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for two frames before it overcomes inertia and makes the same turn. A more specific example of this

techniques' application can be observed in a scene from “Super Fun Time” (Illustration 2), where Eric

is trying to make Butters let go of his hand by pulling him from side to side. Eric, who is exerting the

force, leads the action with his head, and his body remains in frontal view until his head has turned a

full 180 degrees, forcefully dragging his body along. Butters, conversely, is being pulled by from his

hand, and is forced into motion against his will. Therefore, his body rotates first, while his head drags

 behind in the action. The opposite uses of overlapping action between Eric and Butters clearly explicate

the dynamics of forces causing the movement.

When there is a necessity to emphasize an action that supports a specific emotion of a character,

it becomes important to add in-betweens and details to achieve the desired result. These details could

 provide additional overlapping or secondary action to the main action, or exaggerate the main action

(Williams, 2001). The scene of Butters and Cartman walking on a traffic light pole ( Illustration 3)

demonstrates how a tightrope walk can be distinctly differentiated from a regular walk cycle

(Illustration 4). In a regular walk cycle, the character bounces up and down, with both legs kept rigidly

straight as one piece, rotating slightly from the hips. In contrast, Butters is lifting his left foot while

 Illustration 1: Super Best Friends (Season 5, Episode 3)

 Illustration 2: Super Fun Time (Season 12, Episode 7)

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sliding his right foot on the pole. The knee-lift of the left foot is dramatically exaggerated, and it seems

implausible that a tightrope walker would lift a foot that far above the support. However, this

exaggeration emphasizes the juxtaposition against the right foot, which is in constant contact with the

  pole. It is seemingly glued to the support, and expresses Butter's cautiousness in every step.

Furthermore, the exaggerated knee-lift generates a strong silhouette that draws the audience's attention

to the focal point of the action (Blair, 2001). The added details to the walking action is successful in

conveying the predicament that Butters is facing, which could not have been achieved with the regular 

walk cycle.

In stark contrast to the economically animated limbs and torso, the character's faces are

relatively detailed and vividly expresses the characters' emotions and thoughts. Even though character 

emotions are driven mainly by the superb voice acting, facial animation also plays a large role in

complementing the dialogue.

 Illustration 3: Super Fun Time (Season 12, Episode 7)

 Illustration 4: Miss Teacher Bangs a Boy (Season 10, Episode 10)

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A pivotal aspect of facial animation is eye-blinks, which are used almost systematically

throughout south park animation. Whenever characters begin to talk, they will almost certainly blink 

their eyes just a couple of frames earlier. This minor detail serves as an anticipation to draw the

audience's attention to the character who is about to speak (Roberts, 2007). Furthermore, the timing of 

eye-blinks also communicates the characters attitude and prepares the audience for what is going to be

said. Eye-blinks also help to indicate shifts in a character's thoughts or emotions (Murch, 2001). This

enables the characters to come to life, because they appear to be making decisions as they negotiate the

conflict of a scene (Hooks, 2003). A notable example of eye acting can be observed from the scene

where Eric persuades his friends to unite in a plan to defeat their nemesis in “Make Love, Not

Warcraft”. As he begins to recites his plan from a piece of paper ( Illustration 5), he does not blink even

as his eye pupils dart back and forth to focus on his writings, while simultaneously maintaining eye

contact with his friends. His intense gaze communicates the seriousness of his plan. Then, he blinks,

reconnecting with his friends on a personal level, and requests their support in his plan (Illustration 6).

In this scene, the contrast of timing of the blinks highlights Eric's tactful shift in his persuasive strategy,

effectively fleshing him out as a believable, thinking character.

 Illustration 5: Make Love, Not Warcraft (Season 10, Episode 8)

 Illustration 6: Make Love, Not Warcraft (Season 10, Episode 8)

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Apart from eye blinks, the eye brows and mouth are also animated to generate a wider range of 

expressions. Facial expressions are further enhanced by secondary action of the head, which can be

more pronounced as characters enunciate key words while talking. Furthermore, transition emotions are

created by overlapping the extreme poses of each element being animated, allowing for more

 psychologically complex expressions (Faigin, 1990). This technique is often used when a character 

shifts from one distinct expression to another. A typical example is shown in Illustration 7, where

Damien transits from an expression of frustration to shock. His face does not merely snap from one

 pose to another. Instead, there are two transitional expressions that occur due the the overlapping

timing of the eye blink and eye brow movement. The eyes close first, indicating his reaction to what he

hears. Then his brows are extended upwards in expression of realization. Finally, his eyes open to

express shock, enhanced by an additional upward jerk in the head. These transitional expressions

support the acting choices of characters and give greater depth to their personalities.

While South Park's limited animation techniques compromise the realism and smoothness of 

artwork, it emphasizes what is truly important in animation – bringing characters to life. It is hoped that

this paper has given the reader a deeper understanding of the some of the key principles of animation.

These principles are not meant to be used merely as formulas, but they should be understood as

concepts that can be manipulated and applied in a eclectic variety of situations in support of the story's

characters and ideas.

 Illustration 7: Damien (Season 1, Episode 10)

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