Date: Fri, 11 Nov 2005 07:22:33 -0800
From: Mary Robinette Kowal <mary-AT-otherhandproductions.com>
To: puptcrit-AT-lists.driftline.org
Subject: Re: [Puptcrit] The Uncanny Valley


I think that a lot of us have instinctively understood the Uncanny
Valley, but seeing it broken down in the way the article did was very
helpful.  I'm going to pick up a copy of the book, although I suspect
it will be a little beyond me.

Even when I'm talking about stage design, I think I deal with the
Uncanny Valley.  I can think of a number of occasions where I've had a
conversation with a director trying to talk them out of realism
because if you get anything wrong it breaks the whole illusion.




On 11/11/05, brianw2-AT-brianwindsor.com <brianw2-AT-brianwindsor.com> wrote:
> Hi Mary,
>
> The Uncanny Valley has a lot to do with why I work more with puppets to
> create computer generated characters than using motion capture of humans.
> I worked on recording and rehashing human motion for years...it works for
> somethings, but isn't right for a lot of things, so I've shifted over into
> recording the motions of puppets and applying that to computer generated
> characters.  I think the puppets (because of the simplicity) are much more
> engaging.  I've also found that trying to get too complicated kills some
> of the attraction of the puppet.  If I try to make too many things move
> and turn, then I get to the point of trying to make the character "too
> real" and it usually doesn't work out well.  It's a great theory, and
> explains why films like Polar Express tend to creep people out.
>
> -Brian
>
>
> > I just spotted this article about a theory called "the uncanny valley.
> >
> > http://www.arclight.net/%7Epdb/nonfiction/uncanny-valley.html
> >
> > While the article is targetted at science-fiction and fantasy writers,
> > it has a number of points that apply to puppet construction and
> > manipulation.  The valley is described as representing "the point at
> > which a person observing the creature or object in question sees
> > something that is nearly human, but just enough off-kilter to seem
> > eerie or disquieting."
> >
> > I think this is the same thing that will allow a brick to seem alive
> > as in the Puppetmonger Powell's Brick Circus, but will make a fully
> > rendered CGI creation seem dead or off.  With stylization, ones brain
> > recognizes that the thing is not human and stops trying to make it so.
> >  But with something that looks "real" each moment that is off raises a
> > flag in our brain and breaks the illusion.
> >
> > Please, read the article.  I found it fuel for interesting thoughts.
> >
> > --
> > ---
> > Mary Robinette Kowal
> > http://www.maryrobinettekowal.com
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--
---
Mary Robinette Kowal
http://www.maryrobinettekowal.com
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