Character Design

The viscosity of activated sludge plays a major role on oxygen transfer and mass transport and consequently influences the hydrodynamic regime and the system performance of a membrane bioreactor (MBR). Yield stress is an important concept in rheology related to the mixing and power requirements in a stirred tank. This study examined the rheological characteristics of activated sludge sampled in a pilot airlift MBR system for domestic wastewater treatment under ambient desert conditions, using a rotational rheometer (AR 2000, TA Instruments, USA) equipped with cone-plate geometry. Both static and dynamic yield stresses were observed at the transition point of 25 s−1 of shear rate for an MLSS concentration range of 2.74–10.2 g/L. The static yield stress is a phenomenon that has not yet been evaluated for activated sludge. The mechanisms of the co-existence of both static and dynamic yield stresses and their engineering significance are discussed. In addition, a mathematical model to describe the rheological properties of the sludge is proposed. The relationships between viscosity, MLSS, temperature and shear rate were obtained statistically. The activation energy for the viscosity of the sludge in the airlift sMBR was found to be 9.217 kJ mol−1, and could be the cause of rapid fluctuation of transmembrane pressure with temperature variations.

Crowds of non-player characters improve the game-play experiences of open-world video-games. Grouping is a common phenomenon of crowds and plays an important role in crowd behaviour. Recent crowd simulation research focuses on group modelling in pedestrian crowds and game-designers have argued that the design of non-player characters should capture and exploit the relationship between characters. The concepts of social groups and inter-character relationships are not new in social psychology, and ongoing work addresses the social life of emotions and its behavioural consequences on individuals and groups alike. The aim of this paper is to provide an overview of current research in social psychology, and to use the findings as a source of inspiration to design a social network of non-player characters, with application to the problem of group modelling in simulated crowds in computer games.

“Illustrators embody their experiences. The personification of experience is a fundamental device in the way
illustrative imagery and visual communication perpetuates ideologies, metaphors, mythologies, and in particular the
anthropomorphisation of the human condition. Illustrators translate experiences, and the perceptual synthesis (Merleau-
Ponty 2013) of those experiences into the illustration and design of fictitious narratives, worlds, characters, and
environments. Drawing becomes a crucial part of articulating the world and capturing perception of experience and
reality. Audiences can relate to the experiences of designed characters through observed similarities with their own
experience. If we take the understanding that individuals tacitly negotiate the world, and their interactions with other
people, through interpretation of aesthetics, physiology, psychology, socio-economic class and culture- then the design of
characters that exhibit a range of these factors can help define a reflexive relationship between the illustrator, the
character, and the audience. This paper will examine the implicit role an illustrator’s habitus (Bourdieu 1977) has in the
development of their characters, and provide conceptual tools that outline this unique relationship. Habitus is a unifying
concept that generates tastes and dispositions based on an individual’s physiology, psychology and sociology.”

A criação de personagens virtuais para cinema de animação implica com frequência a necessidade de adaptação gráfica das personagens de forma a dotá-las de maior expressividade ou de maior capacidade de criar empatia no espetador. Consoante o conceito do projeto e consoante a estória e a visão do autor que a conta, essas adaptações passam por vezes pela antropomorfização das personagens, ou seja, pela adaptação das personagens para que se assemelhem a seres humanos. O processo de antropomorfização de uma personagem passa, antes da construção da própria, pela seleção dos elementos humanos a incluir nesse processo. Dependendo do projeto, podem ser aplicadas diferentes abordagens à antropomorfização das personagens. As conclusões a retirar deste projeto serão posteriormente aplicadas na criação das personagens da série Too Snail to Talk em desenvolvimento pelos autores.

What can be done and what is being done to alter the depictions of fat characters as evil, negligible or comedic in fantasy fiction?  Despite being a genre in which almost anything is possible, fantasy fiction is still yet to embrace fat protagonists or characters that have evolved from anything other than a number of “fat tropes” which have existed for decades, trailing far behind other genres in term of diversity.  From classic high fantasy like, “The Lord of the Rings,” in which hero Frodo is noted for being especially slender when compared to other members of his traditionally rotund species, to modern series such as, “Harry Potter,” in which larger characters are portrayed a either unsympathetic bullies or incapable cowards, fat characters are demoted to the role of amusing side-kick or an even more minor character, normally with a deep-seated loathing or unease about their weight.  Characters with the tenacity to feel comfortable in their own bodies are relegated to the role of antagonist or a fetishistic love interest. In the rare cases that a fat character makes it as a protagonist, such as in Robin Hobb’s “Soldier Son Trilogy,” the characters are universally unhappy with their size and their weight loss is used as a short cut to character development.  With YA fantasy a burgeoning genre representing fat people as relatable and realistic protagonists in a fantasy setting becomes of greater import as those books reach a wider and more impressionable audience.  Why are so few novels picking up this slack?

Title in Japanese: 日本（人）のアイデンティティと美意識の境界におけるゆるキャラと人類とその境界線の不思議な不安定感 Japan has become overrun by friendly critters: (typically)soft, furry mascot-suited characters known as yuru kyara (wobbly mascot characters)or gotôchi kyara (local characters), who exist in order to make their locality or sponsoring agency beloved and famous. Of special interest in this paper are those cases where the uncanny area or border between kyara and human identities is not only crossed but violated, as traits are appropriated across categories. Recently, intersections appear between the usually asexual furry suited types and the doe-eyed girls of anime and manga fandom known as moe kyara. Not only are there a handful of these moe yuru kyara, but the non-moe yuru kyara may incorporate clearly human traits in their form or behavior, just as their aesthetic begins to permeate everyday life more deeply. Case studies also include unofficial yuru kyara, yuru kyara whose kigurumi mascot suits incorporate exposed human body parts, yuru kyara who violate character norms of behavior and speech(see Occhi 2012), and the various and gendered ways in which the yuru aesthetic currently intrudes into everyday life. 日本（人）のアイデンティティと美意識の境界におけるゆるキャラと人類とその境界線の不思議な不安定感 公式または非公式マスコット、いわゆる「ゆるキャラ」をめぐる現象から、我々が人間的または非人間的な美意識とアイデンティティの境界通過傾向を再考することができる。この現象は、ゆるキャラの増加に基づいており、その数は少ないながら、人間のようなかわいい、または色っぽい「萌え」キャラとゆるい「ゆる」キャラの境界を超える「萌えゆるキャラ」も出現している。ゆるキャラ自身、またはそのスポンサーに興味を持たせるため、各種イベントに、ゆるキャラが一人で参加したり、全国各地から様々なゆるキャラが集まったりする。このようなイベントは、それ自体を目的として来た見物客、または偶然に居合わせた見物客が公共の場でゆるキャラの美意識を消費する機会として、ゆるキャラとの交流の機会を提供することになる。そのようなイベント会場またはその他の商業施設では、グッズを集めることが可能であるため、ゆるキャラの個人消費を促すことにもつながっている。結果として、遊びの場と日常生活の間に存在するイベントの境界線を超えることになる。 キャラと人間のアイデンティティの間に存在する不思議な境界地帯または境界線を超えるだけでなく、侵害された事例を中心に今回の発表を行う。少数の萌えゆるキャラが存在するだけでなく、非萌えゆるキャラも人間の特徴を明らかに形また振る舞いの面に取り入れており、その美意識がより深く日常生活に浸透し始める可能性もあるといえる。事例研究は、非公式ゆるキャラ、人間の一部分をあらわしたゆるキャラ、キャラとしての基準を侵害したふるまいや言動を行うゆるキャラ（Occhi 2012）と、その全体的ないわゆる「ゆるさ」が最近の流行のキーワードとして与えている影響、また日本の社会生活の他の領域に応用されている望ましい美意識についての指摘を行う。 少数の萌えゆるキャラがあるだけでなく、非萌えゆるキャラが明らかに人間の特徴も彼らのフォームまたはふるまいに取り入れながら、逆にゆるキャラの美意識価値がより深く日常生活に浸透し始めるかもしれません。 事例研究は非公式ゆるキャラ、むき出しの人間のパーツのあるゆるキャラ、ふるまいと言葉の性格標準を侵害する ゆるキャラ（ Occhi 2012で定める）とその望ましい美学を示している最近ファッショナブルなキーワードが日本の社会生活の他の領域にあてはまった全体的な影響を含むまれています。

This article compares contemporary Japanese entities known as kyara ("characters") with historical anthropomorphized imagery considered to be spiritual or religious. Yuru kyara ("loose" or "wobbly" characters) are a subcategory of kyara that represent places, events, or commodities, and occupy a relatively marginalized position within the larger body of kyara material culture. They are ubiquitous in contemporary Japan, and are sometimes enacted by humans in costume, as shown in a case study of a public event analyzed within. They are closely tied to localities and may be compared to historical deities and demons, situated as they are within the context of popular representations of the numinous created to inspire belief and spur action. However, the imperatives communicated by yuru kyara are not typically religious per se, but civic and commercial. Religious charms and souvenirs also increasingly incorporate the kyara aesthetic.

Figuren sind ein zentrales Attraktionsmoment aktueller Computerspiele, doch ihre medienwissenschaftliche Erforschung ist bislang nur in Ansätzen erfolgt. Diese Arbeit schließt diese Forschungslücke, indem sie allgemeine Gestaltungsprinzipien und Wirkungsweisen von Computerspielfiguren in figurenzentrierten Mainstreamspielen untersucht. So trägt sie im Rahmen ihrer Beschäftigung mit der Darstellung, Ontologie und Rezeption von Computerspielfiguren dazu bei, die verstreuten Forschungsbefunde zu systematisieren und in einen einheitlichen Theorierahmen einzuordnen.

Dabei werden Ansätze der kognitiven Film- und Medientheorie, der transmedialen Narratologie und der Game Studies zusammengeführt, um Figuren als fiktive Wesen, Spielfiguren und Repräsentationen von Spielerinnen zu beschreiben. Die systematische Herleitung und Ausdifferenzierung unterschiedlicher Modi der Darstellung und Rezeption von Computerspielfiguren erlaubt, die Ästhetik spielergesteuerter, computergesteuerter und Mitspieler-gesteuerter Figuren theoretisch fundiert und begrifflich präzise zu  beschreiben. So erweisen sich Figuren als Kulminationspunkt für körperlich-affektive Erfahrungen von Subjektivität und Embodiment, als Objekt vielfältiger Formen emotionaler Anteilnahme und als Element ‚strukturierter Sozialität‘ in Mehrspieler-Kontexten. Ihre Analyse wirft dadurch auch ein Licht auf den Zusammenhang ästhetischer Gestaltung und ästhetischer Wahrnehmung im Computerspiel generell.

يناقش البحث العلاقة الثنائية بين الفن والتقنيات الرقمية والتي يمثلها فيلم الهوبيت لعام ٢٠١٤ الذي قدم فيه المخرج  بيتر جاكسون تطوراً فنياً وتقنياً كبيراً في صناعة المؤثرات الخاصة. مما جعل البرمجيات تتحول من عامل مساعد الي العمود الفقري لصناعة السينما وصناعة الشخصيات فائقة التفاصيل. وقد ناقش البحث التخصصات البينية الجديدة التي أوجدها الاستخدام المكثف للبرمجيات ودورها في تطوير المرئيات كعامل أساسي في صناعة سينما المستقبل.

Stop-motion is a technique as old as cinema itself, and objectual nature, while the other animation techniques are purely imagetical. Always dependent history of this hybridization of knowledge is presented here under the concept of spatiotemporal resolvability. It is a proposal of parametrization of analysis of the techniques and respective technologies in its capacity to modulate the formal dynamism of the structures and materials for the frame-by-frame animation. The neologism presented here concerns both the original meaning of the term and the ability of a process to resolve demands satisfactorily, but it also approaches the meaning of the term resolution-borrowed from of the realization of space along the time. in the sense that the technique refers to its artistic purpose, using technologies and materials that in the case of stop-motion were not designed for this art form. However, this constant and historical lack of seems to constitute the technical inventiveness that characterizes it. The spatiotemporal resolvability characterizes how these adaptations have been given up to the present, and beckons us to be living a privileged moment for the puppet animation due to the conditions that converged on it.

THESIS ABSTRACT


Contemporary Character Design
At the Intersection with Emerging Technologies and Activism



Angela Alcerro

November, 2006


There is a wealth of documentation identifying the problem of middle school girls losing interest in mathematics and science as well as the scarcity of women in technology related careers. This phenomenon is now having a ripple effect on previously unrelated fields.
The problem of potential underrepresentation of girls in the areas of emerging ideas and technologies as it intersects the arts and arts education is one of great concern. This area is growing so rapidly that comfort and ease with technology at a young age is urgent as an extension to a contemporary visual artist’s vocabulary as well as the artist’s participation in future developments.
Over the past two years, conferences specializing in emerging technologies such as Siggraph and The Virtual Storytelling Conference demonstrate an increased interest in more emotional character and story driven content as well as the need for characters that are positive role models for girls. Conferences such as Girls ‘N’ Games at UCLA identified these areas as types of content of interest to girls with regards to gaming. Gaming is seen as one pathway to fluency in technology.
How does a singular artist or character designer contribute and participate in activism to encourage creative middle school aged girls to be and stay engaged in math and science as well as collaborative learning experiences?
The process of inquiry was informed by the application of critical theories and literature on emerging technologies and education to develop a character design.
The goals in the thesis project were to help expose girls to a more sophisticated and aspirational visual vocabulary integrating art, science, math and computing. This would not simply reflect back an aesthetic they were comfortable with, but would instead supply them with rich content to inspire and think about.

Regular characters in episodic television series do not change, develop or transform. At least this is the way these characters are commonly understood. In television series, the plot focuses on episodic adventures, and the core cast of characters are seen as fairly rigid actants that facilitate those adventures. These apparently static characters of television series are generally understood in contrast to characters in television serials, who do transform over the course of episodes, seasons and years. This view can be found readily in popular discourse as well as writing manuals and scholarly treatises. But there is more to character change in television series. We can also see how characters in television series do change in different ways, displayed chiefly through character action and plot structure. Three kinds of character change on-screen are identified in this article: experiencing significant life events; expressing intense emotions, and displaying contrasting behaviours. Textual analysis of popular crime dramas and sitcoms demonstrates how characters in television series do change continually.

Peking Opera has been the quintessence of traditional Chinese theatre. Known for its adherence to strict stylistic conventions, Peking Opera has undergone several reforms since the 1960s Cultural Revolution. Met with declining popularity in recent years, Peking Opera responded by undergoing a second phase of reform to appeal to the younger audiences. This paper explores how inter-culturalism across theatres can be used to express cultural individuality and revitalise declining traditions, particularly the declining art form of Peking Opera. Inspired by Wu Hsing-Kuo’s contemporary legend theatre, this research aims at adapting Shakespeare’s play, ‘As You Like It’, into illustrations based on Peking Opera’s stylistic devices for animation. It also signals a move towards incorporating western elements while departing from the nationalistic themes and traditional mise-en-scène.

DoTA2, a Multiplayer Online Battle Arena (MOBA) video games, is a power struggle game involving two teams using heroes as their avatars. DoTA2 shows limitation in the role of female heroes, but they are more widely used and have a high level of victory. This study is conducted to determine the portrayal of female heroes in DoTA2 to identifiy the visual elements that show power features. Mixed methods research through quesionaire, structure analysis and semiotics used to identify the content of visual features of female heroes. The result shows a strength female character displayed through skill and agility that serves to survive and win the game rather than showed physical strength attributes.The study provides references for further research in character design improvements as well as a visual recommendations in female design characters in video games.

In recent years the use of computer technology and multimedia in education increased because it offers many benefits. The situation is different for the Orang Asli schools because they still rely on the conventional method of teaching and learning. This paper aims to visualize the folklore based on the 'Special Programme for Orang Asli Pupils: Let's Share and Read Our Folklore' in an animated form so that it can be used as a teaching aid in the classroom to further help the students in their learning process thus motivating them to read. Semi structured interviews, non-participant observation and visual analysis were methods utilised in this research paper. Findings from data are analyzed and prototypes were developed and evaluated. The evaluations were then divided in two stages; pre-test and post test. Among the aspects evaluated in the pre-test and post test are design, readability, message and motivation. It is the aspiration that the findings and conclusions are able to help individuals who want to develop animation that focuses on enhancing and motivate literacy.

Character design is one of significant element and process in making stories, such as narrative text, picture book, comic, even animation. A good character can be measured on how a character influences the audience through the story told.

This research will observe and analyze characters from Pocoyo animation. Pocoyo is production of Zinkia Entertainment Studio in Spain, and awarded as Best Character in El Chupete 2006 festival. This paper will discuss on uniqueness and special feature on Pocoyo’s characters through the study of character design.

Keywords: illustration, character, character design, animation

This thesis examines a Japanese children's fantasy story, An-Pan Man. an animated television cartoon. The cartoon employs stereotypical characterizations that are a) defined by language use, especially politeness markers encoded in referents for self and other, and b) exhibited through enacted nonverbal behavior. Since the episodic An-Pan Man story is directed toward a young audience, it can be considered as a presentation that models appropriate and inappropriate language and behavior to children through the media of popular culture. I present an interpretation of culturally specific identities established by language use through translation and interpretation of the cartoon assisted by native-speaker consultants.

The study of violence in media is not new. A number of theories have been formulated to discuss the violence in media content. Interestingly, most of these theories appear to be quite apprehensive about the effects of media violence. However, very little is discussed about the actual violence. Questions concerning its norms and representation are seldom addressed. Also, irrespective of its effects, the popularity of media violence simply cannot be ignored thus making for an interesting study. The research aims to study the process of aestheticization of violence in Hindi Cinema; and also to identify the tools used for the same and their respective roles. Data collection was done through unstructured interviews and qualitative content analysis of Anurag Kashyap’s Gangs of Wasseypur. Ten male and ten female respondents were chosen using purposive sampling technique for the unstructured interviews. The study highlights that film-makers aestheticize violence in the cinema using tools like narrative, unreal nature of the narrative, representation of weapons, language, and humour as a camouflage; also, that these tools of aestheticization of violence aid the process of characterization.

ABSTRAK Wayang mendapatkan pengakuan sebagai warisan budaya dunia dari Indonesia oleh UNESCO pada tahun 2008. Wayang Beber Pacitan, merupakan salah satu jenis Wayang yang membawakan lakon Jaka Kembang Kuning (Repertoar Panji), yang jika digali lebih dalam, memiliki peran strategis dalam pembentukan karakter bangsa. Sayangnya, berbagai hambatan kerap menjadikan Wayang Beber sulit berkembang. Ditambah lagi dengan sajian pertunju-kan bergaya klasik-konservatif, seringkali menjemukan, dan kurang menarik minat kalangan muda. Padahal kalangan muda memiliki peran penting sebagai pewaris, pelaku, dan pengem-bang kebudayaan Nusantara di masa depan. Untuk merespons permasalahan ini, diperlukan sikap progresif. Tujuan dari makalah ini adalah menemukan konsep dan visualisasi desain karakter baru dari figur Jaka Kembang Kuning dalam Wayang Beber Pacitan, yang mampu menarik minat audiens usia muda. Data dikumpulkan dengan melakukan pengamatan terhadap Wayang Beber Pacitan (6 Gulung, 24 Adegan), dan naskah lakon Joko Kembang Kuning untuk me-nemukan atribut visual maupun mental dari tokoh Wayang. Dengan menggunakan metode desain karakter Bryan Tillman, maka didapatkan konsep dan visualisasi karakter. Konsep karakter berupa arketipe karakter "The Hero", dengan karakteristik sikap yang ksatria, sensi-tif, introvert, dan sangat dikendalikan oleh emosi, yang disamping menguasai ilmu beladiri dan kanuragan, juga piawai dalam menari dan bermain musik. Adapun visualisasi dari konsep karakter tersebut, dengan menggunakan gaya gambar Shonen Manga didapatkan bentuk wajah berserta atribut fisikal (visual), dan bentuk badan beserta atribut fisikal. Bentuk figur karakter Dyan Jaka yang didapatkan dengan melakukan deformasi dan distorsi mendekati figur karak-ter superhero populer (berotot dan mengenakan body armor) ini diharapkan mampu menar-ik minat kalangan muda. Perancangan karakter ini merupakan salah satu upaya revitalisasi Wayang Beber, yang pada tahap selanjutkan akan diimplementasikan ke dalam medium buku cerita bergambar dan webcomic.

The research is all about creating illustrations of Noli Me Tangere characters. The researcher's aim is not only limited to recreating designs of the novel's characters, but also to identify what factors to consider and how these factors can help to further develop the visual representations. The research involves creating character designs of the novel through a contemporary approach. Upon the research completion, the researcher applied the gathered information into a compilation of the character designs, as an output for this project. The researcher's goal is to analyze the different aspects involving the character design process (design elements, theories, principles, etc.); it also involves identifying how attributes of a character (shape, color, etc.) can interpret its personality. And lastly, how will the project benefit into various influences (Education, multimedia, literature, etc.)

Japan has become overrun by friendly critters: (typically) soft, furry mascot-suited characters known as yuru kyara, or gotochi kyara, who exist in order to make their locality or sponsoring agency beloved and famous. Of special interest in this paper are those cases where the uncanny area or border between kyara and human identities is not only crossed but violated, as traits are appropriated across categories. Intersections appear between the usually asexual furry suited types and the doe-eyed girls of anime and manga fandom known as moe kyara. Not only are there a handful of these moe yuru kyara, but the non-moe yuru kyara may incorporate clearly human traits in their form or behavior, just as their aesthetic begins to permeate everyday life more deeply. Case studies also include unofficial yuru kyara, yuru kyara whose kigurumi mascot suits incorporate exposed human body parts, yuru kyara who violate character norms of behavior and speech (as described in Occhi 2012), and the various and gendered ways in which the yuru aesthetic currently intrudes into everyday life.

This thesis explores ways of integrating a costume professional to the character art team in the game industry. The research suggests, that integrating costume knowledge into the character design pipeline increases the storytelling value of the characters and provides tools for the narrative. The exploration of integrating a costume professional into game character creation as a process is still rare and little information of costume in games and experiences in transferring an analogue character building skillset into a digital one can be found, therefore this research was generated to provide knowledge on the subject.
The research's main emphasis is on immersion-driven AAA-games that employ 3D-graphics and human characters and are either photorealistic or represent stylized realism. Technology for depicting reality is advancing and digital industries have become aware of the extensive skills required to depict increasingly realistic worlds. Also, tools for character art are beginning to lean on actual costume construction: the pattern based cloth simulation software entitled Marvelous Designer has become the industry standard for character clothing. The material of this thesis is based on the author's experience as an intern and Costume Artist at the game company Remedy Entertainment and on data collection in the form of participant observation, conversational interviews, archival searches and assorted documents as an internal employee of the company. Therefore, an ethnographical research that applies to qualitative, descriptive, nonmathematical and naturalistic research methods is utilized in this thesis.
The result of this research is a costume production pipeline for integrating a costume professional into the game character design process. It is formed by comparing costuming processes of game and film industries to explore the similarities and differences in methods to analyze the most effective combination of these two. The final pipeline introduces the costume professional’s position during the different stages of the character design process. Furthermore, the thesis categorizes aspects essential for a costume designer to internalize in order to become a functional part of the Character Art team and the skills and knowledge required to support the character design in a production. This research identifies the need for costume knowledge in realistic AAA-games. When employing a costume professional into a game production, this thesis offers tools and vocabulary for collaboration. Costume designers are Character Artists, but with different tools and skill set and costume design can be seen as a live form of character art.

This article provides a summary of a book that lays the foundation for a stylistical and rhetorical approach of narratology whose aim is to describe with the greatest possible precision the mechanism of immersive and intriguing literary narratives. Noting the existence of a strong polysemy around the notion of plot, I propose to start with a functionalist definition capable to emphasize the close relationship between narrative dynamics and emplotment, which builds, maintain, and resolve tension in the aesthetic experience. I also mention how the characterization of characters and the mutability of their roles can determine in an essential way the profile of narrative tension.

Cet article propose une synthèse d'un ouvrage qui pose les fondements d'une approche narratologique d'orientation stylistique et rhétorique visant à décrire avec le plus de précision possible le mécanisme des récits littéraires immersifs et intrigants. Partant du constat de l'existence d'une forte polysémie autour de la notion d'intrigue, je proposerai de partir d'une définition fonctionnelle apte à souligner le rapport étroit entre la dynamique du récit et la mise en intrigue, qui noue, entretien et dénoue une tension dans l'expérience esthétique. J’évoquerai également la manière dont la caractérisation des personnages et la mutabilité de leurs rôles peuvent déterminer de manière essentielle le profil de la tension narrative.

With ever increasing visual quality and details in computer games, expectations for character animation are also evolving. Simple movement cycles alone are not enough anymore to satisfy the gamers, and the increasing emphasis on storytelling in games demands better acted, crafted and more sophisticated animation of its characters. Good character animation is founded on 2 pillars. Firstly, body mechanics, which grounds the character in the imaginary games world’s physics and gives believability in the bodily presence therein. Secondly, character acting and character personality, which are important for the story and the user’s emotional attachment and empathy with the characters.

Character design is another very important factor in the expression of character personality and acting. Design decisions such as hyperrealism or stylization for characters and environments influence the animation style and complexity. These choices in addition to the relationship between design and movement will be set in context with the concept of the uncanny valley. Concepts and techniques used in the creation of feature film quality animation will be discussed. The principles of animation will be related to body mechanics and acting, and how they are adapted in computer animation.

Throughout history people have been traumatized by war. This trauma is not the exclusive domain of the
obvious victim but also makes its mark on the lives of those considered to be heroes. Movies, with their poetic
reflection of reality, give us insight into the ultimate effects of war-like distraction. This enables us—the
audience—to view heroic figures in ways that can transcend one-dimensional heroic perspectives.
In this essay, two different poetic movies will be discussed, each focusing on traumatized war heroes. The
protagonists of both epic stories are archaic figures represented as individual characters. The cinematic
representation of these two individuals will be the main focus of this text. Therefore, aspects of the explicit story
and of the implicit dramaturgy will be extracted and explored. Thus, the essay will analyse and discuss how
aspects of film language can be used to tell a touching story that attracts the audience.

The development of Animation is greatly thanks to the information & visual communication technology. One of the successful animation today is Kung Fu Panda. Although panda is as we know lazy and fat animal, it’s become paradox when we correlate it with Kung Fu genre, which depends on speed and power. This research is trying to study and understand the concept and reasons behind Kung Fu Panda’s character design through character design study.

Keyword : animation, character, visual personification.

Visual stylization and its impact on different aspects of the perception of digital human beings are commonly debated. This study investigated how fictional and non-fictional characters are represented in various media from the perspective of digital humanoid character design. Based on Zangwill’s theory of Moderate Aesthetic Formalism, this study focused on the formalistic aspect of visual analysis and interpretation of media artifacts ranging from older media such as paintings to newer media, such as animations, interactive video games and mobile apps. This paper also explores several case studies of how humanoid digital characters are represented via visual stylizations across different media. This article underlines the importance of visual stylization as an opportunity to find unique and innovative ways of communicating with visual means.

Esta dissertação reflete sobre os processos implicados na construção ficcional de personagens de Memorial do Convento, de José Saramago – D. João V, Bartolomeu Lourenço de Gusmão, Baltasar e Blimunda. Apreciam-se sobretudo os processos semiótico-contextuais, retóricos, narrativos e axiológicos que permitem a criação de figuras ficcionais. As existências destes seres transitam entre o histórico e o ficcional, o real e o insólito, ao sabor da ideologia subversiva do narrador, na tessitura coerente da narrativa e na apresentação de novos mundos possíveis. Numa perspetiva fenomenológica da personagem ficcional literária, este trabalho estuda o envolvimento do leitor na construção de sentidos criados pelos ditos e não ditos do texto, modelando a figuração que expõe o potencial de transcendência reconhecido na personagem. Face à intermedialidade que a narrativa sustenta e que é estimulada pela construção figuracional, o presente trabalho aborda ainda refigurações das personagens de Memorial do Convento, concretizadas pela transcodificação deste romance noutros textos de diferentes naturezas e distintos suportes, noutros media, com particular destaque para a pintura de José Santa-Bárbara. Esta mediação é ponderada nas suas especificidades, valências e limitações, à luz de uma perspectiva dialógica dos estudos narrativos atuais, responsáveis pela revitalização da categoria da personagem. A refiguração, enquanto processo e produto, é analisada num contexto de reflexão sobre a adaptação e suporta a discussão da leitura da narrativa ficcional ao nível de uma sobrevida das personagens saramaguianas.
This paper reflects on the processes involved in the construction of fictional characters of Baltasar and Blimunda (Memorial do Convento), by José Saramago - D. João V, Bartolomeu Lourenço de Gusmão, Baltasar and Blimunda. The semiotic-contextual, rhetorical, narrative and axiological processes that enable the creation of fictional figures are especially appreciated. The existences of these beings pass between the historical and the fictional, the real and the unreal, according to the subversive ideology of the narrator, in the coherent fabric of the narrative and in the presentation of new possible worlds. Within a phenomenological perspective of literary fictional character, this work studies the engagement of the reader in the construction of meanings created by the said and the unsaid in the text, modelling the figuration that exposes the potential of the transcendence recognized in the character. Given the intermediality sustained by the narrative and that is stimulated by the figuration construction, this paper also discusses the re-figuration of the Baltasar and Blimunda (Memorial do Convento) characters, achieved by the transcoding of this novel through other texts of different natures and different frameworks, through other media, with particular emphasis on José Santa-Bárbara’s painting. This mediation is considered on its own merits, skills and limitations, in light of a dialogical perspective of the current narrative studies, responsible for the revitalization of the character category. The re-figuration, as both process and product, is analysed in the context of reflection on adaptation and sustains the discussion of the reading of the fictional novel within the terms of an overlife of the Saramago’s characters.

Mainstream animation reaches audiences worldwide and contributes to the creation and reinforcement of certain social concepts. These are usually a reeection of the societal views at the time of production, but they can also be new standards, that will help us move towards a more accepting society. Animated lms and television series can inuence a child's upbringing, and should therefore make inclusive and forward-thinking gender representations. However, female representation in mainstream animation is often stereotyped and redundant. In animated television series, we found a tendency we called " girl squads " – groups of female protagonists that look very similar and portray a very narrow deenition of beauty and femininity. Nevertheless, we also found good examples of female character design that oer alternatives with diversity and a broader sense of what it means to be part of the female gender.

Animation is a technique as old as cinema itself, and objectual nature, while the other animation techniques are purely imagetical. Always dependent history of this hybridization of knowledge is presented here under the concept of spatiotemporal resolvability. It is a proposal of parametrization of analysis of the techniques and respective technologies in its capacity to modulate the formal dynamism of the structures and materials for the frame-by-frame animation of three-The neologism presented here concerns both the original meaning of the term and the ability of a process to solve demands satisfactorily, but it also approaches the meaning of the term resolution-borrowed from of the realization of space along the time. in the sense that the technique refers to its artistic purpose, using technologies and materials that in the case of stop-motion were not designed for this art form. However, this constant and historical lack of seems to constitute the technical inventiveness that characterizes it. The spatiotemporal resolvability characterizes how these adaptations have been given up to the present, and beckons us to be living a privileged moment for the puppet animation due to the conditions that converged on it.

Title in Japanese: 日本（人）のアイデンティティと美意識の境界におけるゆるキャラと人類とその境界線の不思議な不安定感
Japan has become overrun by friendly critters: (typically)soft, furry mascot-suited characters known as yuru kyara (wobbly mascot characters)or gotôchi kyara (local characters), who exist in order to make their locality or sponsoring agency beloved and famous. Of special interest in this paper are those cases where the uncanny area or border between kyara and human identities is not only crossed but violated, as traits are appropriated across categories. Recently, intersections appear between the usually asexual furry suited types and the doe-eyed girls of anime and manga fandom known as moe kyara. Not only are there a handful of these moe yuru kyara, but the non-moe yuru kyara may incorporate clearly human traits in their form or behavior, just as their aesthetic begins to permeate everyday life more deeply. Case studies also include unofficial yuru kyara, yuru kyara whose kigurumi mascot suits incorporate exposed human body parts, yuru kyara who violate character norms of behavior and speech(see Occhi 2012), and the various and gendered ways in which the yuru
aesthetic currently intrudes into everyday life.
日本（人）のアイデンティティと美意識の境界におけるゆるキャラと人類とその境界線の不思議な不安定感
公式または非公式マスコット、いわゆる「ゆるキャラ」をめぐる現象から、我々が人間的または非人間的な美意識とアイデンティティの境界通過傾向を再考することができる。この現象は、ゆるキャラの増加に基づいており、その数は少ないながら、人間のようなかわいい、または色っぽい「萌え」キャラとゆるい「ゆる」キャラの境界を超える「萌えゆるキャラ」も出現している。ゆるキャラ自身、またはそのスポンサーに興味を持たせるため、各種イベントに、ゆるキャラが一人で参加したり、全国各地から様々なゆるキャラが集まったりする。このようなイベントは、それ自体を目的として来た見物客、または偶然に居合わせた見物客が公共の場でゆるキャラの美意識を消費する機会として、ゆるキャラとの交流の機会を提供することになる。そのようなイベント会場またはその他の商業施設では、グッズを集めることが可能であるため、ゆるキャラの個人消費を促すことにもつながっている。結果として、遊びの場と日常生活の間に存在するイベントの境界線を超えることになる。
キャラと人間のアイデンティティの間に存在する不思議な境界地帯または境界線を超えるだけでなく、侵害された事例を中心に今回の発表を行う。少数の萌えゆるキャラが存在するだけでなく、非萌えゆるキャラも人間の特徴を明らかに形また振る舞いの面に取り入れており、その美意識がより深く日常生活に浸透し始める可能性もあるといえる。事例研究は、非公式ゆるキャラ、人間の一部分をあらわしたゆるキャラ、キャラとしての基準を侵害したふるまいや言動を行うゆるキャラ（Occhi 2012）と、その全体的ないわゆる「ゆるさ」が最近の流行のキーワードとして与えている影響、また日本の社会生活の他の領域に応用されている望ましい美意識についての指摘を行う。
少数の萌えゆるキャラがあるだけでなく、非萌えゆるキャラが明らかに人間の特徴も彼らのフォームまたはふるまいに取り入れながら、逆にゆるキャラの美意識価値がより深く日常生活に浸透し始めるかもしれません。

事例研究は非公式ゆるキャラ、むき出しの人間のパーツのあるゆるキャラ、ふるまいと言葉の性格標準を侵害する ゆるキャラ（ Occhi 2012で定める）とその望ましい美学を示している最近ファッショナブルなキーワードが日本の社会生活の他の領域にあてはまった全体的な影響を含むまれています。

ABSTRAK Character Archetypes merupakan salah satu teori yang diperkenalkan oleh Carl G Jung untuk mengidentifikasi ciri-ciri karakter dan personaliti terhadap seseorang. Penyelidikan ini mengaplikasikan teori Character Archetypes dalam proses penghasilan reka bentuk karakter. Dalam penyelidikan ini, karakter P Ramlee dijadikan sebagai kajian kes untuk menghasilkan sebuah reka bentuk karakter berdasarkan filem-filem terbaiknya. Selain itu, persoalan kajian dalam penyelidikan ini adalah bagaimana teori Character Archetypes dapat diaplikasikan dalam proses reka bentuk karakter dan bagaimana menghasilkan reka bentuk karakter 3 P Ramlee dimensi berdasarkan hasil dapatan kajian. Penyelidikan ini adalah bertujuan untuk mengkaji terhadap karakter P Ramlee berdasarkan teori Character Archetypes dalam mengidentifikasikan tentang ciri-ciri karakter dan personaliti melalui filem-filem terbaiknya. Ciri-ciri Archetypes P Ramlee yang diidentifikasi adalah sebagai panduan untuk menghasilkan reka bentuk karakter. Kumpulan fokus, analisis karakter, analisis visual dan analisis reka bentuk karakter merupakan metodologi kajian yang digunakan dalam penyelidikan ini. Sampel kajian ialah kanak-kanak yang berumur lingkungan 7 hingga 11 tahun. Penyelidikan ini mendapati teori Character Archetypes sahaja tidak memadai untuk menghasilkan sebuah reka bentuk karakter. Teori ini harus digabungkan dengan aspek visual untuk menyokong hasil dapatan data dalam menghasilkan reka bentuk karakter. Kata kunci: Character Archetypes, Reka bentuk karakter PENGENALAN Perkembangan industri animasi di Malaysia sedang berkembang dengan pesat. Dengan kemunculan siri animasi seperti Bola Kampung, Upin Ipin dan Boboboi, ia telah memberi dimensi baru pada industri kreatif negara. Kemunculan animasi ini telah membawa satu fenomena yang menjadi kegilaan kepada golongan kanak-kanak untuk setia menonton siri animasi tersebut. Hal ini kerana reka bentuk karakter merupakan salah satu daya tarikan yang menyebabkan golongan kanak-kanak menyukai animasi tersebut. Kemunculan kartunis tanah air iaitu Datuk Mohd. Nor Khalid atau dikenali sebagai Lat telah membawa satu era perkembangan reka bentuk karakter tempatan melalui karya komiknya yang terkenal iaitu The Kampung Boy pada tahun 1979. Beliau telah menghasilkan karakter-karakter yang mencerminkan elemen-elemen masyarakat Malaysia menerusi komiknya. "Komik The Kampung Boy telah diterbitkan di beberapa buah negara dengan mendapat sambutan yang baik. Atas populariti karya tersebut, ia telah diadaptasikan ke dalam bentuk siri animasi dengan hasil kerjasama pihak produksi animasi luar.Siri 1 1 2 2