I am currently teaching a class on the theory and history of video game animation. For that I am using Cooper’s “Game Anim: Video Game Animation Eexplained” (2021) which I highly recommend. Since video game animation is, due to its interactivity a profoundly different affair in comparison to traditional animation for film, I arrange my lectures in a way to use the first half of the session to discuss theory while I invite students in the other half to experience the animation theories I explained by playing different games. One of the games that turned out to be a perfect fit for exemplifying the traditional 12 Animation Principles was Super Mario Odyssey (Nintendo 2017); not just because of the use of the principles themselves but also because the game’s accessibility which made it easy for students to pass the controller around and have a shared and collective experience.
Super Mario Odyssey is a 3D platform game by Nintendo for the Nintendo Switch console which I also use in my classroom. The game follows Mario and his new companion Cappy on their odyssey in pursuit of Bowser and his attempts to marry Princess Peach. With its combination of traditional platforming mechanics, unique features such as the capture ability (one can capture and control various NPC characters with different abilities) , and a vibrant and charming visual style, Super Mario Odyssey is able to create an interesting, challenging yet accessible gameplay experience which is a great fit for a classroom where games are discussed. However, this entry will explore the game’s use of the classic 12 Animation Principles to establish a resource for students but also educators for this topic.
The 12 Animation Pricinples
The 12 animation principles were first introduced by Disney animators Ollie Johnston and Frank Thomas in their book “The Illusion of Life: Disney Animation” (1981).
These principles are fundamental guidelines for creating engaging and believable animation that bring characters to life on screen. The principles are:
- Squash and Stretch – this principle involves stretching or compressing an object or character to create a more fluid and dynamic movement.
- Anticipation – this principle refers to the preparation of an action before it happens, helping to create a more natural and believable motion.
- Staging – this principle involves positioning characters and objects within the frame to emphasise the most important elements and guide the viewer’s attention.
- Straight Ahead Action and Pose to Pose – these two principles represent different approaches to creating animation, with straight ahead action involving creating each frame in sequence, while pose to pose involves creating keyframes and then filling in the gaps.
- Follow Through and Overlapping Action – these principles refer to the use of secondary motion to create a more natural and fluid movement, such as the motion of hair or clothing after a character has stopped moving.
- Slow In and Slow Out – this principle involves creating a more natural sense of acceleration and deceleration in movement, with objects or characters starting and stopping gradually.
- Arcs – this principle involves creating movement along a curved path, which can create a more fluid and dynamic motion.
- Secondary Action – this principle involves creating additional movements in conjunction with the primary action to add depth and complexity to the animation.
- Timing – this principle involves controlling the speed and pace of movements to create a more natural and believable motion.
- Exaggeration – this principle involves amplifying movements and expressions to create a more expressive and engaging animation.
- Solid Drawing – this principle involves creating the illusion of three-dimensional objects and characters through careful attention to form and structure.
- Appeal – this principle involves creating characters and designs that are appealing and engaging to the audience, drawing them in and creating a connection with the animation.
Overall, these principles represent a set of fundamental guidelines for creating engaging and believable animation, and they are essential tools for animators working in a variety of mediums, including film, television, and video games.
The 12 Animation Principles in Super Mario Odyssey
Video game animation and normal animation share many similarities, but there are also important differences between the two. Normal animation typically refers to the creation of animated content for film or television, while video game animation refers to the animation used in interactive digital games. One of the main differences between the two is the way in which the animations are created and implemented. In normal animation, the animator creates each frame of animation in sequence, whereas in video game animation, the animation is often created as a series of discrete actions that can be triggered by player input or other game events. This means that video game animators must consider how their animations will be integrated into the overall gameplay experience and how they will interact with the game’s mechanics. This leads to having to consider the interactivity in video game animation. Video game animations are not just viewed passively by the audience, but are also controlled and manipulated by the player. This creates unique challenges for video game animators, who must ensure that the animations respond to player input in a way that feels natural and intuitive.
In that sense the 12 Animation Principles must be looked at with some reservation when analysing video games since Johnston and Thomas wrote their book for 2D animation film. Super Mario Odyssey is a 3D video game and must be treated as such. The following list of principles discusses each principle in regards to the game.
- Squash and Stretch: This principle is used extensively in Super Mario Odyssey to add weight and impact to Mario’s movements. When Mario jumps, his body stretches out to emphasise the height and distance of the jump. When he lands, his body squashes down to show the impact of the landing.
- Anticipation: Anticipation is used in the game to communicate upcoming events or actions to the player. For example, when an enemy is about to punch a visual cue such as lunging, leaning back or swinging the arm are given to allow players to anticipate the action and the severity of its impact.
- Staging: The game uses staging to guide the player’s attention to important objects or events. For example, the camera will pan to show the player where to go next or highlight an important collectible. Cut-scenes are also fully staged encounters in-game.
- Straight Ahead Action and Pose to Pose: Super Mario Odyssey uses both straight ahead action and pose to pose animation techniques to create fluid, dynamic movement. Straight ahead action is used for fast-paced action sequences, while pose to pose is used for more deliberate movements.
- Follow Through and Overlapping Action: These principles are used to add naturalistic movement to Mario and other characters. When Mario jumps and lands, his hat will continue to move for a moment after he stops, adding a sense of weight and momentum. Similarly, when he runs, his arms and legs will move independently, creating a more naturalistic impression.
- Slow In and Slow Out: Super Mario Odyssey uses slow in and slow out to create smooth transitions between actions. When Mario starts running, for example, he will gradually pick up speed, and when he stops, he will slow down gradually, rather than coming to a sudden halt. These decisions in animation add to the feel of momentum and gravity in-game.
- Arcs: Arcs are used in Super Mario Odyssey to create naturalistic movement. When Mario throws his hat, for example, it will follow a curved path through the air, rather than moving in a straight line. While not always the case, such as in jumping when only few frames create the iconic Mario jump with one arm lifted high, Mario’s movement does usually aim for fluid body movement.
- Secondary Action: This principle is used to add complexity and depth to animations. When Mario runs, for example, his hat will bounce up and down independently, adding a secondary layer of movement to the animation that supports the main action which is running in that case.
- Timing: Timing is used in the game to create a sense of rhythm and pacing. For example, when Mario attacks an enemy, there is a brief pause before he strikes, creating a sense of suspense.
- Exaggeration: Exaggeration is used in Super Mario Odyssey to create a sense of fun and whimsy. Mario’s jumps and movements are exaggerated to create a sense of excitement and wonder. By
- Solid Drawing: Solid drawing is used to create well-defined, three-dimensional characters and objects. Mario and his companions are rendered in 3D, with carefully crafted textures and lighting to make them look lifelike.
- Appeal: The game uses appealing characters, settings, and animations to create an immersive, engaging experience for the player. From Mario’s iconic design to the colourful, imaginative worlds the game delivers a world with character that draws players attention and makes them want to explore that world.
In Conclusion
Super Mario Odyssey is an effective fit for teaching animation principles in the classroom due to its extensive use of established animation techniques throughout its gameplay and visual design. The game uses all 12 animation principles to create a highly immersive and engaging experience that brings its characters and world to life.
The game’s use of squash and stretch, anticipation, and follow-through and overlapping action is highly prominent, with Mario’s movements and interactions with other characters and objects on screen demonstrating these principles in action. For example, Mario’s jumps and movements are exaggerated to create a more dynamic and engaging animation. Furthermore, the game’s use of timing and slow in and slow out is also highly noticeable, with Mario’s movements and animations carefully timed to create a more natural and believable motion. This is particularly evident in the game’s capture ability, where Mario is able to take control of other characters and objects, requiring a different set of movements and timing for each one. Moreover, the game’s use of solid drawing and appeal is highly evident in the design of its characters and world. Mario and other characters are designed with clear and distinct shapes and forms, making them easy to recognise and appealing to the audience. The game’s world is also highly imaginative and visually appealing, with each kingdom featuring unique and engaging designs. Lastly, the game’s use of staging and camera angles is highly effective, with each scene and interaction carefully staged to guide the viewer’s attention and create a more engaging and immersive experience.
By playing and analysing this game, students can gain a deeper understanding of animation techniques and how they can be used to create engaging and immersive digital experiences.
This article has been partially written with ChatGPT for descriptive sections. All opinions, subjective perspectives, analytical passages and conclusions discussed in this article are the author’s.
Further Sources:
Beane, A. (2012). 3D animation essentials. John Wiley & Sons.
Cooper, J. (2021). Game anim: video game animation explained. Crc Press.
Thomas, F., Johnston, O., & Thomas, F. (1995). The illusion of life: Disney animation. New York: Hyperion.