Character Development - Fundamentals of Game Design - page 137

exaggerated height and bulk. They use large, expansive gestures and tend to talk
with their fists. Tough characters are frequently hypersexualized as well (see the next
section). Ryu, from the Street Fighter series, is a tough character. Yosemite Sam is a
tough character whose small stature leavens his toughness with a comic quality.
Animations for tough characters are usually big and abrupt, fast moving and
aggressive. Postures that lean forward, implying motion and action even where
there is none, are common.
■ Cute characters are drawn with the proportions of human babies or baby ani-
mals: large eyes and oversized heads. They have rounded rather than angular
bodies, dress in light colors, and have a general demeanor of cheerfulness, although
they may exhibit moments of irritation or determination. Mario is the ultimate
cute video game character. Animations of cute characters usually allow characters
to achieve things that they physically could not accomplish in the real world:
jumping wide gaps, climbing long ropes, firing weapons larger than themselves.
They usually look innocent and detached.
■ Goofy characters have slightly odd proportions and funny-looking, inefficient
walks and other movements. Their behavior is largely comedic. Like cool charac-
ters, they are seldom upset by anything for long, but their physical awkwardness
means that they are definitely not cool. The Disney character named Goofy is
a perfect example; among video games, Crash Bandicoot is a goofy character.
Animations for a goofy character in a game sometimes include the goofiness, as
long as it doesn't affect the player's experience of the play. Tripping while running
can be humorous, but if the character dies because of the visual joke, the player
won't appreciate it. Instead, save the humor for cut-scenes or idle moments where
there is no game impact.
These are of course far from all the cartoonlike character types possible; consider the
mock-heroism of Dudley Do-Right and George of the Jungle, the twisted evil of the
witch in Snow White , and so on. Figure 6.4 shows a variety of cartoonlike characters.
Note that for the most part, these are Western classifications. Art styles vary wildly
among different cultures, particularly for characters. Japanese animation often uses
large eyes and tiny mouths for characters, but the mouths sometimes swell to huge
sizes when they shout, which looks grotesque to Americans. The animé style also
sometimes gives cute childlike faces to sexually provocative women, producing—to
Western eyes at least—somewhat disturbing results. European cartoon characters
often seem ugly and strange to Americans, too. Asterix and Tintin, two exceptions,
enjoy huge worldwide success. If you want your game to sell in a number of differ-
ent countries, study those countries' native cartoon and comic styles closely to make
sure you don't violate local expectations.
The design of art-driven characters depends considerably on the target audience.
For example, the adjectives cute and scary mean different things to a 5-year-old and
a 25-year-old. Doom -style monsters certainly won't go down well in a Mario-esque
adventure.