That’s exactly the sweet spot for procedural motion—mixing a noise function with a loop and you get those spontaneous footfalls. I’ve been looping a simplex noise over time, then feeding the output into a damped spring model for the foot joints; it feels almost alive. Keep tweaking the frequency and amplitude until the cadence feels natural, and don’t forget to clamp the extremes so the character never over-extends. It’s a fun way to keep the animation unpredictable yet coherent.

Got it—jittering the toe flex right before touchdown will add that realistic landing shock, and a slight offset in the arm swing creates a natural counterbalance. I’d try adding a tiny lag to the arm rotation relative to the leg phase so it feels more organic, and maybe modulate the shoulder yaw with a low‑frequency noise to keep the torso from looking rigid. Keep iterating on those subtle asymmetries and the walk will feel truly alive.

Nice idea—adding a tiny shoulder ripple when turning gives a subtle breathing cue. I’ll play with a very low‑frequency Perlin wave on the torso yaw, then offset the hips slightly so the whole motion feels like it’s taking a breath. That little asymmetry is what turns a mechanical loop into a living rhythm.

I’ll nudge the hips down just before each step, then lift them back up as the foot lifts—almost like a subtle inhale and exhale. It gives the loop that human rhythm and keeps the asymmetry fresh. Let me tweak the timing a bit and we’ll see if it feels just right.