Introduction

The graphical style of children’s software has often strongly resembled that of traditional cel animation, yet the requirements for implementing graphics into computer games necessitated changes in the working practices of animators. In some of the earliest videogames for the home market, the means of creating sequential moving images was far removed from traditional methods of animation as a hand-drawn art. Computer graphics had to be manually typed in as lines of code which provided display instructions instead of actually being drawn. The earliest credited role of an artist in a videogame was for Atari’s E.T. in 1982. At that time, the only way to see if the programmed lines resulted in animation was to compile the code and assemble the game. (Warshaw, 2003) Eventually software was written which was more intuitive for artists to use and which displayed the artwork they drew. This made it feasible for animators to work in a more familiar visual context.

However, the graphic limitations of personal computers remained a barrier through much of the 1980s. This changed in the early 1990s when PC manufacturers adopted the CD-ROM format. Whereas software developers had previously worked within the storage constraints of floppy discs and within the performance limitations of pre-Wintel PCs, the data storage capacity of compact discs coupled with increases in processor speeds rapidly allowed them to create more complex and compelling media. The early 1990s witnessed a rush of CD-ROM development, as consumers were eager to purchase content to make use of the new disc drives in home computers. Many of the rushed-to-market titles were more informational than entertaining, or were considered multimedia titles, not necessarily games. As the initial novelty aspect of CD-ROMs wore off, consumers became more discriminating in their purchases. Animation began to play an important role in the appeal of computer entertainment.

With the visual sophistication of software becoming a benchmark of quality to consumers, more companies hired staffs of animators to create captivating products. This article describes the contribution of animators and the practical working methods employed at the most prominent North American studios creating children’s educational and entertainment titles from the early 1990s to the early 2000s. This genre of games grew to be commonly referred to as edutainment.


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