Author: Zhuolin Feng

Searching and reading articles containing “Uncanny Valley”, after reading literature, I have improved the ideas and thoughts I had generated before knowing the Uncanny Valley theory and found the same content and what I didn’t know.

After reading the article titled Research on Digital Virtual Character Design Based on the Uncanny Valley Effect, I found a new way of thinking. I realized that considering a thing requires a more nuanced and comprehensive classification. This has a significant impact on actual surveys and measurements. The more meticulous, the wider the aspects considered, the more variables are measured, the higher the authenticity of the estimated data, and the higher the authenticity of the conclusions. For the classification of roles: In addition to the variety of two-dimensional and three-dimensional roles, it can also be divided into human and non-human roles, living and non-living roles. Non-living bodies can also be divided into realism and anthropomorphism for the impact of the outcome: the same feeling “comfortable”, but this term contains multiple specific feelings, such as character identity, liking, and affinity. Not all hypothetical feelings will affect it due to changes in the influencing factors. Based on the article, the following new inferences and conclusions are made.

(Research on Digital Avatar Design Based on the Uncanny Valley Effect, https://hanspub.org/journal/PaperInformation.aspx?paperID=58360&btwaf=69792636)

The more realistic the non-human 2D character, the more comfortable the viewer is

Human three-dimensional characters are highly anthropomorphic ➝ When there are too many differences in important details ➝ Cause the audience to compare the characters with real people ➝ The audience will feel uncomfortable

                         ➝ When a high degree of consistency in important details ➝ Reach the range of realism expected by the audience ➝ Viewers feel comfortable

Non-living three-dimensional characters & three-dimensional characters who are living beings but non-humans ➝ The higher the degree of realism ➝ The higher the audience’s love for the characters ➝ Because the audience is most familiar with humans and has the most understanding of themselves and humans, they can more quickly know the emotions that the work wants to output through actions and expressions.

The following phenomenon and viewing experience confuse me:

Nowadays, compared with 3D animation, many 2D animations do not have rich screen backgrounds and characters. Still, they can use simpler things to express the theme and hit the audience’s heart, and the expression form of 2D animation will be more innovative. The current trend in the industry is that more people choose to make 3D animations, but many 3D animations need to be more satisfactory. It shows that the filmmakers put all their minds on the visual effects of the film and some other aspects but could have told the story better. For the above, there needs to be some clarification about the different viewing experiences brought about by 2D animation and 3D animation.

I tried to analyze and answer these current situations:

Many human characters in 3D works are highly anthropomorphic and realistic in appearance (materials, lighting, textures, etc.)

➝ However, it does not achieve a highly consistent effect

➝ And the story is not well expressed, and the main idea is not expressed effectively, forcefully, and novelty

Most 2D works are not done with a focus on anthropomorphism

➝ Instead, it is expressed by simplifying, refining, stylizing, and leaving white space ➝ This part of the performance is vital to the central theme of the story

➝ Better expression of emotions

Why & what causes this feeling?

➝ Because of 2D white space, simplified, omitted parts (2D products such as photography are included in addition to 2D animation)

  ➝1) Will fill in the above according to the imagination ➝ This part is not important to the main theme of the story

  ➝ 2) A small number of authentic parts makes it easier for the viewer to relate the work to their own real life

➝ Because of the high realism in 3D

 ➝ Reduce or isolate the viewer’s communication between the work and their own life

 ➝ The viewer needs to be positioned in a new environment where the 3D work is constructed

   ➝ 1) When the content of the story is similar to the audience’s life and has high resonance, ➝ The audience will compare the characters in work with real people

   ➝ 2) When it is a fictional world ➝ The audience wants to reshape the world according to the work

                              ➝ To persuade the viewer to enter the built world

                                 ➝ 1) Different enough, new enough ➝ People will enter this world because of curiosity about the unknown

                                      ➝ 1) More new, less familiar ➝ ✅ Walk into the built world faster and smoother

                                      ➝ 2) Less new, more familiar ➝ Familiar aspects in line with human characteristics ➝ ✅ Acceptance, liking

                                                            ➝ Doesn’t achieve the same on important familiar details ➝ ❌ Walking into the built world doesn’t go well

                                 ➝ 2) Discover similarities with humans / with yourself ➝ Curious ➝ Walk-in

Searching the Internet with the keyword “high degree of human realism in animation” came up with the uncanny valley theory, a concept that I did not know about, and according to the explanation of this concept, I found that this is highly relevant to what I discovered and analyzed above.

There are three topics were initially developed in accordance with the requirements of Critical Repor’s proposed topics:

1. What feelings will the audience bring to the (three-dimensional) film and television works if they are too simulated

2. What different viewing experiences will be brought about by the other degree of character simulation in 3D computer animation

3. The guiding significance of the uncanny valley theory to character design in three-dimensional computer animation