Full Paper Proceeding-ARS 2nd International Conference on Advanced Research in Economics, Social Sciences & Trade Development ISBN: 972-81-615-9001-3 Character Design towards Narrative Believability of Boboiboy in the Malaysian Animated Feature Film Boboiboy: The Movie (2016) Mohd. Suhaimi Juhan1, Norlela Ismail2 1,2Faculty of Film, Theatre & Animation, Universiti Teknologi MARA, Malaysia [email protected] Keywords: Abstract: Designing a character in animation film is crucial especially when it concerns narrative Character believability. A character is designed to complement the narrative especially believable animated character. A Design, believable animated character allows the audience to perceive the characters as a life-like character thus the Narrative, ‘illusion of life’ well-constructed. In order to achieve a greater effect close to life-like character, a believable Believability, animated character must also be appropriately timed, and his emotions must be clearly demonstrated (Joseph Animation Bates, 1994). It is also argued that a believable animated character moves according to his emotional state and Films, personality throughout his journey in the narrative similar features as presented in live action films. Problems BoBoiBoy arise if a character is not bothered about what happens in his world or is emotionally detached of his surroundings. If the characters do not react or respond to his circumstances, they did not take action, the audience will not care about what happens to them. Characters without emotions are considered as a robot. The scenario becomes even worse if the physical features of a character do not match with the personality. This paper attempts to examine the qualities and personalities of BoBoiBoy in BoBoiBoy: The Movie (2016) that make him a believable character with ‘life-like’ form and clear demonstration of human-like basic emotions even though he is personified as a little boy with superpower qualities. The Ten key characteristic qualities of Hayes-Roth and Doyle (1998) is used to textually analyse BoBoiBoy in a systematic manner. INTRODUCTION the character does not react or respond to his circumstances, he It is argued that a believable character will lead to a does not take action, the audience will not care about what believable narrative. A character is one of the crucial agents that happens to them. Characters without emotions are considered propels the story forward through a series of events in the film as robots. The scenario becomes even worse if the physical narrative. The fact that both concepts are significantly features of a character do not match with the personality. Bates connected, the notion of believable character serves believable (1994) further argues that that, “the apparent desires of a narrative is central in this study. In the context of animation character, and the way the character feels about what happens films, Joseph Bates (1994) argues that “believable in the world with respect to those desires, are what make us care character…does not mean an honest or reliable character, but about that character. If the character does not react emotionally one that provides the illusion of life, and thus permits the to events, if they don’t care, then neither will we. The audience’s suspension of disbelief” (p.1). The concept of emotionless character is lifeless, as a machine” (p.2). ‘suspension of disbelief’ is defined as a character that allows the In Malaysia, poor design of animated characters is believed audience to perceive the character as a life-like form (Loyall to have been a long-term debate in animation, which eventually and Bates as cited in Zamitto, Dipaola & Arya, 2008). A life- causes poor reception of its screenings and collections in the like form which is designed with basic human-like emotions cinemas. Nonetheless, two notable successful animation films and personalities. A believable animated character must move in Malaysia worth mentioning are Geng: Pengembaraan according to his emotional state and personality throughout his Bermula (2007) with cumulative sales of USD1.73 million journey in the narrative with similar features as presented in live while BoBoiBoy: The Movie (2016) successfully garnered action films. USD4.12 million. Due to its success, this study argues that the Problems arise if characters do not care about what happens character of BoBoiBoy in the BoBoiBoy: The Movie (2016) is a in his world or are emotionally detached to his surroundings. If believable animated character in a ‘lifelike’ form with clear Full Paper Proceeding-ARS 2nd International Conference on Advanced Research in Economics, Social Sciences & Trade Development ISBN: 972-81-615-9001-3 demonstration of human-like basic emotions. Thus, this paper its relation to the narrative believability by relating the attempts to identify the qualities of BoBoiBoy as a believable significance of character design to the concept of classical character through the framework of the ten key perceived Seven (7) elements; Water, Fire, Wood, Earth, Air, Metal and qualities of characters by Hayes-Roth and Doyle and to discuss Aether. AN OVERVIEW OF ANIMATION IN MALAYSIA consequence, Upin-Ipin becomes very well-known in Hikayat Sang Kancil by Anandam Xavier (1978) is believed to Indonesia, Singapore, and Brunei. produce the first Malaysian animated characters. The story and Several initiatives were lined up for the purpose of character are based on local folktales. According to Lent (2004), enhancing the growth and development of the Malaysian the major themes of animation mentioned being claimed as creative industries through the introduction of Dasar Industri locals are fairy tales, fantasy, and superhero. Sang Kancil dan Kreatif Negara (National Creative Industry Policy) in 2009. Monyet, Sang Kancil dan Buaya, Gagak yang Bijak, Arnab Thus, Creative Industry Fund (CIF) was set up in 2010 for yang Sombong and Singa yang Haloba are among other individuals and companies, especially for those who are animated characters that were designed upon the success of the engaged in marketing their products for the local and global short animation Hikayat Sang Kancil (Rozianah, 2015). On the markets. The initiatives worth RM200 million (USD50 million) other hand, Keluang Man (1998), the Malaysian TV series has fund that prioritizes to facilitate the Malaysian animation been adapted to the local version which is inspired by the industry. Animation and digital contents were seen as the new American animated superhero series Batman. potential market that could reach the mass audience worldwide. Usop Sontorian (1996-1998) is the first Malaysian TV With the formation of the Multimedia Super Corridor series that situates three major ethnicities namely the Malay, companies called Creative Multimedia Cluster (CMC) was Chinese and Indian as central characters. Similarly, Datuk Lat recognized for further investment in creative companies (Barker (one of the renowned local cartoonists) also portrays indigenous & Lee, 2017). In 2015, Malaysia Digital Economy Corporation identities through his depiction of the kampong lifestyle, (MDEC) recorded 436 companies including more than 104 traditional local games and physical features of the local people animation companies, 52 games companies, 100 companies in in his popular graphic novel The Kampung Boy (1978) which film, TV and visual effects, and 54 in new media. The numbers then later became a TV series (Kampung Boy, 1999-2000). The mark the rapid growth of animation and digital contents in plot is about a village boy called Lat who appears to be the Malaysia. writer of the story himself. Despite political issues, the story LITERATURE REVIEW AND CONCEPTUAL also conveys about Datuk Lat’s lifestyle in the village and the FRAMEWORK then current issues of Malaysia as the background of the story. Narrative is trans-historical and transcultural hence we rely on This has been his principle in creating artwork (Khalid, 2010). narrative to make sense of our surroundings so that we are able Due to the emergence of 3D-animation in Malaysia in recent to generate meanings out our observation. Apart of film and years, Upin-Ipin by Les'Copaque was accredited by the literature, narrative can also be found in other different forms or Malaysian Book of Records in 2011 as being the latest and most texts such as newspapers, letters, postcards, books, television, successful Malaysian Animation. Thereafter, Les' Copaque video games, emails and many computer interactive produced its first full-length film titled Geng: Pengembaraan applications as well mobile applications. What are the Bermula. The series portrays simple themes and can be easily constituents of the narrative? Without a doubt that the understood by children where Malaysia’s kampong lifestyle conception of moving images derives its intrinsic fundamentals acts as the main theme of the series. The series highlights good from literary texts hence a brief background of literary narrative morals such as generousity, politeness and trustworthiness. In Full Paper Proceeding-ARS 2nd International Conference on Advanced Research in Economics, Social Sciences & Trade Development ISBN: 972-81-615-9001-3 is put forth in order to ascertain an understanding of the between male and female based on language patterns. On the cinematic narrative later. Cobley (2001) says that ‘narrative is a other hand, Bamman, O’Connor & Smith (2013) proposes two sequence that is narrated’ (p.7). He further states that narrative latent variable models