THE IMPORTANCE OF BODY MODIFICATIONS AND ACCESSORIES IN CHARACTER DESIGN FOR VIDEOGAMES - Aaltodoc
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THE IMPORTANCE OF BODY
MODIFICATIONS AND ACCESSORIES
IN CHARACTER DESIGN
FOR VIDEOGAMES
Magdalena Węgiel
MA thesis
Supervisor: Miikka Junnila
Advisor: Petri Lankoski
Aalto University
School of Arts, Design and Architecture
Master’s Degree Programme in New Media / Game Design and Production
2021
Author Magdalena Węgiel Title of thesis The Importance of Body Modifications and Accessories in Character Design for Videogames Department Media Degree programme New Media Game Design and Production Year 2021 Number of pages 68 Language English Abstract This thesis is a project-based study that explores the importance and influence of body modifications and accessories on character design for videogames. It researches how small visual details are able to change or improve the character. The research bases on knowledge about the subject from existing movies, games, and animations as well as my own artistic study work. It focuses on human characters including main and non-player ones. This area of research seems to be understudied, therefore I decided to further explore it. The requirement for applying those elements derives from the need of creating distinctive and engaging characters. The term body modification applies to practices such as tattoos and scarification done to change one’s physical appearance. Accessories are understood as any items that can be carried for aesthetic or practical purposes, for example jewellery. The study also includes knowledge of other elements, such as scars that might have impact on appearance. The project done for the thesis consists of five illustrations of characters, each with two different versions of body modifications and accessories. The goal of the study was to research the possibilities of usage and influence of those details on design in practice. This study uses research by design approach where own practical work, combined with theories and previous research, is used to produce knowledge about character design. By creating two different versions of details of an own character it was possible to compare their impact and ability to change the perception of the design. The research combined with artistic project allowed me to study the subject from the theoretical and practical side. Understanding the meaning and history of body modifications, accessories and symbols allows to improve visual storytelling and add depth to designs. If used properly small details have a significant influence on the character design and are able to tell the story, profession, wealth, interests and many other features of the hero through visuals. Included in non- player characters’ design, they can convey information about the world, such as religion and customs. Acquiring knowledge about body modifications, accessories and symbols enable understanding their significant influence on every character, no matter the level of detail and fantastic features of the appearance. This thesis can serve as guidance on how to improve the design and visual storytelling for all individuals involved in character creation. Keywords character design, game design, body modifications, accessories, symbols, concept art
Acknowledgements
I would like to thank everyone who supported me during the time I was working on this
study: Petri Lankoski for the great advice and patience, Miikka Junnila for instructing me with
preparations for this thesis and overall help, and Kai Lappalainen for guidance. I would like
to thank all my friends, family, and my cat for the encouragement.
Table of contents:
1 Introduction
1.1 The reason for choosing the subject
1.2 The scope of the thesis
2. Literature Review
2.1 What forms a character
2.2 Meaning and function of body modifications, symbols and accessories
2.2.1 Symbols and signs
2.2.2 Scars, scarification, and skin conditions
2.2.3 Tattoos
2.3.4 Jewellery and accessories
2.3 Summary
3 Description of the project and creation process
4 Project description
4.1 Eliza
4.2 Joseph
4.3 Ichika
4.4 Luisa
4.5 Carina
5 Discussion
6 Conclusion
Reference list
Appendices
1 Introduction
The thesis is a project-based study, and its aim is to show how a small change, an addition
of a few small elements or even a single element, is able to change the whole design of
characters for videogames. This work also studies meaning of various symbols, body
modifications and accessories. There seems to be not enough information in the literature to
fully understand the subject, which was a reason for this thesis. This work may be useful for
concept and character artists as well as other individuals involved in creating characters and
may serve as a guide of character design for games.
The term of body modifications refers to practices performed on a body for aesthetic
reasons. It includes tattooing, scarification, piercings, hairstyles, and the like. They can be
permanent or temporary (Myers, 1992, p.267).
1.1 The reason for choosing the subject
A great number of people are attracted to videogames because of interesting characters. If
the design is appealing, players want to identify with heroes in games and therefore feel able
to be a part of the story. In the Ultimate Guide to Video Game Writing and Design by Dille
and Platten, the authors state “If people care about your characters, they will forgive a lot. In
most storytelling, characters are the main figures we follow through the narrative. What
makes games unique is that the player is the character“ (Dille, Platten, 2007, chapter 2).
They continue with the information that if the barrier between the player and game character
is broken, an amazing experience might be created (Dille, Platten, 2007, chapter 2). I agree
with the statement and I think that the narrative and the visual design of a character are
equally important in creating a successful game. Actually, the reason why I became
interested in games was a powerful-looking, strong, and popular female game character.
The character of Lara Croft, the heroine of the Tomb Raider series (Core Design, 1996), was
what drew me to games in the beginning. The image of this strong female character made
me feel powerful. Despite the engaging gameplay, the story of Lara and her changing
appearance seemed to me the most interesting of all. The new outfits, improved details of
her face, her silhouette that improved with time to look more realistic, and a refined back
story made the games more fascinating to me. Although I prefer complex character design,
which attracts people with many interesting additions and original forms, Lara remains
splendid despite her simplicity. Her design became iconic as she was one of the first
meaningful female game characters. It was a novelty to create a female character whose
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design combined all female attributes with strength and power in her looks and behaviour
which defied stereotypes of that time. In an interview in 1998, Toby Gard, the creator of Lara
Croft states:
The idea was to create a female character who was a heroine, you know, cool,
collected, in control, that sort of thing. The problem with those other games is that the
female characters are actually there for purely exploitative purposes. I know you
could argue that Lara with her comic book style over-the top figure is exploitative, but
I don't agree. I think it's ridiculous to say that portraying stylised people is degrading.
You can represent an over the top hero figure by augmenting characteristics like a
jutting jaw, wide shoulders, thin waist etc. and that is not degrading to men. (Gard,
1998)
Those words explain very well that the image of a strong, intelligent female was something
the creators were aiming for, which can be seen both in the story and in the character’s
looks. Lara possesses very noticeable female features, but they are connected with two
guns and big shoes that present her strength and refer to it. Consequently, her looks,
despite the simplicity, became iconic. Therefore, even though more computer games are
constantly created, the new heroines are not as distinctive as she is.
Moreover, as the number of games is growing rapidly, creating a recognisable character
today is more difficult because of the competition and a large number of new interesting
designs. Consequently, today's design process to create distinctive heroes has to be much
longer and more complex. Apart from interesting designs of armour and dresses, that usually
work as a distinguishing feature, there are details such as specific tattoos, scars, pieces of
jewellery and other accessories. They are particularly important while designing characters
with simpler or casual looks, for example those that are placed in a contemporary
environment or near future. These details contribute to new recognisable features of the
heroes. They also tell their stories and identify their background, professions and personality
traits. As Pentina and Spears say, human body has a big influence on self-expression. It is
highly connected with culture and the need to feel more unique. The body is able to convey
an important message and information about an individual (Pentina, Spears, 2011, p.75).
The importance of the characters in a game is connected with storytelling and the emotions
that the game is to evoke:
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Characters drive the story. They create the conflicts. The only emotion in a game
experience without good characters is the emotion derived by the player from the
game play: frustration, anger, exhilaration, triumph . . . the thrill of victory, the agony
of defeat.... To create emotion through story we must start with character. (Sheldon,
2004, p.64)
The way characters’ personalities and their past are designed influences the perception of
the story in the game. "We rely on characters in stories to help us understand how we feel
about the events that are unfolding” (Sheldon, 2004, p.62). The way people in games look
like should emphasize their psychological traits, likings, problems and show the marks on
their body left after the important events of their past. The appearance is significant in case
of the main characters as well as the non-player ones, which are often forgotten:
Many games treat minor characters as functionaries only, assigning them a single
role to play, and shoving a line or two of “character” dialogue—or simple dialect—in
their mouths. This is not respecting the characters. This is ignoring all the many ways
they can support the story and the overall game experience. (Sheldon, p.67)
The side characters as Lee Sheldon claims allow one to point to certain parts of the story
and create a specific atmosphere and evoke desired emotions that the imagined world
should convey. If a player was to play The Elder Scrolls V: Skyrim (Bethesda Game Studios,
2011), an open-world game with a cold, highland environment but lacking the NPCs (NPC
stands for Non-Player Character) that possess all the features underlining the harsh climate
and tough living conditions in the world it would be a completely different experience lacking
in many ways. Owing to the well-designed characters, dressed up in furs, that point out the
cold temperatures, muscular figures, which manifest physical strength vital to survive,
jewellery that is related to religion in the world and the power they derive from it, and body
modifications the atmosphere is easily understandable and the world of the game is more
believable.
The details have been chosen as the subject of this thesis because they are not only used to
show features such as professions, cultural background of the characters and
families/nations they come from but are also able to provide the player with some
information about the world in various ways. One of the games that provides examples of
NPCs which retain features that pass information about the surroundings is the game The
Sinking City (Frogwares, 2019). Certain characters have distinctive clothing and specific
tattoos, which gives the impression that there is some kind of important, mysterious cult in
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the game. According to Philip Shenefelt and Debra Shenefelt the religion commonly
determines the number and types of tattoos, clothing and piercing as well as hair styles and
colours used. They have a spiritual meaning and frequently religious themes (Shenefelt,
Shenefelt, 2014, p. 207). The developers used this knowledge for the design of characters
and elements of the game. Due to it, the player is able to notice the presence of some kind
of a cult in the city before starting the first quest just by looking at people. In addition, the
majority of NPCs in the game have eyes with dark rings around them, poor, damaged
clothing and unhealthy, pale skin. Those traits show that some tragedy occurred, and the
citizens are suffering from famine. The environment definitely shows it as well, but anybody
who would look at the character design only would guess the characters' plight with ease.
Another example of the use of symbols connected with presenting the world is showing the
religion or customs of the inhabitants of a certain environment. For example, if everybody is
wearing a certain religious symbol, the player is capable of guessing that faith is very
important in the society. Incorporating a symbol for example the holy cross on the
character's neck is similar to character's saying “God bless you” while saying “goodbye”. The
advantage of adding that small symbol is that the information about that certain individual’s
beliefs is explained by the visual design. Good character design also allows the creators to
form a specific atmosphere. Certainly, there might be a very complex, skilfully designed
world, where the environment and light show the overall mood, but characters bring life into
the surroundings and enrich it. Adding specific details such as accessories or changing the
colours of clothing enables making the design of the characters more consistent. Similarly,
the details of character design may influence the atmosphere of the game. If the world is
hostile or dark, all the people can retain corners of the mouth slightly facing down or may
have an evil gaze. Those are not the types of enrichments I focus on in this work, but they
are going to be mentioned a couple of times.
When it comes to designing characters that are placed in modern environments body
modifications and accessories are significant for a variety of reasons. One of them is that
creators usually design main heroes who look casual. This desire is generally connected
with the opinion that it is easier for the recipients to relate to such characters, or the plot
requires a plain character. However, such heroes may lack variety in appearance. It seems
that the most common type of a typical main character is a Caucasian, slim, attractive man
with short dark hair. There is a large number of this kind of heroes appearing. The
characters look much alike, and because of that they become less recognisable, and hence
the player who sees a character so designed is not able to be quickly drawn to it, because
they might mistake it for a hero from another game or it may seem like run-of-the-mill.
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However, thanks to introducing a small change such as glasses, a scar, piercing, a slight
change of hair style and colour or even a distinct print on a t-shirt, it is possible to create an
ordinary but original character that stands out from the crowd of other heroes.
1.2 The scope of the thesis
The aim of the thesis is to study the impact of body modifications and accessories as well as
other small elements on characters in videogames with focus on how those details combine
with the narrative side of the design. It researches how body modifications and accessories
can be used in different ways to improve character design and underline desired qualities of
a character as well as reveal the nature of the character. The research relies on knowledge
from existing games, movies, and animation as well as on scientific sources about chosen
body modifications and accessories and an artistic self-study project.
The subject of this thesis is the analysis of human characters (both main characters and
NPCs) with focus on how they are defined by body modifications and accessories (such as
glasses, jewellery) and religious, mythic, and cultural symbols. The thesis focuses mainly on
human characters. Monster or humanoid designs do not require such focus on details, since
their forms and fantastic looks already make them unique. Moreover, designing monsters
also requires thinking about the basic form, size, and shape of the creature which can help
them blend into the existing in-game world. Considering the amount of the information, it is a
subject for another study. The main idea of the thesis is to discuss the interdependence of
carefully chosen details by the game developers in order to show the personality and
different features of the characters which harmonise with the game world and have a
significant influence on immersion. Consequently, this study does not focus on the main
characters who are fully designed by the player at the start of the game, but on those who
have pre-designed visuals, personality and story by the developers and customization of the
hero does not influence their body. Beside videogames, examples from movies and
animations are also used since the only differences in designing characters for games and
films are related to technology constraints.
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2 Literature Review
This section includes knowledge about characters, body modifications, accessories and
other elements gathered from different sources. It also provides interpretations of certain
elements applied to designs of different characters from games, movies, and animations.
2.1 What forms a character
Certain visual elements form a character. For example, gender, age, ethnic origins, height,
weight, and muscularity. Later come clothes, body modifications and accessories. All of
those are influenced and shaped by decisions such as the role of the character in the game
as well as their designed personal desires, purposes, profession, personality, likings, and
such. All characters in the game, especially the main hero should be unique and be an
active part of the design of the in-game world. It is well described by Tim Schafer:
If you’re going to drop the player into a world you’ve created for them, you should
make them the star of it! Not just “some dude.” There is a tendency to say, “Okay,
you are some dude, in this crazy world...”and that’s bad. (Schafer, 2004, cited in
Isbister 2006, p.262, 263)
Later he continues:
So who would be the star of that world? That’s your protagonist. And then who would
be a good foil for that character? Who, by standing in opposition to your hero, would
give that hero a chance to define him or herself, and demonstrate their heroic
qualities? That’s your antagonist. And so on. The rest of your characters fall out of
these first few, critical decisions. (Schafer, 2004, cited in Isbister 2006, p.263)
There is a belief that a main character should be bland and neutral both in its visuals and
personality, so it is easier for the player to identify with them and project their own selves on
it. Basing on Schafer’s view it is a misleading opinion and usually heroes designed with that
kind of attitude end up being not original, not recognizable or in the worst case boring. They
will not attract future player’s attention or might even discourage some people to play the
game, because of the lack of interest in the character. Tim Schafer addresses it and has a
very strong opinion about it. His dynamic quote illustrates those thoughts well. He says:
6Avoid “Bland Lead Character Syndrome,” no matter what anyone tells you. You hear
people saying all the time that having a blank, bland, boring main character is good
because that makes a “blank slate” that the player can project their own personality
onto. It’s a dirty lie! A lazy cop out! People just fall back on that because interesting
main characters are hard to write (mostly because you’re so afraid that people won’t
like them, you don’t put in any spice or risky qualities).If your main character is
EXCITING and COOL, then the player will still project themselves (or “ego-invest” as
someone more academic than me might say) into your hero. But they’ll think, “Hey,
I’m that cool guy. I’m awesome. (Schafer, 2004, cited in Isbister 2006, p.264, 265)
Schafer brings up that interesting characters are hard to write which is also influenced by the
fear of risk and failure. There are many non-casual looking game characters, who are
popular worldwide. Geralt, the main character of The Witcher 3: Wild Hunt (CD Projekt Red,
2015) does not resemble in any way an ordinary male hero, yet it is easy to reach immersion
in the game. As long as the design of a hero is well-done, it should be possible for the player
to be able to project themselves on them. It is impossible to create a “one-fits-all” character
that will be possible for everyone to identify with as each person who plays the game has
different looks, customs, background, and preferences. Therefore, it can be argued that
creating an overly casual looking hero, does not grant a better immersion.
It is important to first work on the personality and other internal qualities of a character since
they influence the looks. Visuals should always support those features and the other way
around. For example, if a character has a bland personality but a complex and fantastic
design, those two will collide. It might seem like the individuality is unfinished since the looks
point to for instance someone eccentric instead of ordinary. If a hero has casual visual side,
but a rich backstory full of dramatic events and is someone special, for example is a
powerful person with unique skills, the physical image could feel neglected because it does
not support the narrative side.
There are certain matters that a designer should focus on before designing a character.
They concern gender, age, personality, goals, expectations, and background for example,
wealth, education, occupation etc. Later, usually developers work on every other aspect of
the digital person basing on the mentioned traits. Those are visuals, animations, dialogues,
and voice acting. Consistency in the whole design is of a great significance because
otherwise the immersion and believability of it might be broken: “Even if personally is
assigned with very limited information, inconsistencies in the presentation can diminish purity
of the personality […]. Thus consistency of presentation is important in any type of game,
7using any type of characters” (Lankoski, Heliö, Ekman, 2003). If the character is said to be
strong and confident, they have to move accordingly. For example, fighting (even if the
player is not yet experienced in the game and encounters difficulties) has to convince the
person playing the game that the protagonist is powerful.
While designing visually engaging, inspiring characters, whose physical side fits their role in
the game, there are certain points that should be kept in mind. One of them are stereotypes.
Kate Isbister describes a crucial role of stereotypes and attractiveness. She states that the
way someone is being thought of and reacted to greatly depends on how they look:
People cannot seem to help reacting to the surface of another person, in predictable
and suprisingly [sic] enduring ways, even in the face of contradictory information
emerging from ongoing interaction. The saying “beauty is only skin deep” would not
exist if we did not think it necessary to struggle past this bias. (Isbister, 2006, p.5)
Later the author describes, that as stated in studies, physically attractive people are
frequently perceived as individuals with positive features such as kindness, sensitivity, and
smartness and frequently have more privileges than others. It might be related to health and
choosing a fitting future partner for life. It is important to add that in various cultures,
attractiveness is perceived differently. Many characters in games are designed to be
attractive, so they are not only visually pleasing for the players, but also associated with the
qualities mentioned above (Isbister, 2006, p.7-9). Although stereotypes are a difficult topic,
they can be used in character design for video games in various ways.
Stereotypes are:
powerful social tools that guide unconscious decisions that can perpetuate an
inequitable situation. Once a stereotype has been “primed” in a person’s mind, he or
she tends to look for and mostly see the qualities in a person that support that
stereotype, overlooking qualities that do not fit. This happens below the level of
awareness. (Isbister, 2006, p.12)
Video games are frequently using stereotypes, because of the fact that they allow a person
to immediately recognize and associate certain features to various characters in games.
Therefore, the time spent on evaluation is much shorter and the designed traits will be
mostly perceived as the developers desired them to be. Occasionally, stereotypes are also
being broken to enrich a character and make the design remarkable (Isbister, 2005,
p.13,14). Placing opposite features can make characters shocking or less predictable. For
8example, creating a powerful enemy looking like an innocent little girl is able to make the
player underestimate her powers or become careful: they might feel that something is wrong
as they have been expecting a terrifying-looking monster. In Souls series, which include
Demon’s Souls (From Software, 2009) and Dark Souls trilogy (From Software, 2011-2016)
as well as in Bloodborne (From Software, 2015) the enemies are almost always bigger than
the player and many of them are enormous. The size of an opponent does not condition its
difficulty or strength and it is frequently used to scare the player, because large creatures are
typically associated with powerful ones. Big opponents are usually heavy and slow, which
makes it easier to dodge their attacks, even if they deal more damage. On the contrary,
human-sized enemies are much more swift and powerful, therefore harder.
Stereotypes were frequently used in old games, where a typical main hero was a strong,
muscular male. As it was mentioned in the introduction, character of Lara Croft from Tomb
Raider series broke this stereotype which also contributed to her popularity. On the other
hand, because of her large breasts, slim silhouette and large lips Lara herself is a
stereotypically attractive female. It is important to add, that her oversexualized image was
changed in the later games starting in 2013 with Tomb Raider (Crystal Dynamics, 2013).
Since then, Lara has a realistic body, natural looking face, and less revealing clothing.
Stereotypes are still now and then used in games. The series Gears of War (2006–2019) are
full of muscled, macho men, who seem like their only attribute is strength. A change
appeared in Gears 5 (2019), where the first female protagonist of the series appears.
As for the visual side, a character consists of many elements such as forms and shapes,
outfit, body modifications, accessories and other details.
Forms and shapes are noticed first. They are influenced by factors such as gender, size, and
posture. Silhouette can be altered by adding clothing and hairstyle during the process of
designing a character. According to Dota 2 Workshop – Character Art Guide, working on
those allows to make a distinctive shape on which the rest of the elements can be based and
ensure, that the characters form will be recognized from afar and quickly read (Dota 2
Workshop - Character Art Guide - Steam Support, 2017). A character’s weight, size, and
posture can convey a lot of information about them. For example, weight can point out their
lifestyle, and posture can reveal their age, stamina, or character traits. Shapes and sizes of
characters are important when it comes to designing outfits, and those are one of the most
important pointers to one’s traits such as personality and profession.
9Costume design is vital for a desired feel of the game and good characters. Monnet
describes significance of fashion in the game Dishonored 2 (Arkane Studios, 2016) and
explains that the amount of work put into designing outfits was equal with the effort put into
creating the environment. He claims that the outfits were intended to match the surroundings
and it was important for the garments to perfectly fit the atmosphere of the game (Monnet,
2016). Costumes are responsible for how societies and individuals in the fictional world are
perceived.
Clothes are the strongest message for the viewer about the person wearing them. They are
able to communicate everything from age to profession, culture, and likings. Their condition,
amount, colours, value, fabric, and patterns carry information. In the abstract of Simulation of
Clothing with Folds and Wrinkles the power of clothing is greatly described:
Clothing is a fundamental part of a character’s persona, a key storytelling tool used to
convey an intended impression to the audience. Draping, folding, wrinkling,
stretching, etc. all convey meaning, and thus each is carefully controlled when filming
live actors. (Bridson, Marino and Fedkiw, 2003)
Basing on the quote, while designing outfits for characters, one has to be mindful of the
possibilities and be aware that even a smallest change is able to destroy or improve the
garment.
There are many factors that affect an outfit, for example personality and background. Jean-
Luc Monnet explains that while working on Dishonored 2, before designing clothes, the main
focus was on the character and their traits: age, background, origins and functions as well as
position in the society and a faction (Monnet, 2016). Time period is also important and might
define differences in clothing between different social classes. Monnet mentions that the
creators of Dishonored 2, took care that rich individuals look noble no matter the weather
conditions. Workers in a hot day could be shirtless and have a tanned skin, which created a
contrast between classes. The makers of the game studied anatomy to be able to show the
game characters’ social status through the posture. They found it significant to have it
possible for the player to distinguish a worker from an aristocrat by their body even if they
both are wearing the same clothes. That was achieved by paying attention to the creation of
the silhouette. Body shape and thickness of the fabric conditions how an outfit behaves, so it
has to fit to a specific character with a certain figure to look good (Monnet, 2016).
10Clothes and fashion are significant and are one of the most important parts of the design. It
is the strongest clue for the character’s personality, interests, and profession. In multiplayer
games outfits help players to express themselves and get certain benefits. Lisbeth Klastrup
and Susana Tosca basing on their study of World of Warcraft (Blizzard Entertainment, 2004)
state that players care about fashion and what their avatar is wearing. Except for need of
clothing that provides higher stats (enhancement of certain features of the character, such
as strength and health) it is important for them how their hero looks like (Klastrup, Tosca,
2009, p.4). In multiplayer games, a rare armor is a subject of pride and sign of an experience
in the game. Occasionally, World of Warcraft (Blizzard Entertainment, 2004) players change
clothes after entering a city, to an outfit with lesser stats but better looking (Klastrup, Tosca,
2009, p.7).
Hair is another significant part of character design. It is an element strongly connected to
one’s lifestyle, culture, individuality, emotions, and fashion preferences. As hair is strongly
connected to historical periods and certain societies it should be taken care of to present
them accordingly. Susan J. Vincent explains that hair has a special meaning in religions and
rituals, and it is strongly related to emotional states. Moreover, the author explains that most
people feel a strong connection to their hair and that it is combined with their perception of
self and losing it can lead to the crisis of identity. Through all centuries different hair colours
were associated with different personality types. Some of those stereotypes last up to this
day. One of them is perceiving people with red hair as evil or having negative character
traits, which frequently leads to bullying and discriminating individuals with this hair colour
(Vincent, 2018, p.8-15).
The last components of character design are body modifications such as scarification and
tattoos, other marks on the body like scars as well as jewellery and accessories. All of those
elements are described in a detailed way in section 2.2.
2.2 Meaning and function of body modifications, symbols and accessories
This section reviews usage of chosen body modifications (scars, tattoos, jewellery and
others), symbols, and accessories in character design and their connection to existing game
characters. It also includes information related to the meaning of those additions themselves
and while forming a significant shape. This section focuses as well on the description of how
differently people in certain cultures perceive the elements and how people who have or are
wearing them are perceived.
11There are three main functions of body modifications and accessories: decorative,
storytelling and symbolic role.
2.2.1 Symbols and signs
The need for symbols comes from "the demand of having a visible explanation of that, what
is invisible” (Lurker, 2011, p.16, my translation). The symbols allow one to include various
meanings in a single image to remove the requirement of a long explanation. Symbols are
able to show hidden secrets and deliver powerful messages. (Lurker, 2011, p.16).
Symbols and signs have a significant role concerning body modifications and accessories,
since they frequently appear in the most of those elements. A tattoo can be an image which
is loaded with meaning, a scar can be formed in a specific way, and in case of jewellery, a
decorative piece itself usually forms some sort of a symbol. A decoration on a piece of
clothing or an armour can be a complex picture, but in case of character design, it is
essential that the representation of the desired matter is simple enough for the player to see
it from a distance. A simple sign or a symbol, which is loaded with meanings is the best
choice. Thus, the player does not have to struggle to decipher the message and the
developers can be sure, that most of their audience will not miss the important part of the
character design which is often vital for the story. Undoubtedly, a material on which a symbol
is shown, or formed of, the placement and the way of representation (whether it is a tattoo or
a scar, for example) is important and frequently has a significant influence on the information
that is conveyed by the design of the character.
A sign and symbol are different. According to Lurker, both differ from each other greatly and
it is important not to use them interchangeably. Signs are used to mark something, they
have one, specified meaning which is clear to everyone. Those are for example, road signs.
Symbols are needed to describe something. They do not carry simple information, but one
that cannot be defined with a word or straightforward explanation. They can also be
reminiscent of something essential. Signs can be designed and their meaning can be
planned. Symbols however are being created. Imagination and intuition have a significant
role in the process. Nonetheless, some symbols can be also signs, but not all signs can be
considered as symbols. Consequently, there can be typical signs and those with obtained
symbolic meaning (Lurker, 2011, p.25-29).
An example of signs that have additional symbolling meaning are two gangs appearing in
Assassin's Creed: Syndicate (Ubisoft Quebec, 2015). The group that is friendly to the player
12and which can be controlled by the player is dressed up in green, which is a colour that is
commonly associated with something positive when placed next to red. The hostile gang in
the game has red clothes. Red colour is usually related to danger. It can be noticed in the
traffic lights, where green means go and red means stop. Except for being signals, the
colours carry symbolic meaning in culture. Kopaliński explains that red symbolizes among
others energy, bravery, and love, but also anger, crime, battle, revolution, and revenge
(Kopaliński, 2019 p.51). On the contrary, green is a symbol of things such as nature, life,
spring and youth, but also poison (Kopaliński, 2019 p.498,499). Therefore, the colours have
strong influence on the perception and game experience. A disadvantage is that players who
suffer from colour-blindness might experience more difficulties while playing the game.
Adding some signs or symbols on the outfits of the opposing gangs would be beneficial. The
two organizations do have signs, but they only help to tell the difference between their
territories. In the game paintings on the walls and flags with those images are placed
accordingly all over the city of London where the plot takes place.
Symbols can have more than one meaning. An example that Manfred Lurker uses to prove
that is the meaning of digit 7. In Christianity there are seven deadly sins, but also seven
sacraments (Lurker, 2011, p.32). Seven is just a number, but superstitious people consider it
often as a lucky one. Symbols can also gain new meanings with time, but they should never
lose their older interpretations (Lurker, 2011 p.36).
According to Lurker the lack of proper appreciation of symbols by some people results in
harming the proper meaning of those images (Lurker, 2011, p.25). In such cases, people
tend to forget the essential interpretations of symbols and might mostly associate those
images with the newly acquired different meanings and improper context. It happened with
svastika, which according to Kopaliński, in many cultures was considered as a positive
symbol of for example life, luck and the sun (Kopaliński, 2019 p.410), but in the early 20th
century, it started to be used by Nazis and became infamous. Respecting symbols is
important for many cultures as the same image frequently has a different and important, or
sacred meaning. Nowadays, young people tend to show less interest in their heritage.
Therefore, the old traditions stop being respected and symbols that derive from them are not
correctly recognized anymore. It is important for game designers to remember and take
caution while changing or adding a new in-game meaning for an existing real-life symbol
because of the reasons mentioned above and respecting the culture they derive from.
13If one grows into some culture, they start to respect and learn the meaning of symbols
appearing in it (Lurker, 2011, p.38). Symbols of factions in World of Warcraft (Blizzard
Entertainment, 2004) are a simple example. They both have different images. Moreover,
each faction is associated with a specific colour, Horde has red and Alliance blue. The
territories are usually decorated mainly with the theme colours and flags with the symbols.
Those serve as a warning to the opposite faction, which is related to game design. Besides
that, they have an in-game meaning that is significant for the lore. Symbols of the two
factions as images do not have a meaning in real life and are relevant only in the in-game
world, but players associate with them quickly and treat the mark of their group as something
to be proud of, which relates to the competition in the game. The application of symbols in
games allows game developers to add depth to their works and create images that can carry
some information without a need for an explanation. It is also able to emphasize certain
meanings or importance of a situation in the game.
Summing up, symbols can be used in various ways and are frequently parts of body
modifications and accessories. They can represent many features as one visual element and
add depth to the character. While using symbols for games, developers should be mindful of
their meaning in different cultures.
2.2.2 Scars, scarification, and skin conditions
Scars are marks that are left on the body after an injury. They influence one's looks and their
perception of self-beauty. Every scar has a special origin and a story behind it. It is a special
sign of a past event and carries information about a character. “When we see a scarred face,
we instinctively find our eyes drawn to it, and our minds drawn to the story the scar may tell”
(Austin, 1999, p.82). Scars can point out that the individual is a warrior or survived some
tragedy such as fire or an accident. They are left after self-harm or stay as reminders of
violence and abuse from another person. More trivial things such as accidental finger cut in
the kitchen or experimenting with tools while crafting will leave certain marks. Some people
do an art called scarification, where they create scars in various shapes and forms on their
own body. All those factors can be successfully used in character design to tell one's
personality, past experiences or traumas. Moreover, they have a strong meaning in various
cultures and religions.
Elizabeth Austin states that "For many patients with self-inflicted wounds, the scars tell the
story of their illness and their attempts to heal themselves” (Austin, 1999, p.82). Scars and
skin carry a lot of information about an individual: “The body’s surface – its skin – is often
14thought to reveal something about the invisible: personality, identity, interiority, psychology,
health” (Skelly, 2018, p.195). It can point out matters related to emotions, mental state and
spiritual subjects (Shenefelt P. D, Shenefelt D, A, 2014, p. 205). A significant number of
patients with scars have anxiety and avoid social situations. Marks on their body have a big
impact on their mental state and actions (Brown, Moss, McGrouther, Bayat, 2009). Skin
conditions have a significant influence on one's life and personality. Moreover, they reveal
past events from life. Scars and various skin modifications also play a role in perception of a
person by others.
In the Western world societies scars are perceived as unattractive marks and pure skin
surface is desired. In Elizabeth Austin’s article it is claimed that Americans do not consider
scars as a sexual element, but as a defect that needs to be covered or gotten rid of. One
hypothesis is that there was a conviction in the past that having a non-scarred body will
distinguish Christians and Jews from pagans, who practiced certain scarring rituals (Austin,
1999, p. 48,49). It was mentioned before that scars can cause anxiety and insecurities in
people having them, but there is another side of it. Remarkably, Elizabeth Austin writes that
Americans do consider scars intriguing (Austin, 1999, p.49). For example, “A scar on an
otherwise flawless face fills us with intense curiosity; we long to hear the sexy or sad story
behind it, and we feel slightly disappointed if the story is dull” (Austin, 1999, p.49). Those
claims should be able to get character designers' attention. Looking at Katherine Isbister's
guides related to game characters creation, one can learn that attractive game characters
are most desirable and evoke more positive feelings. The author adds that creating attractive
villains is beneficial as well for the same reason (Isbister, 2006, p.16). Connecting
knowledge about the influence of scars and other skin conditions on human psyche, an artist
can apply those aspects in character design. An attractive but intriguing fictional individual
can be created.
Maxwell Roth, a villain from Assassin's Creed: Syndicate (Ubisoft Quebec, 2015) is a gang
leader. He leads a luxurious life and being the head of an organization does not participate
in fights and events himself. He is a handsome, elegant, and charismatic character and has
a wide scar spread over his whole right cheek. This scar is much more mysterious for the
player, who never learns its origin, but can assume that Maxwell got it in the past, while
participating in many dangerous fights and life-threatening events, about which the player
can read in the character description in the game (it is not explained during the game). The
mark makes the design of his character not only much more interesting but also evokes the
player's interest in his past, especially that (despite the fact he is a villain), he is extremely
charismatic and likeable. Scars on bodies of characters who are warriors or swordsmen are
15frequently encountered in games and important to make the heroes believable, but not as
intriguing as on other types of individuals, since it is very easy to assume the story of those
marks if the person who carries them is a warrior.
In Assassin's Creed II (Ubisoft Montreal, 2009), the main character, Ezio acquires his
characteristic lip scar during the game. A rock is thrown in his face and hurts him. From that
moment after visiting a doctor who takes care of the hero, there is a visible mark on his face.
It is an interesting enrichment of a character especially that the player participates in a
creation of such recognizable detail.
Ciri from The Witcher 3: Wild Hunt (CD Projekt Red, 2015) has a wide scar on her cheek.
She is an attractive character with a pretty face. Even though she is a skilled fencer so the
player can assume the scar's origins, combined with her nice-looking face the mark is
intriguing. Ciri's profession is not being a fighter, even though she is very skilled in fencing.
The origins of the mark are not clearly explained in the game, but players who have read the
series of Witcher books (Sapkowski, 2014) know that the story behind it is very much
complex and thrilling. Geralt, the main character of The Witcher series (CD Projekt Red,
2007–2015) who is generally considered as handsome, also has a visible scar on his face,
one that is crossing his eye. Since he is a witcher – a monster slayer – the scar as well as
many others all over his body, underline his profession and indicate that he went through
many hard and exhausting fights in his life. In The Witcher 3: Wild Hunt (CD Projekt Red,
2015), Geralt explains that he got the mark on his face from a monster called cockatrice. The
scars do not intrigue the player, since their origins are so clear, but if one would imagine
Geralt without those marks, he would seem much duller. Moreover, pure body of a character
whose profession is killing extremely dangerous creatures would not be believable at all.
Skin with no marks on it can be associated with noble knights and perfect, good characters,
while Geralt, even though has rather high moral standards, is by no means perfect and not
always noble, although he always tries to act in the best and most just way possible. Other
characters in the game have scars as well. That underlines the character of the world and
tough living conditions. Many NPCs have scars that indicate they have been involved in
many fights before or skin in a bad condition, that often points out their poverty. The Witcher
3: Wild Hunt (CD Projekt Red, 2015) has very good character design that uses little details in
one of the most successful ways. Other elements of it, are described in later sections.
In many cultures scars and scarification are something more than just a mark left after an
injury carrying some memory about it. In many African, Amazonian and Asian societies,
16body scarification is an attractive aspect of a body. Presence of scarification for some
cultures means immunity and good health, which together combines into person’s
attractiveness. Other than that, this practise is frequently related to a coming of age rituals.
Some societies believe that children exposed to physical pain, will be stronger and more
able to withstand mental and physical stress in the future (Garve, et al, 2017, p. 709). In
some groups, scars are related to specific matters such as coming of age and sexuality.
Austin describes that in southeast Nuba women acquire special scars for example after
starting to menstruate or giving birth for the first time (Austin E, 1999, p.48). In East Africa,
hunters could acquire a scarification after a certain fortunate kill (Garve, et al, 2017, p. 710).
In specific Kenyan and Tanzanian Maasai societies, boys had brandings on their cheeks “as
a tribal identification marker and as a sign of the desire to become a brave man in the future”
(Garve, et al, 2017, p. 710). Elizabeth Austin describes that some young people living in the
Western world, do scarification to alienate themselves from the surroundings they live in and
want to reattach with people’s tribal history. It is also mentioned that many individuals
consider that body modifications give a feeling of control over own body (Austin, 1999, p.78).
Marks on skin are frequently related to a culture or are a statement, but a considerable
amount of them is acquired because of issues that are non-dependent on an individual such
as diseases, accidents, dangerous substances, or lack of hygiene.
In art design for games, it is vital to create most believable surroundings and with that,
characters who fit it. Game characters often get dirty skin after for example running and
climbing for a longer time. After getting into the water, they become clean again and wet
instead. Sometimes dirt is used to present certain conditions or the lifestyle of a person:
“dirty skin usually signifies poverty, but when combined with other signifiers – such as bottles
or drug paraphernalia – dirt on the skin can signify either alcoholism or drug addiction”
(Skelly, 2018, p. 196).
Some details of the design do not only improve the character’s looks and clarify their
personality or background, but often contribute to the creation of the hero’s portrait and are
vital for the story. A good example is Harry Potter – the main character of the book Harry
Potter and the Sorcerer’s Stone (Rowling, 1999) which is the first volume of the series about
the title hero. The series were later made into movies and games. Harry has a detail on him -
a scar forming a symbol of a lighting. It is not only a symbol left by the main villain in the
series, but as well a link between him and Harry. This mark makes him recognizable to both
people inside the story and the fans of the series. In the book everybody knows who he is,
because of the scar, even strangers to Harry. It distinguishes him so well that when
somebody in real life draws a lighting on their own forehead, or has a scar in the same
17place, people will right away connect it to Harry Potter. It is a small detail, it cannot be seen
from afar and it is not as conspicuous as a certain type of outfit, hair, mask etc. but it has a
huge influence on the plot, recognizability and can be later used in merchandise with
success. This is a good example of how powerful such small things can be. What can be
added is that the scar is in the shape of a lighting. It has a very strong meaning in many
cultures. Shaping a scar into a certain form can strengthen its meaning for the character or
provide additional information - like in this case. A lightning-shaped scar has a clear
message that it is not a regular mark and works on the recipient's imagination because in
every culture on earth this particular shape has a powerful meaning. Of course, there are
symbols, which in some cultures mean something positive while in others they have an
extremely negative meaning, so the designers should always be careful not to mislead future
players.
2.2.3 Tattoos
According to Żukowska-Gardzińska, the history of tattoos brings us back to as far as 5,300
years BC. In the past they had not only a decorative role, but also a magical meaning. Some
tattoos showed tribal position, identified to which army a person belonged to or pictured
experiences from life. Tattoos were common in Africa, Oceania, North America and parts of
Asia. In some environments, for example in Judaism, tattoos are forbidden, because they
are associated with believing in other, pagan gods and magic as well as considered as an
interference in the body, which is a gift from God and belongs to Him. In some cultures, this
type of art is related to protecting a person from spirits, therefore the judaistic prohibition is
also a kind of protection from binding oneself with the world of ghosts. (Żukowska-
Gardzińska, 2017, p.235). On the other hand, even though it was forbidden by the Church,
some Christians in the past did decorate their bodies with religious elements and numerous
Crusaders and individuals visiting Jerusalem tattooed themselves as a confirmation of being
in that place (Ankirskiy, 2014, p. 20,21).
Not only tattooing but also makeup and applying paint was related to spirituality. Red paint
was especially meaningful. Philip Shenefelt and Debrah Shenefelt state that “Examples of
the spiritual and social value of applying red paint on the skin have been present in many
cultures from ancient times to the present day” (Shenefelt, Shenefelt, 2014, p. 205). Then
they continue: “Pict warriors in Scotland painted themselves with red ochre as did Chumash
Indians in California and the Moche in Peru” (Shenefelt, Shenefelt, 2014, p. 205). The
authors also mention that painting bodies with different colours was meaningful for
aborigines in Australia and add that applying red colour on skin is still done by Maasai. In
18both cases, it is strongly connected to spirituality (Shenefelt, Shenefelt, 2014, p. 205). The
special meaning of red paint was noticed by game developers and used in God of War
series (SIE Santa Monica Studio, 2005-2018). The main character Kratos is unique because
of his white skin and red tattoos. Those are his recognizable features that are connected to
the tragic events. When he was young, his brother was taken away by gods Ares and
Athena. Kratos trying to save him, was hit in the face by the god of war. The injury left a scar
running over his eye. In memory of his kidnapped brother, Kratos got red tattoos in the same
places as his sibling's birthmark. His skin became white later, after he got a great power
from Ares and in his rage killed his family. As a punishment his whole body became white by
being covered with their ashes to be a constant reminder of what Kratos has done.
In Europe tattoos were not socially accepted for centuries. They became fashionable in 20th
century. Before, sailors and criminals were the only ones whose bodies were decorated with
this kind of art. (Sadowski, Borowska-Solonynko, 2017, p.282, 283). Tattoos were and still
are an important part of the “prison kites” subculture.
There are various reasons for prisoners tattooing themselves. Snopek states that tattoos are
mostly done for communication, they state the position of one among others, or exclude
them. Other, more artistic pictures are done to show prisoner’s personality, emotions, and
the story of their crimes. Some tattoo themselves also to impress other convicts or women.
Some take tattoos out of fear of being excluded from prison society. One of the popular
reasons for tattooing is as simple as it being a form of spending time (Snopek, 2015, p.75).
Prison tattoos always have a specific meaning. In addition, their placement is also important.
The same pattern can mean two separate things if placed in a different spot (Snopek, 2015,
p.72). Game developers often use knowledge about prison tattoos in character design.
One of the characters with many examples of typical prison tattoos is Whoreson Junior from
The Witcher 3: Wild Hunt (CD Projekt Red, 2015). He is one of the four bosses of the
criminal world of the city of Novigrad in the game. The game The Witcher 3: Wild Hunt is a
Polish game and tattoo designs presented on the characters resemble Polish criminal
culture tattoos. Therefore, I described their meaning accordingly.
Whoreson Junior’s whole upper body is covered with various tattoos. One of the more
curious ones are two tears under his left eye. Mariusz Snopek explains their meaning:
tears - tattooed around the eyes (from the outside or the inside) or also on other parts
of body (in that case together with the image of an eye), are classified to a category
19of tattoos defining prison martyrdom; tears symbolize a cry after lost freedom or
suggest that a man never cries (it can be noticed, that both meanings are
contradictory). As mentioned before, if motifs have a multifold meaning, convicts
interpret them in their own way. A tear is also interpreted as a longing for mother, a
cry after a dead father, etc. (Snopek, 2015, p. 83,85, my translation)
Another tattoo is a naked woman on the left side of the character's back. It is a typical erotic
image in the prison culture. “They comprise a form of entertainment as well as a discharge of
sexual tension” (Sadowski, Borowska-Solonynko, 2017, p.282, 283). Mariusz Snopek claims
that men in penitentiaries often tattoo images that can show their masculinity and other
features such as strength. “Ex: monsters, devils, athletes, Grim Reapers, aggressive animals
etc” (Snopek, 2015, p.79, my translation). On Whoreson Junior’s body such pictures can be
noticed. First what is very conspicuous is a large Leviathan Cross or Satan's Cross on his
chest. There is a crowned skull on the right side of his back and a large, spreading over
almost the entire back, portrait of some kind of a devil.
The tattoos are clearly intended to show Whoreson Junior’s criminal background. In the
game typical citizens rarely have any tattoos, so it emphasizes the fact that those pictures
are related to prison or gang culture. Not many people know the actual meaning of “prison
kites” subculture’s signs but basing on the look of those images (monochromatic, simple in
form with only an outline or simple filling), most of players can tell that those are tattoos from
penitentiary. If Whoreson Junior was designed without the tattoos, he would be lacking in
any clues about his background and past. Especially, that when the player encounters this
character for the first time, Junior is almost completely naked, so prints on garments or
jewellery cannot provide any feedback in this case. Showing a character without clothes
might be a design choice, to reveal the tattoos and through them present the personality or
other traits. Whoreson Junior is a very good example of enriching a character with tattoos.
Tattoos were perceived and presented differently through centuries, so they can be
successfully used in games in which plot takes place in the past. Edward Kenway from
Assassin's Creed IV: Black Flag (Ubisoft Montreal, 2013), has typical sailor tattoos with
marine motifs. As it was mentioned before, sailors were acquiring different tattoos during
their travels. Big number of tattoos on his chest and arms can point out that not only he was
travelling significant amount of times, but that he was visiting all the places on a ship. Of
course, the game is pirate themed, so it is obvious for the player that the main character is
bonded to the marine culture, but his tattoos accentuate it and make the design much more
interesting and believable.
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