Oliver Gadsby

Unit one: Anatomy

Written by: Oliver Gadsby

Tutor: Phil Gomm

CG Arts and Animation: Year one 15/12/11

Words: 1429

Oliver Gadsby

CONTENTS PAGE:
-Introduction: Page 3-

-Mythology: Page 4-

-Culture and Anthropomorphism: Page 5-6-

-Emotions and mood: Page 6-7-

-Summary: Page 7-

-Bibliography: Page 8-9-

Oliver Gadsby

Fig.1. SNES console and controller

-IntroductionThis essay intends to give an insight into the psychology behind anthropomorphic characters within video gaming. Over the span of around twenty years, character design within video games has been influenced by a range of different devices, some conveying the use of thoughtful mediums in the bid for creating individual substance or flare. More specifically, there is a method of both visual and psychological ideology that has withstood conjecture and constant theoretical changes such as our culture moving onwards and in so, our ever-growing need for new, creative and unique material. Upon the standard set by the gaming industry thus far, the use of animalism or zoology within this broad sector of designing has been founded if not stapled as a very common and successful means to constructing a popular character. Anthropomorphism is the notion of taking any non-human item, whether it be an animal, inanimate object, or a conceptual idea, and personifying it with human characteristics. These characteristics in turn may either be physical or motivational. Anthropomorphism has been depicted in numerous media for ages and is commonly employed in stories with fantasy elements. (GiantKitty; N/A) This certain kind of concept, through the mass of changes that has occurred within video gamings history so far, is being utilised in conjunction with other crafts in gaining that debateable question, is gaming an art form? Such as the fact gaming has adopted an artistic merit, and has ventured from being simulation-based (Pong: Atari1972) to basically evolving into a tool for the directly expressive. Animals given humanoid form are used as characters, and seem to have been recognised as one of the major checkpoints in that kind of imaginative leap.

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-MythologyMythology has been utilised as a visual influence in video games from the retro consoles, such as the Sega MasterSystem and Sega Megadrive up to present day with the next-gen consoles such as the Xbox 360 and the Playstation 3. It is purposefully a form of integration reiterating ancient stories and characters into another context. Typically animals are closely referenced within recorded human history; Greek mythology is a subject that has typically been utilised through this context of design. A Cyclops, Minotaur and Centaur visually remain popular extending up from times of antiquity, regardless of the obvious biological constraints, what is more significant is how these creatures tend to signify and reflect elements of the human condition. Centaurs are richly described creatures. The Centaur's are half man, and half horse. They have the body of a horse but, in place of the horse's head the have the torso, head and arms of a man. Most are wild and savage, known for

Fig.2. Motaro sprite from Mortal Combat 3

lustfulness and drunkenness. describes a document from GreekMythology.com (GreekMythology; 2000-2011), this description is subjected to man and beast, detailing a direct use of anthropomorphism. A robust example of video gaming depicting the Centaur is a boss character from the iconic, gory beat-em-up, Mortal Kombat (More specifically Mortal Kombat 3 and Mortal Kombat Armageddon). Motaros characteristics certainly live up to the story of the Centauromachy; simply being then battle between Centaurs and men, Motaro is an embodiment of ruthlessness and evil that Centaurs have come to portray. In the game he is an inhabitant of the Netherworld meaning land of the dead, which depicts a hellish necropolis where of which he is a general of sorts, ordered by Shao Khan, the ruler of the realm. A notable point is that video gaming is used as a means to combine ideas whether visual or motivational, Motaro has been merged with a cybernetic tail, capable of the nineties stereotypical sci-fi attributes such as generating plasma energy and firing lasers, looking further into this case of bio-mechanics, the gaming industry has not only taken a slice of mythology but then adapted that in compliment to cultural changes.

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-Culture and anthropomorphismWithin the time that games have been mainstream tools of expression, many cultural changes and formations have been established and are constantly updating alongside world events and particularly controversy. Games that parody serious events such as war or space travel and generally place comedic value upon something more inclined to being devious or important are titles that elude controversy, simply because they are augmented from reality yet retain enough of the true subject for it to still be found relatable. Oddworld: Abes Oddysee can be seen as an interactive opinion for false work ethic or slave labour, very similar in narrative to Metropolis. The visual encapsulation of alienation through Abe himself and his surrounding were considered a checkpoint for the many Indie titles to this date, though he isnt directly an animal plus human hybrid, the anthropomorphic qualities are there in abundance. Anthropomorphism is certainly an alternative way to portray human attributes or even opinions without

Fig.3. Abe in a barrel of meat

often getting very serious, regardless of the subject. The arcade style turn-based shooter, Worms is an interesting depiction of human ingenuity and even worth. The players themselves being personified worms can firstly be seen in a metaphorical viewpoint, our natural perception of a worm is that theyre a lesser being and therefore are expendable. This opinion seems to have been the subjectified to the soldiers of most wars throughout our history, through its game-play, Worms has whittled that thought into a source of enjoyment, depleting an enemys life points simply flings them across the map followed by some slapstick statement and then the appearance of an iconic tombstone. The anthropomorphic characteristics of these worms do also visually pop culture within their costumes, as Nic Kelman

Fig.4. Worms in their costumes

(2005, pp.98) supports in saying ...or have external characteristics dictated by the fashion standards of the decade among the humour and wackiness of the cartoon-like style, the Worms

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franchise holds more communicatory in its visual and thematic structure then could be first expected. In addition, Earth Worm Jim is another key example into how the video games industrys utilises pop culture A Worm in a spacesuit is an accurate description of one game protagonist from the 1990s Nic Kelman (2005, pp.99) adds. A bland description of sorts that outcome outweighs the initial thoughts, through his well executed facial expressions and very Americanised format, his meaning as a personified being tends to evoke particular emotions as the how such a simple concept can host a heavy narrative. -Emotions and moodOf course, a character doesnt have to be of simplistic design to get that kind of presence, a games plot could be very simple but rich in meaning at the same time. Anthropomorphic design has a broader scope then just the merging of two biological beings either physically within the boundaries of aesthetics or motivationally in terms of aim, inanimate objects such as metal or rock could hold as much meaning as anything purely biological, first hand examples would be the likes of robots and such. Shadow of the Colossus depicts the story of a young man called Wander aiming to save his love through a deal with an otherworldly entity, collect the souls of sixteen colossi of whom are gigantic creatures of which you have to clamber up and attack their weak points, at around the average height of about two-three story buildings, this was no easy task. The simply yet demanding task of slaying these beasts

Fig.5. Earthworm Jim

Fig.6. Valus, first colossi

combined with the rich soundtrack and very creative character design makes this game very successful, the colossi themselves are ancient and rustic. The anthropomorphic structure of the

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majority of these enemies coupled with the shackle-like stone plating makes slaying these creatures almost a shame; you get a sense of pathos as their fumbling bodies crash to the ground. The developers were really in making their audience feel that sympathy; they have fur, flesh and stone, fur makes them relatable to animals as does the flesh and the stone gives them that ornamental feel as if theyre living statues. ...the hardest thing is the suspicion that you shouldn't be hurting them at all, as a massive, sloth-like face peers at you with an expression of gentle accusation. (Ditum, S; 2011) -SummaryThe use of anthropomorphic design within video games is a sturdy concept that has many functions. When regarding influences taken from our antiquity and references pop culture, the right personification of a character both visually and psychologically is possible of convey powerful sums of meaning, delivering to the audience something unique and bold.

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The functions of anthropomorphism within video games.

-Essay bibliographyList of illustrations;
Fig.1. SNES console and controller (c.1999-2011) At: http://www.theoldcomputer.com/roms/index.php?folder=Nintendo/SNES Accessed (14/12/11) Fig.2. Motaro sprite from Mortal Kombat 3 (c.2002-2007) At: http://mkw.mortalkombatonline.com/mk3/motaro/sprites/ Accessed (14/12/11) Fig.3. Abe in a barrel of meat (c.2008) At: http://strategywiki.org/wiki/Oddworld:_Abe's_Oddysee/Walkthrough Accessed (14/12/11) Fig.4. Worms in their costumes (c.2008) At: http://aidanm.webs.com/gamereviews.htm Accessed (14/12/11) Fig.5. Earthworm Jim (N/A) At: http://buttvile.wikia.com/wiki/EarthWorm_Jim_(Character) Accessed 14/12/11) Fig.6. Valus, first colossi (N/A) At: http://ico.wikia.com/wiki/Valus Accessed 14/12/11)

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Quotations;
-Giantkitty (N/A) Anthropomorphism At: http://www.giantbomb.com/anthropomorphism/92-476/ Accessed (14/12/11) -GreekMythology.com (2000-2011) Centaur At: http://www.greekmythology.com/Myths/Creatures/Centaur/centaur.html Accessed (14/12/11) -Kelman, N.,2005. Video Game Art. New York: Assouline -Kelman, N.,2005. New York: Assouline -Ditum, S (2011) Ico & Shadow of the Colossus Collection- review At: http://www.guardian.co.uk/technology/gamesblog/2011/sep/28/ico-shadow-colossuscollection-review Accessed (14/12/11)