Yes, South of Midnight will still run at 60fps despite its stop motion animation: "you're still in this crafted world without making it, you know, too nauseating"

gamesradar.com:

South of Midnight's beautifully rendered digital-handmade world might look like a stop-motion movie, but developer Compulsion Games tells us that the "the gameplay itself is actually at 60fps."

While a stop-motion effect is enabled by default in the upcoming Xbox Series X game, Compulsion knows this element might not be for everyone. "It's a normal framerate," says art director Whitney Clayton of South of Midnight's solid 60 frames-per-second action, with individual character models and environment assets toggled during production to "have different amounts of stop motion treatment."

The goal? "To sell the impression that you're still in this handcrafted world without making it, you know, too nauseating in certain instances" – though accessibility settings can help players tailor the experience further.

As a Southern Gothic action-adventure infused with folkloric myth and legends, a thematic visual style was always a key design pillar propping up South of Midnight – and Compulsion had something specific in mind. "If you tell people, oh, we're making miniatures that feel made by hand, you could get people thinking, 'Oh, is it like Wallace and Gromit or Gumby or something?' And that wasn't the direction we wanted to go," says Clayton. "We found this animation called Madame Tutli Putli [by Clyde Henry Productions], which had this really atmospheric, mature, kind of creepy style to it, and we loved it."

Continue your journey into South of Midnight with our Big Preview. Up next, you can read our South of Midnight hands-on impressions and find more of our interview with the team from Compulsion Games.

When the stop-motion production company (and fellow Canadians) had Compulsion's art team visit their studio in Montreal, Clyde Henry became instrumental in realizing South of Midnight's handcrafted dreams. "On the left was a real maquette and then on the right was our reverse engineered digital 3D model, where we were trying to figure out how to apply rules that made things