Historical background - rubber hoses no more Based on some of the cheats that other animators and I have used, this article describes a reconfigured version of the classic 12 Principles of Animation that I’ve used in my work, especially in my current work on Little Nemo.
When used well, I think that the 12 Principles are a great tool for game animators, but those principles developed for use in film don’t always fit 1:1.
#Little fighter white lion series
Our in-development game uses traditional 2D animation to build an animated comic world based on the original Little Nemo series by Winsor McCay. The trailer from Little Nemo and the Nightmare Fiends March 2021 Kickstarter campaign. I can see the same bending of principles happening around the industry as well, such as in the works of Celeste animator Pedro Medeiros (whose excellent animation tutorial gifs can be found here.)
Often, I find myself using the Principles of Animation, but bending them for use in games. In this role, I’ve had to make difficult choices between serving art or tech. While I wear many hats in the industry, I’m often called into action as an animator, such as with my current work on Little Nemo and the Nightmare Fiends – an in-development non-linear 2D platformer based on Winsor McCay’s groundbreaking Little Nemo comics. The 12 Principles of Animation describe techniques for drawing specific motions and interactions so that an animator’s drawn characters can give the impression of life through timing, expressiveness, and other qualities. Chief among these techniques are the classic 12 Principles of Animation, developed over many years at the Walt Disney Animation Studios and eventually published in the 1981 book Disney Animation: The Illusion of Life by Frank Thomas and Ollie Johnston. For that reason, animators have to juggle art and tech (image source: )Īll of this leads to a strange balancing act for game animators, who train rigorously in artistically-focused techniques meant to give a sense of life to their creations. Game animation has to be both artistically interesting and functional within the constraints of games, such as snappy controls and collision.
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