When I first set out to make a 20-minute video about a history subject, I asked, “How fast can I get at making this?” The answer wasn’t simple—it depended on multiple factors like my familiarity with the topic, the complexity of the content, and the tools at my disposal. A rough estimate broke it down like this: research (3-5 hours), scripting (3-4 hours), recording (1-2 hours), editing (4-6 hours), and final adjustments (1 hour), totaling 12-18 hours over a couple of days. With practice, I could streamline this, especially with a strong script and visuals ready, but one hurdle stood out: visuals were tough to come by.
I didn’t want to show myself on camera, and AI-generated videos were way too short for my 20-minute goal. So, I explored alternatives. Stock footage from sites like Pexels, Pixabay, or paid platforms like Shutterstock offered options, while historical archives like Prelinger or the Library of Congress had public domain content perfect for older topics. Animations seemed promising—tools like Animaker, Vyond, or even Blender for 3D work could bring historical events to life. Slideshows with motion graphics (via PowerPoint or Adobe After Effects), illustrations, infographics from Canva, or even collaborating with visual creators on Upwork were all on the table. I leaned toward creating my own visuals with software like Blender, After Effects, or DaVinci Resolve, intrigued by YouTube tutorials like “The Ultimate Blender Animation Guide,” “Animation for Beginners! (Blender Tutorial),” or “Historical Objects Animation in After Effects.”
But should I invest the immense time to learn Blender or DaVinci Resolve? Blender offered full creative control, free access, and versatility for 3D animations—great for complex historical visualizations—but its steep learning curve and time-intensive nature felt daunting for simple projects. DaVinci Resolve, with its free version and industry-standard editing tools, was better for quick video assembly and polish, though it didn’t handle 3D modeling. For my goal of basic character designs (not hyper-detailed) and fast video output in a South Park-style production pace—where charm comes from content despite rough visuals—I needed something simpler. I didn’t want to intentionally make them look bad; I just lacked skill and wanted to pump out videos, embracing the imperfections.
Blender felt like overkill—was it the standard? It’s a powerhouse for 3D and even 2D animation (via Grease Pencil), but for quick 2D work, tools like Vyond, Toonly, Adobe Animate, or Pencil2D were faster. Vyond, though, felt too corporate—“for cops,” as I put it—lacking the personality I craved. I wondered if any tool could take a script and automate animations, especially syncing mouths to dialogue. Adobe Character Animator came close with automatic lip-syncing and real-time webcam control, while Plotagon animated dialogue from voiceovers, and CrazyTalk Animator (now Cartoon Animator) offered similar features. Still, none fully matched my text to mouth movements without manual tweaks, and Adobe’s moderate learning curve loomed large.
Once proficient with Adobe Character Animator, could I match the speed of simpler tools? Absolutely—its reusable puppets, triggers, and lip-syncing could streamline production, though it lacked Blender’s 3D capabilities. Both tools demanded time for “cool shit”—Adobe for character setup and Blender for modeling, rigging, and rendering. For a 20-minute video with a script, an experienced Adobe animator with assets ready might take 20-30 hours: voiceover prep (2-4 hours), lip-syncing (4-6 hours), scene setup (8-12 hours), refining (4-6 hours), and editing (3-5 hours). That felt insane—too much for my goal of rapid output.
Frustrated, I pivoted. What if I made videos like top-down RPGs or SNES-style platformers? Using game engines like RPG Maker, Godot, or Unity, I could craft retro visuals with pixel art and simple sprites, record gameplay, and overlay voiceovers—faster than full animation. Popular stacks like RPG Maker (for story-driven RPGs), Godot (for flexible 2D games), or Unity (with its asset store) supported this, alongside animation tools like Adobe’s suite or Blender, and editing with DaVinci Resolve or OBS Studio.
Ultimately, I chose GameMaker. Its drag-and-drop interface and robust 2D capabilities let me quickly build top-down or platformer-style games without a steep learning curve. Pre-made assets and simple animations suited my need for speed, while its flexibility allowed me to create charming, retro-inspired videos that didn’t demand perfection. Unlike Adobe or Blender’s time sinks, GameMaker aligned with my vision: fast production, basic designs, and a focus on storytelling over polish—perfect for pumping out history videos with SNES flair.
