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Growing Game Animation

WB Games' Mike Jungbluth looks at the advantages of player input and transitional animations

Player Input

The buttons and commands the player inputs are the moments when they get to directly speak to the game. That is the moment they are communicating with characters in the game - those they are controlling and those they are interacting with. Often times, it is the designers or programmers thinking actively about what those input commands will be, but when you start to think with an animator's knack of performance and personality, there is a world of possibilities that we can use to help push the emotional feel of that conversation.

How the player interacts with the controller, and how those movements are input can be deeply carried over into the personality and performance of the character on the screen. The press of a button or choice of a specific command is the anticipation for what is about to happen. The feel of the trigger buttons differs from how the press of a face button feels. Using the thumb stick as a button press has always made me feel a unique blend of clumsiness and awe.

Using those tactile responses, along with how long the player should hold them, or tap them, can affect the player's mood and as such should affect the characters on the screen if we really want to craft a deeper conversation between player and game. Even something as simple as whether an action happens on button press or button release can dramatically change how the player feels, and can signal deep character traits in the character in the game.

Even something as simple as whether an action happens on button press or button release can dramatically change how the player feels.

Since we were already talking about how to build stronger transitional animations, let's start with using player input as another layer towards making those stronger. Imagine coupling a transitional animation to match the speed at which a player is pressing in the direction they wish to turn. If they are slowly pushing in a direction, the transition is a more tentative look to move than if they quickly jammed the thumb stick. Often times blending is used for these, and for some games that may be enough, but for suspenseful, character driven narratives, this would go a long way towards feeling a part of the scene and deeply connecting the player with the character they are playing.

Street Fighter is a great example of control inputs matching the characters personalities on many of their most recognizable figures. Ryu is meant to be a controlled personality, with his emotions kept in check leading a life of modest means. His moves and fight style reflect this with clean and simple sweeping motions that work best when the player is conscious of his opponent to calmly react and control the space. He also has a relatively small list of special moves, but each are incredibly capable.

Now think of Akuma, a more powerful, evil and demented version of Ryu. He shares the same core moves of Ryu, but has the addition of a few more meant to help press the fight forward and stay on top of his opponent. And those few extra moves that actually require the player to press forward motions on the stick, violently thrusting him towards the enemy, resonates to speak to his dominating spirit. Then there is Blanka, who is meant to be wild and has a move that actively requires the player to abandon everything except hammering violently on one button. That electric feeling comes through the kinetic press of the buttons, and matches perfectly with his appearance and character.

Balrog is meant to be a violent, brutish boxer. When you think of boxing you think of lots of blocking and then powerful punches that capitalise on any opening that is given. And the commands of the player match that perfectly, requiring them to turtle up for a second, holding back to block, only to quickly push forward to do an all or nothing heavy punch. Zangief if a showy, brash wrestler and his input commands of large circular commands matches that. All of these characters are instantly recognizable in personality, appearance and play style and it is no coincidence that players are so attached to their favorite. What the player is doing to the controller matches on multiple levels to what the character is doing on the screen.

The next time you are animating or designing a character, take the time to imagine their thought process and personality on more than just the fun, exciting actions. Think about those transitional animations and then what button or command the player will be using to propel the characters action. Doing so will allow a level of communication and understanding to blossom between the player and the game that will help push the level of emotional investment that both gamers and developers yearn for. It will also help to define our skills beyond just mimicking what our film brethren do oh so well in an exciting way we can call our own.

Mike Jungbluth is an animator at WB Games Seattle, where he has most recently contributed to Lord of the Rings: War in the North. Past games include Singularity, Wolfenstein, The Incredible Hulk, and 300: March to Glory.

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Mike Jungbluth

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