1: Squash & Stretch
Good Example - Darkstalkers, Gameplay Lilith vs Pyron & Jedah
(Video from Shibuyacho on YouTube)
Although
exaggerated, it works
well for the style of game. Squash & stretch can be used in an exaggerated style to add comedy to the animation but sometimes doesn't work out for the best. Luckily for Darkstalkers, it works.
2: Anticipation
Good Example - Assassins Creed, A selection of Viewpoints in game
(Video from machinimarespawn on YouTube)
(Video from machinimarespawn on YouTube)
Not too
sure if this is correct of the anticipation principle, but whenever Ezio goes to do his
viewpoint dive, he always crouches down on the perch in anticipation of the
jump ahead of him.
3: Staging
Good Example - God of War, Chaos Trailer
(Video from Kishishev1903 on YouTube)
(Video from Kishishev1903 on YouTube)
Some
of the best staging and cinematic of any
game I have ever played, gives the player a real sense
of where they are, where they need to be and why. It never takes away from the gameplay, it
simply adds to it and makes it more epic.
4: Straight ahead action & pose to pose
I wont lie, this one caused me some trouble. From what I could gather straight head & pose to pose is to do with the creation process of the animation itself and I was struggling to find animations where I was 100% sure how it was made. Unless I have gotten it completely wrong. In which case, whoops!
5: Follow through & overlapping action
The way Batman’s cape
moves realistically as he moves is an example of an overlapping/follow through action. Every move Batman makes causes his cape to alter and follow/carry on moving.
6: Slow in & slow out
Good Example - Portal 2, gameplay
When you use the orange propulsion gel in Portal 2 you are able to run really fast to propel you to places otherwise un reachable. As you can see, you start of slow and get gradually faster.
When you use the orange propulsion gel in Portal 2 you are able to run really fast to propel you to places otherwise un reachable. As you can see, you start of slow and get gradually faster.
Just to set the record straight, I love this game, and I most
certainly wouldn’t call this a BAD thing about the game but now, years later,
when I studying animation within game, I see how crazy this looks and can
remember feeling it when I was playing. Sir Dan Fortesque, you’re amazing, but
you sure do run fast. The good thing is, he sort of comes to a slow stop when
you stop him moving, however, when you begin to move it’s all or nothing, no
getting progressively faster, he just runs like he is being chased by a bear
(not that a bear could even startle the great sir Daniel Fortesque!) The only
place I see slow in & slow out is when he dashes. But that is a special
move the player must initiate.
7: Arcs
Good Example - Skyrim
You can
clearly tell that the movement of the werewolf in Skyrim moves in a beautiful
arc as it runs.
8: Secondary action
Good Example - Mortal Kombat
In mortal Kombat when players are
“standing still” and not fighting, their characters engage in a sort of swaying
motion giving them a more realism and grounding in the game.
9: Timing
Good Example - Mortal Kombat
You can see how
different timings of movement from the characters performing their fatalities
effect the weight and realism of their moves which in turn make them believable
10: Exaggeration
Good Example - Street Fighter
Everyone knows how epic Street Fighter is, even if they don't play it! But it’s
that epic-ness that leads to the overly exaggerated movements and style of the
game. Having said this, it does work which is why it is a good example!
11: Solid Drawing
Good Example
This is fairly self explanatory, drawings
needs to be consistent and well weighted to give the impression of reality or
structure within the ideals of the game. For examples, I will show artwork that
inspires me from games that I love.
Ashley Wood
Ashley
Wood is one of my favourite artists. He did the concept artwork for the Metal
Gear Solid series. He gives a great sense of 3d characters and their presence
on the screen.
12: Appeal
Good Example
Characters
that reach out to the viewer and hold a place in their memory. Even villains
and monsters can have appeal.
Characters
that affect the player in a negative way. Perhaps annoy or frustrate them
resulting in a loss of connection between they player, character and game.
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