In Week 03 of Design for Animation, Narrative Structures, and Film Language with Nigel Mairs, the focus shifted strongly towards storytelling and how narrative, characters, and editing work together to form a complete animated film. This session helped me understand that animation is not just about visual appeal, but about how stories are constructed and emotionally delivered to an audience. We began by looking at narrative structure and why most stories follow certain patterns rather than being random. The tutor explained common frameworks such as the Three-Act Structure and the Five-Act Structure, showing how stories usually begin with stability, move into conflict, and eventually reach resolution. What stood out to me was how even subtle changes in structure, such as delaying a reveal or adding a secondary conflict, can significantly affect audience engagement. It made me realise how carefully each scene needs to be planned so that the story flows naturally and maintains interest.
The session then moved on to character development. We discussed how characters are not just visual designs but narrative drivers. Every character has motivations, fears, and goals, and these elements shape how the story unfolds. Heroes, antagonists, and supporting characters all play specific roles, and their choices push the plot forward. I found the discussion around villain archetypes particularly interesting, as it showed that antagonists are often more complex than simply being “evil.” Some villains genuinely believe they are doing the right thing, which adds moral tension and depth to the story.
Editing was the final major topic of the week. Editing was described as the invisible language of film, controlling rhythm, pacing, and emotional impact. We looked at continuity editing, which creates a smooth and believable flow, and montage editing, which compresses time or heightens emotion. I found it fascinating how editing can manipulate time, making events feel continuous even when they are not. This made me more aware of how powerful editing choices are in shaping the viewer’s emotional response. To connect theory with practice, we looked at Encanto as a case study. By breaking the film down using a story arc framework, it became clear how Mirabel’s journey is driven by emotional need rather than physical power. Her growth through conflict and reconciliation demonstrated how character development and narrative structure are deeply connected.
Overall, this week helped me see storytelling as the backbone of animation. I now find myself watching animated films more critically, paying attention not just to visuals but to how stories are structured, characters are written, and scenes are edited to create meaning and emotional impact.