Eyes WIDE OPEN : Weird for People, Normal for Cartoons
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Anyone who spends time analyzing faces notices very quickly that we have a double standard when it comes to expression. When we observe a realistically-depicted human face, we have a fine-grained, rigorous way of determining the mental and emotional state of that face, based on what are often tiny actions in the “hot spots” of the eye, brow, and mouth. If we conclude, on the other hand, that the depicted face is Sentient, but Not Human (i.e. stylized), we are liable to see almost any configuration of eye, brow and mouth as plausible and readable, as long as there are cues present which indicate an expression (open mouth, raised brows, etc.)
The Hyper-Alert eye is a good example of this phenomenon. On a human face, the raising of the upper eyelid to expose a bit of white above the iris (as in my sketch, above left) is read as heightened awareness or excitement. Surprise, anxiety, or “paying attention” are all possibilities, but it is clear that something that requires extra mental energy is in process; the face is not Neutral.
In the case of stylized faces, Hyper-Alert eyes in general have been popular with animators since at least the time of the very hyper-alert Mickey Mouse. In the two characters from "My Neighbor Totoro", shown above right, both faces display the extra eye white above the iris that is associated with the wide-open eye, but this action does not lend either character the excited “Action in Progress” look that a similar human face would have. Totoro, the woodland creature, strikes us as having a deadpan expression, while his youthful companion looks calm and friendly – not excited.
While the reasons why Hyper-Alert eyes can seem neutral in stylized faces remains somewhat obscure, the advantages to the animation artist are clear. Bigger is better with eyes – it makes cute characters cuter, and excites our cuddling instinct by triggering our nurturing urge. (This has been well studied.) Hyper-Alert eyes also heighten the intensity of additional face actions, making anger seem angrier and joy seem bubblier; every interaction can be seen as more energetic. It is a built-in exaggeration machine, which must certainly be the main reason for its continued popularity.
In the case of stylized faces, Hyper-Alert eyes in general have been popular with animators since at least the time of the very hyper-alert Mickey Mouse. In the two characters from "My Neighbor Totoro", shown above right, both faces display the extra eye white above the iris that is associated with the wide-open eye, but this action does not lend either character the excited “Action in Progress” look that a similar human face would have. Totoro, the woodland creature, strikes us as having a deadpan expression, while his youthful companion looks calm and friendly – not excited.
While the reasons why Hyper-Alert eyes can seem neutral in stylized faces remains somewhat obscure, the advantages to the animation artist are clear. Bigger is better with eyes – it makes cute characters cuter, and excites our cuddling instinct by triggering our nurturing urge. (This has been well studied.) Hyper-Alert eyes also heighten the intensity of additional face actions, making anger seem angrier and joy seem bubblier; every interaction can be seen as more energetic. It is a built-in exaggeration machine, which must certainly be the main reason for its continued popularity.
Credits: "My Neighbor Totoro" (となりのトトロ ); Writer and Director, Hayao Miyazaki; Art Director, Kazuo Oga; Producer, Studio Ghibli, 1988.
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