Qualitative Analysis of Animated Movie Characters:

To understand the goals and focus of my research, I watched a selection of representative

animated movies. The films I studied were Pixars Up, Pixars Ratatouille, and Disneys

Zootopia, as well as a documentary on Zootopia. I chose these movies for the following reasons:

all have mammal characters playing significant roles while behaving in humanoid ways, all

grossed over $500 million in worldwide box office revenue, all are 3-D computer animated

films, and all have been made in the last decade (Pixar 1999). Of particular interest were the

four main dogs from Up, the two main rats from Ratatouille, and the rabbit and fox from

Zootopia.

Up begins by showing the life and love of Carl, an elderly man who lost his wife. He is

trying to go on the journey that the pair never made together, a balloon trip to Paradise Falls. A

child named Russell ends up being taken along. The pair encounter Kevin, a large bird that does

not resemble any specific species of bird, and Dug, a golden retriever who is caught between his

loyalty to his pack and his loyalty to these newfound friends. The humans and Dug have to

rescue Kevin from Dugs ex-pack, and prove successful. It ends with Kevin being returned to

her babies and the other three becoming a family with the other dogs as secondary relationships.

The animals in this movie were the most similar to real world animals out of the three

movies I watched. The dogs in this movie are dog-shaped and dog-colored quadrupeds. Dogs in

the movie cannot see color (at end of movie, Russell and Carl point out red and blue cars but

Dug sees grey). All the dogs display canine body language and are excited to the point of

distraction by squirrels and tennis balls. Although they can speak English, that is only through

the use of a translator collar. Otherwise, they bark, and actually are still capable of barking and

howling while wearing the collars. Interestingly, the dogs use good syntax and grammar when
 Ariana Ehuan 2

they speak. I personally do not think that animals would follow the same speaking patterns as

we do.

Dug in particular especially acts like a dog. Unlike the other dogs in the film, he is sweet

and dopey basically, a stereotypical golden retriever. He is not particularly anthropomorphic.

Dug behaves like a dog more than a human, or at least the way we imagine dogs would behave

and speak if they could talk. He is more a personification than an example of

anthropomorphism, unlike the other dogs. As a golden retriever, which is a more relatable and

appealing breed than the Doberman pincer, bulldog, and Rottweiler that make up the other dogs,

he is a desirable character. Also, although I am not completely sure, I am almost positive that

Dugs teeth are less sharp than those of the other dogs.

The other dogs in Up are lead by Alpha. Alpha is characterized as more cunning and

capable of planning than Dug, or any dog in real life. Although all the dogs in Up are on the

lower end of anthropomorphism, Alpha is still very clearly using thought patterns better ascribed

to humans than dogs. The dogs that follow him have paws that operate like paws, but are

somehow able to play cards and cook. They also can fly fighter planes. The dogs are physically

canines, behaviorally somewhere between anthropomorphized and dog stereotypes. Their breeds

all tend to be more aggressive and athletic.

Although I did not study Kevins measurements, due to a lack of an actual bird species to

accurately compare her to, I still made a few notes on her character while watching her. As she

lacks a collar, Kevin cannot speak English. She is capable of replicating human gestures and of

thinking clearly enough to hide from the bad dogs. However, hiding is an instinctual behavior

and it is not clear if her behavior exceeds animal instincts.

 Ariana Ehuan 3

A few other things I noticed of interest in Up were that Dug is very fat for a dog and the

dogs lips dont move when speaking sometimes, their mouths do not even open. The former

point in interesting because fat animals are generally considered adorable. Dugs body adds to

his cuddly appeal and further sets him apart from the athletic other dogs. The latter point is

illogical. The translator collars theoretically should need audible noises to translate. Either they

can read thoughts or this is just a childrens movie where a house can be carried by balloons and

I am putting too much thought into this.

Ratatouille is about a rat named Remy who desperately wants to be a chef. To his luck,

he finds out that he lives under Paris. Ratatouille is also about Linguini, a human who cannot

cook, but finds himself in a Parisian restaurants kitchen. Remy and Linguini learn that they can

work together, with Remy operating Linguini like a puppet by pulling on his hair. They make

amazing dishes, but there is suspicion from others about Linguinis newfound talent. Remy also

faces pressure from his family to live as a rat. Finally, the pair show everyone what a good chef

Remy is, despite hygienic concerns of having a rat chef, and have a successful restaurant with

Linguinis love interest.

The rats in Ratatouille all behave in somewhat human ways, but Remy does so the most.

The rat colony has boats built in case of a need to escape, demonstrating foresight I would not

expect of rodents. They also have celebrations where they play music on improvised

instruments. Remy stands out in that he can understand and read English. His ability to speak

remains purely rat, though humans hear squeaking when he talks. He can communicate via

pantomime and is also capable of human facial expressions that rats just do not do. He also

appears to have a finger resembling a thumb.

 Ariana Ehuan 4

Remy seems to be actively anthropomorphizing himself. He desires it. For example, he

choses to walk on two legs when possible, so as to avoid dirtying his paws. This makes him

appear more human than the other rats, who rarely rise above four legs. Remy clearly expresses

admiration for the humans, claiming that [humans] dont just survive. They discover, they

create (Ratatouille). He wants to transcend being a rat and create new recipes. His family is

not fond of his desire to do so. His father accuses him of talking like a human. Remy laments

near the end of the movie, I pretend to be a rat for my father, I pretend to be a human for

Linguini (Ratatouille) and seems to be trying to find his place. The dangers of self-imposed

anthropomorphism, perhaps? One final note I found interesting is that Remy is a different kind

of rat than his family he is a Dumbo rat and they are brown rats.

Zootopia tells the story of a small town rabbit named Judy who moves to the titular big

city to become a police officer. She faces discrimination due to her species, however, and

decides to prove herself by taking on the case of a missing otter with the help of Nick, a fox.

Judy soon has to confront her own prejudices when she realizes that she is discriminating against

predators and clouding her own judgment on the case. In the end, Judy and Nick solve the case

and rise above their stereotypes.

The characters in Zootopia are the least like animals and the most like humans of the

three movies I watched. Their main animalistic traits are physical. For example, Judys nose

twitches when she is upset and her foot thumps when she is angry. She also has over 200

siblings. Finally, in a detail that made me happy, Judys earbuds when she listened to music were

actually in her ears, not where human ears would be. For animals with hooves, they have

hooves, not fingers, although some were shown using their hooves like hands. All animals were

bipedal in their normal lives. When animals ran on four legs, it was a display of savagery. No
 Ariana Ehuan 5

one wore shoes. Animals were different sizes, not resized to be the same heights, but they were

not fully proportional to their natural sizes, likely due to convenience of not having an elephant

be that many times larger than a rabbit, for example.

The eyes of the animals in Zootopia are very human, especially if you compare them to

humans in Disney movies, rather than real life. Eyes are human-shaped and too large for any

creature, but fit with the size of eyes for Disney humans. Most animals have circular irises and

pupils, like humans, but a ram has an elongated and horizontal pupil. However, he was being

shown as an antagonist. Along with the eyes, female animals had eyelashes and all animals had

eyebrows. As for bodies, animals with paws (big cats, rabbits, etc.) have fingers (four, I think).

Slight breasts were present on the female animals. This fits with the sexualization of Gazelle and

her tiger backup dancers. The camera plays across her assets and the dancers flex their biceps

and have massive shoulders tapering to small waists. This is aided by their limited attire, raising

the point that animals in Zootopia wear clothing and are embarrassed by nudity. Adding to the

lack of animal behavior, animals speak English and appear to live human lifespans. Nick is

about 32-years-old. This fits with human age standards, but not fox, which typically live 2 to 4

years (NationalGeographic.com). Finally, animals can drive.

A few traits did not fit any animal, human or otherwise. Judy has purple eyes, which is

impossible in rabbits and very rare in humans. Nicks nose is also purple-tinted. Nick appears to

be above normal fox size, listed as 4 feet tall and 80 pounds. National Geographic sizes a red

fox as 18-33.75 inches for head and body and 6.5-24 pounds (ibid).

The main use of anthropomorphism in this movie was the obvious racism metaphor. One

great quote to show this is A bunny can call another bunny cute, but when other animals do it,

thats a little (Zootopia). Other metaphors played on animal stereotypes to show a racism of
 Ariana Ehuan 6

sorts. Nick and other foxes are assumed to be clever and untrustworthy. In a twist of a

stereotype, the one cheetah shown is slow. Obviously, there are major physical examples of

anthropomorphism. Finally, a lot of brands are animal parodies of real brands (ex: Zuber).

Hypothetical Anthropomorphic Animal:

Before I started calculating the actual

measurements of animated animals, I first created

a hypothesis of what a desirable anthropomorphic

cat would look like. To try to achieve an

exaggerated neoteny, I gave him massive eyes,

Figure 3: My hypothesized anthropomorphic cat.
accentuated by a tiny nose. I used my cat as a

reference.

One issue with my hypothesis is that I accidentally gave the cat Eastern-style animation

eyes, rather than Western-style. As a result, his eyes were longer vertically than horizontally,

rather than the opposite found in Western animation. This led to my hypothesis not fitting the

Disney and Pixar styles that I studied, but instead being my

own distinct style. Differences between the popular styles and

my own artistic choices will be discussed later in this paper.

Quantitative Analysis of Animated Movie Characters:

I measured the faces of the four main dogs from Up

(Dug, Alpha, Beta, and Gamma), the two main rats from Figure 4: Proportioned to an actual cat

Ratatouille (Remy and Emile), and the rabbit and fox from Zootopia (Judy and Nick,
 Ariana Ehuan 7

respectively). I then measured the faces of their real

world counterparts. Measurements of eye width and

height, nose width and height, face width and height,

distance from top of head to top of eye, distance

from bottom of eye to top of nose, and distance from

bottom of nose to bottom of head were taken on

front and side view images, with front view also

having distance between eyes measured (Figures 5-

6, Graph 1). All of the values were then calculated Figure : Example of front view measurements

as a proportion of eye height, so as to have them all be comparable to each other. All values

taken were maximum values. There was a sample size of five for real animal photos, meaning

that I did all the measurements for five different

photos of real animals so as to minimize

intraobserver error. Measurements were

conducted in Adobe Illustrator, with the units

being in points. To further compare animated

animals to real animals, I also measured photos of

the faces of real humans (models determined by Figure : Example of side view measurements

People Magazines Sexiest Man of the Year and Most Beautiful Woman of the Year lists), real

babies, and animated humans from Disney and Pixar movies. The goal was to determine the

existence of neoteny, based on disproportionately large eyes and potential resemblance to human

babies, and to determine how the animated animals have been edited to be more

anthropomorphic.
 Ariana Ehuan 8

I concluded that animated animal eye width was generally approximately equivalent to

half of real animal measurements (Graph 1). This means that eye width versus height

proportions were generally consistent for the animated movies analyzed. Most values were

below one, meaning that animated eyes tended to be proportionately larger in both width and

height as compared to those of real animals. If values were equivalent to one, that would mean

that there was a one-to-one ratio of animated to real eyes. As a result of the overlarge eyes, the

Graph 1: All animated animal values plotted

distance between the bottom of the eyes to the top of the nose was notably less than that of real

animals.
 Ariana Ehuan 9

Graph 1 displays all the animal values individually with the animated measurement

divided by the real animal measurements for that value (shown as the animated value divided by

the five real values averaged, so as to create a ratio). The dashed black line represents the

average value of animated animal proportions compared to real animal proportions. The

horizontal black line represents if the animated animal proportions were equal to those in the real

world.

Graphs 2 and 3 compare animal to human measurements on front and side views,

respectively, including the means of values for the animated animals and both animated and real

humans.

From the front,

animated animals have

proportions that are

most similar to

animated male humans

and real human babies

(Graph 2). From the

side, animated animals Graph 2: Various human values plotted against animated animals
 Ariana Ehuan 10

have similar proportions to animated female humans and animated male humans, with the

exception of face width, which is logical to me, as real animals tend to have wider faces, while

real humans tend to have taller faces (Graph 3). Animated animals in side view also share some

similar proportions with real human babies, with the exception of face height, face width, and top

to eye. Real human males share little proportional similarity to animal animals. Animated

animals are anthropomorphic, but in that they closely resemble animated humans and to a lesser

extent, real babies, but not adult humans. And animated humans and real humans are

proportionately different. This proves that anthropomorphism and neoteny are working

simultaneously here. The

argument can be made

that animated animals are

not truly

anthropomorphic if they

share similarities to

animated humans but not

to real adult humans. Graph 3: Same as above.

However, I feel that their resemblance to some sort of human is enough to judge them as

anthropomorphic enough, especially as babies are people. However, I did not think to measure

baby animals of the species that I looked at, so it is possible that the animated animals resemble

baby animals more that baby humans.

As different graphs measure different things, not all individual graphs are directly

comparable. Graph 1, comparing all the animal proportions, is meant to show how much

animated animals diverge from real animals. The second set of graphs (Graphs 2-3)
 Ariana Ehuan 11

demonstrates the level of anthropomorphism that is occurring, based on how the animated animal

values compare to those of humans.

I chose to use eye height as the unit of measurement to standardize my proportions. As

the photos I used were all different sizes, this was the best way to create comparable data. The

reason why I chose eye height specifically is because of how important eyes are in making a

character relatable.

Animation:

To demonstrate what I had learned about effective anthropomorphic animals, I wrapped

up my research with a short animation featuring my own character. I planned to use the average

measurements for animated animals to determine the proportions of my character, who would be

a cat, but found that my data was flawed. When I averaged the values from Up, Ratatouille, and

Zootopia, I ended up with an unattractive cat (Figure 7). The main issue appeared to be that his

nose was too large for his face. As the dogs from Up, especially Dug, have massive noses, I

hypothesized that I would get a cuter cat if I removed at least Dugs data from my calculations,

as cats tend to have small noses in real life. However, the measurements without Dug were not

significantly different that those with him (Figure 8). I tried again, this time just using the data

from Ratatouille and Zootopia. I found these measurements to be more attractive as a character

(Figure 9). However, data from only four animals was used, due to the removal of Up. To

balance that and avoid skewed data, I averaged the animal data without Up with the

measurements from my hypothesized anthropomorphic animal (Figure 3) and the average

measurements of a baby (Figure 10). I gave this ideal round eyes, although I think the fact that

my hypothesis had vertical eyes added to the roundness by balancing the horizontal aspects of
 Ariana Ehuan 12

the other two (Figure 11). I would defend this choice to keep the hypothesis averaged in because

it meant a compromise between my developing art style and the more accepted art style. My

individuality is maintained without deriving uncomfortably far from the norm.

No character can be created without personality in mind. I based this cat off of my own

real life cat, Attila, as well as a handful of examples of anthropomorphic cats, which I studied for

behavior only. One thing I noticed through my thesis research was that anthropomorphic

characters generally have eyebrows, likely to better express emotion. As my research into

cartoon cats indicated that they are generally seen as unkind and selfish, I made my characters

eyebrows stuck in an angry position. My data on anthropomorphic cats came from Simons Cat,

Garfield, Chloe from The Secret Life of Pets, and TV Tropes. The titular cat in Simons Cat is

never named and never speaks English. However, neither does Simon. Physically, the cat has

massive eyes that take up a large amount of his face, spontaneously generates eyebrows when

angry, and lacks thumbs. Despite the lack of thumbs, he is still capable of throwing things and

Figure 7: All measurements Figure 8: Minus Dug Figure 9: Minus FigureUp10: Baby proportions
otherwise using actions to make his feeling clear. His ability to plot suggests a human level of

intelligence, although he generally behaves like a cat, just exaggerated (Tofield 2007). Garfield

features Garfield, another cat with massive eyes and more than enough personality. Garfield has
 Ariana Ehuan 13

thumbs, human facial expressions and is bipedal. He does not speak to

humans, but his owner might still understand him. The audience does, as

his thoughts are in English. Most interestingly, Garfield has been around

long enough to show the same sort of evolution that Mickey Mouse

underwent he has become progressively more anthropomorphic with

larger eyes and humanoid behavior over time (Davis 1980- present).
Figure 11: Ideal
Finally, I looked at Illuminations The Secret Life of Pets to study Chloe,

an apathetic tabby cat. She has eyebrows and eye makeup, as well as a mouth that moves more

like a humans to show her emotions. She is quadrupedal and cannot speak to humans, but she

has no problem communicating with other pets. Like Garfield, she does not care much about

anything but food and herself (The Secret Life). All my observations, and then over 100 more,

are listed on TV Tropes (tvtropes.org/pmwiki/pmwiki.php/Main/CatsAreMean), a website that

catalogues plot devices and the like across media. Cats get a bad rep[utation] you are far

more likely to find an outright cruel, nasty, and otherwise vicious cat character (Cats are

Mean). However, main characters must also be engaging to viewers. As a result, it seems that a

careful balance must be struck to create the lovable jerk. I sought to achieve that with my

character by making him cute and round, but also grumpy, so that his anger would be seen as

adorable, rather than offensive. As the real cat he is based on has somehow gotten away with

urinating on houseguests by being cute, I think that it is a reasonable conclusion.

See Appendix for all the graphs, charts, and data.

 Ariana Ehuan 14

Conclusion:

I learned that eyes are an important component, if not the most important component, of

facial proportions. This is in part because larger eyes inspire affection via neoteny in viewers.

My outcome for my own data is that my proposed cat facial proportions did not reflect

my end data. This is because of both the animals I measured and the subjectivity of art. I used

dogs, rats, a rabbit, and a fox for my animated animal data. None of those animals have the same

proportions as a cat. Rabbits and rats do not even have eyes in the same position as cats (their

eyes are on the sides of their heads, rather than the front). Even though the characters were

anthropomorphized in appearance, which had the secondary effect of somewhat standardizing

the proportions, there still remains the fact that none of those animals could be mistaken for a

cat. Perhaps more importantly, data does not always translate directly into art. If it did, there

would be no originality left to art. As mentioned earlier, my specific art style has more Eastern-

style eyes, like in anime. I am standing by my proposal as accurate, as art is subjective. Data do

not always translate directly into art. As Pablo Picasso is attributed with saying Learn the rules

like a pro so you can break them like an artist. I think that I learned the rules of how to

anthropomorphize my animals well, so now I understand where I can make my own adjustments

to reflect my unique style. The discrepancy of my data to my art will be a jumping-off point for

future projects. Rather than encouraging me to change my art style to be more similar to what is

popular, I am now more inspired to move forward with a distinctive art style of my own.

I hope to continue this project after graduating college, either in graduate school or on my

own time. The main avenues of research I wish to continue with is determining if my neotenized

animals look more like babies of their own species or baby humans, as well as looking at
 Ariana Ehuan 15

eyebrows versus tails to indicate emotion. All the anthropomorphic animated animals I studied

had eyebrows to show how they feel, but real animals use their tails instead. I am unsure if

animated animals use their eyebrows in conjunction with their tails, or if tails are ignored in

favor of eyebrows. I will study this with a film analysis of animated movies and videos of

animals, which I expect I can find a quantity of via YouTube. I can determine a way to measure

and quantify tail movement, as well as comparing anthropomorphic animal eyebrows to those of

humans. As there is a fair bit of research into the place of human eyebrows in forming facial

expressions, I expect this to be a reasonably possible task to achieve.

I plan to develop my character into the star of an animated series. Sidekick Cat will be

a mixture of 2D and 3D animation. The main character will be in 3D, as will objects and people

of interest to him. Backgrounds and action that do not interest him enough will be in 2D. Often,

the action occurring in the background will be of interest to the viewers, leading to a comedic

theme of the cat not reacting to things. Most people will not have real names or genders, because

he does not care enough. This show is intended to be broadcast online for college students and

people in their early to mid twenties, due to occasional adult themes and language. The first

season will feature around ten five- to ten-minute-long episodes. I will make my series free to

view online, with bonus features and perhaps a second season being for pay, once people have

been drawn in by the first season. This show will expand upon and further implement my

research. Along with experimenting with anthropomorphism, I want to apply a mixture of 2D

and 3D animation in new ways. I hope to make innovations that others can learn from on mixing

animation styles in the most effective and appealing way.

 Ariana Ehuan 16

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