WEBVTT 00:00:01.620 --> 00:00:02.180 Hello! 00:00:02.180 --> 00:00:05.940 And welcome to New Frame Plus, a series about video game animation. 00:00:05.940 --> 00:00:08.380 We’re gonna talk some more Smash Bros today, 00:00:08.380 --> 00:00:10.520 and because so darned many of you requested him 00:00:10.520 --> 00:00:15.160 let’s dig into the animation of Nintendo’s OTHER flagship hero: Link. 00:00:15.160 --> 00:00:20.560 As we discussed last time, Smash Bros animation has to achieve two goals simultaneously: 00:00:20.560 --> 00:00:23.360 it must functionally serve Smash’s gameplay needs 00:00:23.360 --> 00:00:27.780 while aesthetically staying true to each character’s origins and personality. 00:00:27.780 --> 00:00:28.440 So! 00:00:28.440 --> 00:00:30.220 What do we know about Link? 00:00:30.230 --> 00:00:32.940 To start, we know he’s not just one person. 00:00:32.940 --> 00:00:36.300 We’ve been playing a lot of different “Link”s over the course of the Zelda series 00:00:36.300 --> 00:00:39.180 (all of them blonde, by incredible coincidence I guess). 00:00:39.180 --> 00:00:41.820 And something I didn’t realize until researching for this video 00:00:41.820 --> 00:00:46.100 is that we’ve actually been playing different Links in Smash Bros this whole time also! 00:00:46.100 --> 00:00:47.719 And I’m not talking about these fellas. 00:00:47.720 --> 00:00:52.180 I mean the Link we’ve been playing from Day One to today has been different people. 00:00:52.280 --> 00:00:55.980 The Link of Smash 64 and Melee is the Link of Ocarina of Time, 00:00:55.980 --> 00:00:58.360 but the Link of Brawl and Smash 4? 00:00:58.360 --> 00:01:00.440 That guy’s the Link of Twilight Princess! 00:01:00.440 --> 00:01:03.300 An entirely different person donning the green tunic. 00:01:03.300 --> 00:01:07.440 And in Smash Ultimate, we’re going to get an entirely NEW Link from Breath of the Wild! 00:01:07.440 --> 00:01:10.909 Granted, you don’t really see that difference reflected in their animation, which... 00:01:10.909 --> 00:01:11.740 that’s kind of a shame. 00:01:11.900 --> 00:01:12.680 But still! 00:01:12.680 --> 00:01:13.400 It’s neat. 00:01:13.400 --> 00:01:14.900 Let’s see, what else do we know... 00:01:14.900 --> 00:01:19.040 Well, we know that it probably wasn’t too hard to condense all that personality 00:01:19.040 --> 00:01:20.700 into one Smash character because… 00:01:20.700 --> 00:01:22.300 ...there just ain’t much there. 00:01:22.310 --> 00:01:26.950 That’s the thing with silent protagonists: what you see on the surface is usually what you get. 00:01:26.950 --> 00:01:29.580 He’s not a completely blank canvas, though! 00:01:29.580 --> 00:01:34.480 Despite the fact that he’s silent, and despite the fact that he’s technically like TEN different people, 00:01:34.480 --> 00:01:39.340 there are a few constants about Link’s personality in every single incarnation. 00:01:39.480 --> 00:01:42.960 He is, in every single sense... a hero. 00:01:42.960 --> 00:01:45.400 I know it’s not much, but it IS something. 00:01:45.400 --> 00:01:49.360 No matter his disposition, whether he’s a serious Link or a cute Link, 00:01:49.360 --> 00:01:51.160 he always evokes courage. 00:01:51.240 --> 00:01:56.020 It is his one defining trait, he is literally BRANDED with a courage symbol. 00:01:56.020 --> 00:01:59.100 Of course, in practice, this trait usually just boils down 00:01:59.100 --> 00:02:01.520 to Link having an air of “stoic heroism” 00:02:01.520 --> 00:02:04.660 and eagerly charging into any dungeon he finds, BUT... 00:02:04.660 --> 00:02:08.420 “courage” is a pretty abstract quality to have to sell in animation. 00:02:08.420 --> 00:02:12.500 And probably even more so when you’re trying to design a moveset for a fighting game. 00:02:12.500 --> 00:02:18.720 Fortunate for us, then, that - if there is one thing we ARE very familiar with - it's how Link fights. 00:02:18.720 --> 00:02:22.380 From day one, Link has fought with that iconic sword and shield, 00:02:22.380 --> 00:02:25.520 and supplemented that with a wide assortment of gadgets and tools. 00:02:26.940 --> 00:02:30.740 Link becomes more powerful by finding and using new gear. 00:02:30.740 --> 00:02:32.960 And that is something we’ve seen accurately reflected 00:02:32.960 --> 00:02:36.580 in his Smash incarnation from the very beginning, which I just love. 00:02:36.640 --> 00:02:38.440 This is VERY on-brand. 00:02:39.080 --> 00:02:43.460 Now, I COULD spend this whole episode doing pretty much the same thing we did last time. 00:02:43.460 --> 00:02:46.260 I could dig into Link’s history, go through all of his moves, 00:02:46.260 --> 00:02:48.800 talk about how faithfully the character has been represented, 00:02:48.800 --> 00:02:51.840 pointing out all the references to Zelda games past... 00:02:51.840 --> 00:02:55.980 But honestly, making that same episode over and over would get kinda boring. 00:02:55.980 --> 00:02:58.520 Besides, if you just want to know all the references in his design, 00:02:58.520 --> 00:03:01.980 somebody else already made that video, and did a pretty fine job! 00:03:02.000 --> 00:03:03.620 I’ll link to it in the description. 00:03:03.620 --> 00:03:07.060 But no, today I want to come at this from a different angle. 00:03:07.060 --> 00:03:10.060 Last episode, I started by posing a question: 00:03:13.940 --> 00:03:16.380 Today, I want to ask a new question: 00:03:19.380 --> 00:03:22.420 How are the basic attacks in this game structured? 00:03:22.420 --> 00:03:23.920 Last episode was the overview. 00:03:23.920 --> 00:03:25.780 Now, we’re digging in deep. 00:03:25.780 --> 00:03:27.020 STRAP IN. 00:03:27.860 --> 00:03:31.460 Back in 2008, Masahiro Sakurai gave a talk at GDC 00:03:31.460 --> 00:03:34.240 about his design process for Smash Bros Brawl. 00:03:34.240 --> 00:03:37.300 You can listen to the whole thing if you’re interested, I’ll link to it down below. 00:03:37.300 --> 00:03:39.920 And big thanks to Jonathan Cooper for bringing it to my attention! 00:03:39.920 --> 00:03:44.840 But about halfway through, Sakurai starts digging into the structure of a Smash Bros attack. 00:03:44.900 --> 00:03:49.760 And it’s all pretty standard game animation stuff, but it’s a useful framework so let’s go ahead and use it. 00:03:49.840 --> 00:03:55.520 According to Sakurai, every basic Smash Bros attack consists of four phases: 00:03:55.520 --> 00:03:59.940 Standby... Windup... Strike... and Follow-Through. 00:03:59.940 --> 00:04:02.700 And there’s a lot of different terms that you could swap in for these... 00:04:02.700 --> 00:04:07.580 In animator lingo, we would probably call “Standby” something like “Idle” or "Starting Position". 00:04:07.580 --> 00:04:10.140 The Windup would almost certainly be called “Anticipation”. 00:04:10.200 --> 00:04:13.540 and a lot of people would probably refer to the “Follow-Through” as a “Recovery"-- 00:04:13.540 --> 00:04:16.040 Look, animators are REALLY bad at standardizing terms. 00:04:16.040 --> 00:04:18.700 For today, let’s just go with Sakurai’s terms: 00:04:18.700 --> 00:04:22.340 Standby > Windup > Strike > Follow-Through 00:04:22.340 --> 00:04:24.320 Now let’s go through these one by one. 00:04:24.320 --> 00:04:28.640 The Standby is basically the pose from which the attack animation will start. 00:04:28.640 --> 00:04:31.840 This will almost always be the character’s standing idle loop, 00:04:31.840 --> 00:04:36.080 although it might also be their crouching pose, or a falling pose if they’re airborne. 00:04:36.080 --> 00:04:38.860 The Windup is the moment before the attack. 00:04:38.860 --> 00:04:41.880 For animation clarity, you NEED this anticipation phase 00:04:41.880 --> 00:04:44.400 in order to convey the power of the attack. 00:04:44.400 --> 00:04:47.140 Without a windup, big actions just feel…. 00:04:48.100 --> 00:04:49.020 ...weird. 00:04:49.020 --> 00:04:51.620 But this component fills a gameplay need as well: 00:04:51.620 --> 00:04:56.120 it gives the attacking player visual confirmation that their input has been recognized, 00:04:56.120 --> 00:04:59.320 and it gives the defending player a hint that an attack is coming, 00:04:59.320 --> 00:05:02.220 providing them just a tiny opportunity to react. 00:05:02.220 --> 00:05:04.260 The Strike is the attack itself. 00:05:04.260 --> 00:05:08.720 It’s the narrow window of time where the attack is meant to connect and do damage. 00:05:08.720 --> 00:05:12.420 This phase may only last a few frames, but if the attack connects 00:05:12.420 --> 00:05:17.300 Smash games almost always use a chunky Hit Pause to emphasize that connection, 00:05:17.300 --> 00:05:20.380 effectively freeze-framing the characters for a fraction of a second. 00:05:20.380 --> 00:05:24.500 So this particular pose needs to look really powerful and clear. 00:05:24.640 --> 00:05:29.220 And finally, the Follow-Through is the window of time AFTER the attack has happened, 00:05:29.220 --> 00:05:32.960 but BEFORE the character has fully returned to their Standby position. 00:05:32.960 --> 00:05:36.300 In Smash games, this is the longest phase by far, 00:05:36.300 --> 00:05:39.120 and it fills several VERY important functions. 00:05:39.120 --> 00:05:43.640 First, it helps to sell the power of the swing by emphasizing the over-extension, 00:05:43.640 --> 00:05:46.580 the exertion that was required to perform the Strike. 00:05:46.580 --> 00:05:49.240 Second, it provides visual feedback to the attacker, 00:05:49.240 --> 00:05:52.460 signaling that they don’t have full control of the character back yet, 00:05:52.460 --> 00:05:55.700 that the attack they committed to isn’t yet complete. 00:05:55.710 --> 00:06:00.260 Third, this phase gives the defender a window of time to punish the vulnerable attacker 00:06:00.260 --> 00:06:01.400 while they’re recovering. 00:06:01.400 --> 00:06:05.900 And by the end of the Follow-Through, the character returns to their Standby position. 00:06:05.900 --> 00:06:08.740 Every basic attack has this structure. 00:06:08.740 --> 00:06:09.820 Standby… 00:06:09.820 --> 00:06:10.820 Windup… 00:06:10.820 --> 00:06:11.820 Strike… 00:06:11.840 --> 00:06:12.840 Follow-Through. 00:06:12.860 --> 00:06:13.860 Standby… 00:06:13.860 --> 00:06:14.860 Windup… 00:06:14.860 --> 00:06:15.860 Strike… 00:06:15.860 --> 00:06:17.020 Follow-Through. 00:06:17.600 --> 00:06:21.460 Alright now, let’s put on our animator caps and really dig into this. 00:06:21.460 --> 00:06:26.900 Like every character, Link starts in his Standby idle, and this is a good Idle animation loop. 00:06:26.900 --> 00:06:29.820 Nice silhouette (even when factoring in the sword and shield), 00:06:29.820 --> 00:06:32.320 clear posing no matter which direction he’s facing, 00:06:32.320 --> 00:06:36.260 and enough movement to keep him feeling active and visible on screen 00:06:36.260 --> 00:06:38.000 even when he's not doing anything. 00:06:38.000 --> 00:06:38.840 NOW. 00:06:38.840 --> 00:06:41.480 Let’s say the player hits the attack button. 00:06:41.480 --> 00:06:44.220 On FRAME 1, we already we have a huge change. 00:06:44.220 --> 00:06:47.560 Link pops right from this pose to THIS pose. 00:06:47.560 --> 00:06:50.040 Remember, Smash Bros attacks are FAST, 00:06:50.040 --> 00:06:53.420 so Link is going to have barely any time for that windup pose. 00:06:53.540 --> 00:06:57.180 He needs to get to that pose QUICK if it’s going to have a chance to read. 00:06:57.180 --> 00:07:00.020 FRAME 2 is our Key Pose for the Windup. 00:07:00.020 --> 00:07:03.080 This is the most important frame for the WindUp phase, 00:07:03.080 --> 00:07:07.160 it’s the pose that most clearly communicates the anticipation before the attack, 00:07:07.160 --> 00:07:10.540 so it is absolutely critical that this pose be clear. 00:07:10.540 --> 00:07:15.140 You see how the first three frames of Link’s attack REALLY favor this pose? 00:07:15.140 --> 00:07:20.140 1/20th of a second is just not enough time for our brains to fully process what’s happening, 00:07:20.140 --> 00:07:24.140 so these three frames need to do everything possible to sell the feeling 00:07:24.140 --> 00:07:26.500 of Link winding up for a sword swing. 00:07:26.500 --> 00:07:27.980 Ok, now FRAME 3... 00:07:27.980 --> 00:07:31.600 The front foot is stepping forward slightly and the back foot is planted. 00:07:31.600 --> 00:07:34.360 A lot of power is going to come from that planted foot. 00:07:34.360 --> 00:07:36.780 The hand is kinda clipping through the hat a little bit, but 00:07:36.780 --> 00:07:38.400 who cares, it’s one frame. 00:07:38.400 --> 00:07:39.860 Nobody's going to see that in motion. 00:07:39.860 --> 00:07:44.080 And it actually kind of helps to sell how far back the arm is rotated. 00:07:44.080 --> 00:07:47.340 Ok, FRAME 4... now the proper swing is starting. 00:07:47.340 --> 00:07:50.320 Link is leaning forward, his center of gravity is dropping, 00:07:50.320 --> 00:07:54.540 there’s a twist running from his planted foot up through his entire torso 00:07:54.540 --> 00:07:56.900 as he rotates his hips and then his shoulders. 00:07:56.900 --> 00:07:59.700 This is where the power of the swing is going to come from. 00:07:59.700 --> 00:08:02.220 FRAME 5: This frame is SO GOOD. 00:08:02.220 --> 00:08:03.480 I love this. 00:08:03.480 --> 00:08:07.060 The twisting rotation up the torso has finally reached the sword arm 00:08:07.060 --> 00:08:09.120 and is just starting to whip it forward. 00:08:09.120 --> 00:08:12.620 And the best part of it is the sharp change in Link’s Line of Action. 00:08:12.620 --> 00:08:13.920 Here’s where he started... 00:08:13.920 --> 00:08:16.760 and now here’s the line of action at FRAME 5. 00:08:16.760 --> 00:08:21.120 That change in the Line of Action alone sells the power behind this move! 00:08:21.120 --> 00:08:26.040 The hat reinforces the line, the outer curve of the shield somehow manages to reinforce it as well 00:08:26.040 --> 00:08:28.280 despite obscuring so much of the body... 00:08:28.280 --> 00:08:32.520 I do wish we could see a bit more of the sword arm to get a clearer silhouette, but whatever, 00:08:32.520 --> 00:08:34.860 we can still easily get a sense of what it’s doing. 00:08:34.860 --> 00:08:37.340 Seriously, this breakdown pose is so great. 00:08:37.680 --> 00:08:40.820 Ok, FRAME 6. Now the proper attack is starting. 00:08:40.820 --> 00:08:43.680 We’re out of the Windup and we're entering the Strike itself, 00:08:43.680 --> 00:08:46.860 that brief window of time where the sword can cause damage. 00:08:46.860 --> 00:08:50.700 FRAME 7: Now, here’s the key pose for the Strike, and it’s a strong one. 00:08:50.700 --> 00:08:55.000 Nice silhouette again: both the sword and the shield arm’s position are very clear. 00:08:55.009 --> 00:08:57.780 Link’s got a nice wide, powerful stance. 00:08:57.780 --> 00:09:00.640 He’s shifted his weight almost completely onto his front foot. 00:09:00.640 --> 00:09:03.580 the twist up the torso is at its maximum rotation, 00:09:03.580 --> 00:09:06.120 to the point that his upper body is facing camera now, 00:09:06.120 --> 00:09:09.000 and the sword has reached the middle of its swinging arc. 00:09:09.000 --> 00:09:12.460 Compare this key pose to the key pose for the Windup. 00:09:12.460 --> 00:09:16.560 Look at how extreme a change has just happened in 1/12th of a second! 00:09:16.560 --> 00:09:21.640 Ok, FRAME 8: Now we’re past the mid point of Strike, and what a nice arc on that sword swing! 00:09:21.700 --> 00:09:25.220 The blade’s path is completely clear thanks to that bright smear, 00:09:25.220 --> 00:09:27.180 and it looks really good to this camera angle. 00:09:27.340 --> 00:09:32.100 The torso twist is complete, the body’s exertion to power the sword swing is done, 00:09:32.100 --> 00:09:34.980 but now that sword has a lot of momentum, and it’s HEAVY. 00:09:34.980 --> 00:09:37.180 It’s not just going to stop on a dime. 00:09:37.180 --> 00:09:40.920 Ok, FRAME 9. Now we’ve transitioned from the Strike to the Follow-Through, 00:09:40.920 --> 00:09:42.900 the longest phase of the attack. 00:09:42.900 --> 00:09:47.580 The sword’s arc is going to continue for the next few frames until Link can manage to slow it down. 00:09:47.720 --> 00:09:50.600 And you can already see the rotation up his hips and shoulders 00:09:50.600 --> 00:09:53.120 starting to reverse back to where he started. 00:09:53.120 --> 00:09:59.460 The sword finally comes to a stop around FRAME 12. Link has regained control of it fully by FRAME 15, 00:09:59.460 --> 00:10:02.100 but notice how he’s still doubled over. 00:10:02.100 --> 00:10:06.600 Like I said before, there are a lot of reasons for him to spend so many frames in this pose 00:10:06.600 --> 00:10:08.340 right after the sword swing. 00:10:08.340 --> 00:10:13.040 For one, he needs to be left vulnerable to give his opponent an opportunity to counterattack. 00:10:13.040 --> 00:10:18.280 For two, the Follow-Through is a really important component for visibly selling the attack’s power. 00:10:18.280 --> 00:10:22.840 Seeing how far the blade’s momentum carries it past the target really emphasizes 00:10:22.840 --> 00:10:25.380 how hard Link just swang that dang sword. 00:10:25.380 --> 00:10:28.860 But there’s yet one other reason, and that is: clarity. 00:10:28.860 --> 00:10:34.680 You see, SO MUCH has just happened in SO FEW frames - in that 1/12th of a second - that it’s 00:10:34.680 --> 00:10:38.220 pretty likely the people watching the screen couldn’t fully take it in. 00:10:38.220 --> 00:10:43.060 The Windup was so short and the Strike so quick that, at most, the player being attacked 00:10:43.060 --> 00:10:46.940 probably only had a chance to process Link suddenly moving real fast, 00:10:46.940 --> 00:10:50.180 and then a big bright smear frame of the sword whipping in front of him. 00:10:50.180 --> 00:10:54.820 But unlike the Windup and the Strike, this Follow-Through pose with Link doubled over 00:10:54.820 --> 00:10:58.240 and the sword coming to a stop has PLENTY of time to read. 00:10:58.240 --> 00:11:01.960 And this pose combined with that big, bright smear of the sword slash 00:11:01.960 --> 00:11:05.740 helps our brain to kinda back-fill in the detail of what just happened. 00:11:05.740 --> 00:11:08.060 And this Follow-Through is LONG. 00:11:08.060 --> 00:11:14.080 It starts at FRAME 12 and Link doesn’t get back to his Standby pose until about FRAME 28 or so. 00:11:14.080 --> 00:11:18.240 That is more than half the attack time dedicated to the recovery phase! 00:11:18.240 --> 00:11:22.960 Look at every single one of Link’s basic attacks, and you’ll see these same phases. 00:11:22.960 --> 00:11:24.040 Standby… 00:11:24.040 --> 00:11:25.020 Windup… 00:11:25.020 --> 00:11:25.960 Strike… 00:11:25.960 --> 00:11:27.020 Follow-Through. 00:11:27.300 --> 00:11:30.440 And the same is true of all the other Smash characters' attacks too. 00:11:30.480 --> 00:11:34.560 For that matter, it’s true of the attack animations for just about any game you can think of. 00:11:34.620 --> 00:11:39.000 The timing of each phase may vary from game to game based on the needs of their design, 00:11:39.000 --> 00:11:41.580 but those phases are all still in there. 00:11:41.580 --> 00:11:42.820 But we’re not done! 00:11:42.820 --> 00:11:47.620 At any point during the Follow-Through, the player might choose to initiate a combo attack. 00:11:47.629 --> 00:11:51.939 Let’s say Link finishes his first swing and the player hits the attack button again 00:11:51.939 --> 00:11:54.310 around FRAME 12 or 13. 00:11:54.310 --> 00:11:58.260 If that happens, Link’s Follow-Through animation will be interrupted immediately, 00:11:58.260 --> 00:12:00.900 and he’ll SNAP to the first frame of the second attack. 00:12:00.900 --> 00:12:03.140 Again, no time for lengthy transitions. 00:12:03.140 --> 00:12:07.640 Now, this second attack may look different, more of a horizontal slash than the first, 00:12:07.640 --> 00:12:11.860 but it has the same phases: Windup... Strike... Follow-Through. 00:12:11.860 --> 00:12:13.960 And the final attack in the combo is the same. 00:12:13.960 --> 00:12:17.500 Windup... Strike... LONG Follow-Through. 00:12:17.500 --> 00:12:22.560 Link has had this three-hit combo ever since the first Smash Bros game, 00:12:22.569 --> 00:12:24.569 but it’s actually gone through some iterations over time. 00:12:24.569 --> 00:12:27.720 Let’s look at the N64 version of this same attack… 00:12:29.360 --> 00:12:32.420 As you can probably already see, several major changes have happened 00:12:32.420 --> 00:12:34.060 since this original version. 00:12:34.060 --> 00:12:37.660 There are some subtle adjustments to the animation’s spacing for clarity, 00:12:37.660 --> 00:12:39.860 the arc of the sword is a lot more clear now too 00:12:39.860 --> 00:12:44.680 but the biggest difference by far is how much further they’ve pushed Link's poses. 00:12:44.720 --> 00:12:50.220 Look at how much more extreme and exaggerated this pose is compared to the original version. 00:12:50.220 --> 00:12:51.460 And this one! 00:12:51.460 --> 00:12:56.440 It both sells the physicality of the swing better and just looks more exciting in motion. 00:12:56.440 --> 00:12:59.880 It’s really amazing the effect a little exaggeration can have. 00:13:00.580 --> 00:13:05.880 Now I realize that I’ve just spent this whole darned video talking about ONE of Link’s moves. 00:13:05.980 --> 00:13:10.380 Out of the 30+ attacks and the DOZENS of other animations this character has, 00:13:10.380 --> 00:13:13.100 I’ve talked about ONE sword combo. 00:13:13.100 --> 00:13:14.800 And you want to know the scary thing? 00:13:14.800 --> 00:13:18.209 I could have talked about that one combo EVEN LONGER. 00:13:18.209 --> 00:13:23.580 Seriously, there is so much thought and craft that goes into every one of these animations. 00:13:23.580 --> 00:13:26.220 Every single frame is carefully sculpted. 00:13:26.220 --> 00:13:29.620 They HAVE to be when you’re animating attacks that happen this quickly. 00:13:29.620 --> 00:13:33.040 Animators literally spend DAYS polishing this stuff. 00:13:33.040 --> 00:13:37.020 It is a slow, tedious craft we do, but when you get it just right? 00:13:37.020 --> 00:13:40.680 and especially after all the other disciplines bring their own skills to the party 00:13:40.680 --> 00:13:45.660 like FX artists amplifying the move with dust and smears and all those light flashes... 00:13:45.660 --> 00:13:48.780 audio engineers making that sword swipe sound exactly right... 00:13:48.780 --> 00:13:53.240 and designers tuning the numbers and parameters under the hood just so... 00:13:53.240 --> 00:13:55.380 ...and you see all of that come together? 00:13:57.580 --> 00:13:58.180 MMM. 00:13:58.180 --> 00:13:59.300 Feels amazing. 00:13:59.960 --> 00:14:00.620 Anyway. 00:14:00.620 --> 00:14:01.980 Which character should we look at next? 00:14:01.980 --> 00:14:04.440 You’ve got a lot to choose from, so I’ll tell you what: 00:14:04.440 --> 00:14:06.680 down in the description is a link to a poll. 00:14:06.680 --> 00:14:09.940 Go click on it and pick some characters you’d like to see an episode about! 00:14:09.940 --> 00:14:12.780 OR hey, maybe you've got a question about Smash Bros animation 00:14:12.780 --> 00:14:14.840 that you would like answered in an episode. 00:14:14.840 --> 00:14:16.440 If so, ask it in the comments! 00:14:16.440 --> 00:14:20.120 Who knows, it might be the question that one of these episodes gets built around. 00:14:20.120 --> 00:14:23.760 In the meantime, subscribe if you want to see more videos about Smash Bros 00:14:23.760 --> 00:14:25.580 or game animation in general. 00:14:25.580 --> 00:14:27.820 Thanks for watching, and I’ll see you next time!