the bottom of the graph, the input calls Next Weapon. This is one example of how to switch weapons (mouse wheel, gamepad D-pad), not a requirement: build your own with the functions below. At the top, Bind On Weapon Changed binds to the component’s On Weapon Changed event. That event provides the new weapon’s name directly (New Weapon), which is passed to Attach Weapon to Socket to attach the right mesh.

Next Weapon simply cycles through a list: with Allowed Profiles = [Pistol, Rifle] and Step = 1, each press switches to the next weapon. It’s only one approach among many; the plugin provides several functions for building your own.

Equip Weapon: equipping a specific weapon

To equip a specific weapon instead of cycling through the list (for a weapon wheel, or one key per weapon), use Equip Weapon. Target Profile is the weapon to equip (“Rifle”, for example). Leave Unarmed Profile at None so it’s resolved automatically from the DataAsset.

Toggle Weapon: one button to draw and holster

For a single button that draws the weapon if it isn’t active and holsters it otherwise, Toggle Weapon is all you need. Armed Profile is the weapon; leave Unarmed Profile at None so it’s resolved automatically.

Attach Weapon to Socket: the ready-made function

In the character created for you, this function does the work. One call per owned weapon is all it takes to show or stow every weapon. Weapon is the weapon this call handles (“Rifle”), and Weapon Mesh is its mesh. If New Weapon matches Weapon, the mesh is attached to Socket Drawn (in hand); otherwise, to Socket Holstered (stowed on the body). Duplicate the call for each weapon, changing Weapon, Weapon Mesh and the two sockets.

The LF Profile Switch notify: syncing the switch to the animation

By default, the weapon switches (and On Weapon Changed fires) as soon as the draw or holster montage starts. To sync the switch to the frame where the hand closes around the weapon, add the LF Profile Switch (Weapon Draw/Sheathe) notify to the montage on that frame. The switch then waits for the notify instead of happening right away. If the montage has no such notify, or if there’s no montage at all, the switch is still immediate.

Waiting for a draw to finish

Play Equip Weapon is designed for people used to Play Montage who would rather not use the dedicated functions (Equip Weapon, Toggle Weapon). It draws, holsters or switches weapons exactly as they do, but has the same outputs as Play Montage: On Started, On Notify Begin, On Notify End, On Completed and On Interrupted.

A posture is a column in the profiles table. You can create as many as you like (crouched, injured, flying) and switch to them from your Blueprint:

Example: the Crouch posture

Setting the axis only changes the pose that plays. The collision capsule belongs to Unreal, not to the plugin. So the Blueprint makes two calls in a row: Set Axis State (“Posture”, plus your column name, for example “Crouch”) for the pose, then Crouch / UnCrouch, the character’s native functions, so the capsule actually changes size.

The character created for you already wires up this example on IA_Crouch: a Flip Flop alternates between two branches on each press. The first branch calls Set Axis State with the name of the profile you created in the Profiles tab (“Crouch”, for example), then Crouch. The second calls Set Axis State with the value left at None, to return to the default posture, then UnCrouch.

The name you pass to Set Axis State must exist as a column in the Profiles table (in the Profiles tab). That’s where you add it, using the + at the top.

Driving a Body Layer

The character created for you already knows how to mount: the IA_Mount action is wired up and included in the character’s Input folder. There’s just one rule to remember: the RIDER does the mounting, the VEHICLE gets mounted, and each one handles its half of the work.

The detection provided, Find Mount by Trace (a sphere trace in front of the character), is only an EXAMPLE. Replace it with whatever your game needs: a trigger volume, a list of nearby objects, a UI button. All that matters is knowing WHICH actor the character wants to get on, and passing it to Mount Onto Animated.

The vehicle needs a Rideable LF component

Add the Rideable LF component to whatever gets mounted: the horse, the car, the platform. This component is what grants permission; without it, mounting does nothing at all. It also holds the vehicle’s input mapping (Default Mount Input Context), which the player receives while on the vehicle. Without it, the player ends up seated with no controls.

What Mount Onto Animated needs

The two montage notifies

Once the character is seated, the plugin handles everything below without you having to ask.

Getting off

⚠ Getting off is triggered from the VEHICLE, not from the character. This is the part that catches people out: once mounted, the player possesses the vehicle, so the character’s inputs no longer respond. That’s why the key that makes the rider get off lives in the vehicle’s Blueprint: it’s the E shown in the screenshot above.

Talking to the rider from the vehicle

Get Current Rider returns the actor seated on the vehicle. Use it to cast to your own character class and ask it whatever you need.

Get Rider Locomotion Component goes one step further: it returns the rider’s locomotion component directly, which gives you access to everything the character can do. That’s how you make the rider aim from the vehicle, with Set Aiming. Connect it to the mount’s aim input, because the mount is what the player is controlling.

Two functions for systems that sometimes need to set the character’s rotation themselves (an attack aimed at a target, a cutscene, a physics-driven rotation) without the framework trying to correct it afterwards.

Two nodes are available on the animation side, for when you add your own layers after the plugin’s node.