Personality Perception: Game of Thrones 1
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PERSONALITY PERCEPTION: GAME OF THRONES 1 Personality Perception in Game of Thrones: Character Consensus and Personality Projection Gregory D. Webster1 and Jessica T. Campbell1,2 1Department of Psychology, University of Florida 2Kinsey Institute, University of Indiana Bloomington Manuscript under review; cite at own risk August 14, 2021 Word count: 7,732 Author Note Gregory D. Webster: https://orcid.org/0000-0001-7342-8444 Jessica T. Campbell: https://orcid.org/0000-0002-3745-7149 Corresponding author: Gregory D. Webster, P.O. Box 112250, Department of Psychology, University of Florida, Gainesville, FL 32611-2250 USA. Email: [email protected] Findings based on this research were presented at the 2020 annual meeting of the Society for Personality and Social Psychology in New Orleans, Louisiana, USA. Data, code, and survey materials are available via OSF: http://osf.io/dcnqa PERSONALITY PERCEPTION: GAME OF THRONES 2 Abstract This study examined Big Five and Dark Tetrad personality perception for 56 characters from the popular TV show Game of Thrones—and the book series that inspired it, A Song of Ice and Fire—by 309 fans recruited from three relevant subreddits. Specifically, we examined consensus—the extent to which multiple perceivers (participants) rate one or more targets (characters) similarly—and projection (a.k.a. assumed similarity)—the extent to which perceivers (participants) see targets (characters) as they see themselves. Using cross-classified structural equation models (CC-SEMs), we found that consensus correlations were significant for all Big Five and Dark Tetrad traits, ranging from .54 for narcissism to .83 for agreeableness (M = .66, SD = .10). Projection slopes were positive (range: 0.07 to 0.29; M = 0.15, SD = 0.06) and significant for all traits except conscientiousness and open-mindedness. Thus, raters reliably assumed that characters were similar to themselves on 7 of 9 traits. Exploratory sex-differences analyses showed no sex-of-character effects, but significant sex-of-perceiver effects for conscientiousness, open-mindedness, and Machiavellianism; women perceived characters to be higher on these traits than men. In addition, women (vs. men) rated themselves as higher on extraversion, agreeableness, and conscientiousness, but lower on Machiavellianism. We also present rankings for characters with the highest and lowest scores on each trait. Broadly, this work is important not only for understanding how our perceptions of personality generalize to fictional characters, but also how we use fiction characters— and our perceptions of their personalities—to better understand our own social world. Public Policy Relevance Statement: Fans of Game of Thrones rated themselves and a least one character from the TV or book series on nine personality traits. First, fans showed high consensus or agreement in their ratings of different characters. Second, for 7 of 9 traits, fans projected their own personality onto those of the characters they rated. Consistent with related research, people perceive fictional characters’ personalities in the same way they do real people. Keywords: Game of Thrones; Personality; Consensus; Projection; Assumed Similarity PERSONALITY PERCEPTION: GAME OF THRONES 3 Personality Perception in Game of Thrones: Character Consensus and Personality Projection The HBO television series Game of Thrones—and the book series it’s based on, A Song of Ice and Fire by George R. R. Martin—confront viewers and readers with complex characters that are neither stereotypically good nor evil, and rarely static over time or across situations. Nearly every major character is infused with flaws, riddled with moral failings, and experiences multiple traumatic losses. For example, in the first episode of the TV show, we meet Jaime Lannister, a young, handsome, and narcissistic knight of the Kingsguard who’s (in)famous for (a) slaying the previous king, whom he swore to protect; (b) being the firstborn son of the richest and most powerful man in the Seven Kingdoms (Tywin Lannister); and (c) being both twin sister to—and secret paramour of—the reigning queen (Cersei Lannister). At the first episode’s conclusion, we see Jaime attempt to kill a child (Bran Stark, via defenestration) from a rival family who inadvertently witnesses incestuous carnal acts between the Lannister twins. As viewers and readers, we’re given every reason to hate Jaime from the start. Yet over the course of eight TV seasons and five novels (so far), we see him humbled by capture and imprisonment, crippled by amputation of his sword hand, and—especially in the book series—lauded as a redemptive character, one whose motivation for regicide was fueled by saving an entire city’s population from a fiery death, and one who’s ostensibly more interested in pursuing peace than winning wars. Thus, both the book and TV series— hereafter collectively referred to as Game of Thrones—may provide fertile ground for our growing understanding of how people perceive the personality traits of several complex characters, and whether people project some of their own personality traits onto those characters. PERSONALITY PERCEPTION: GAME OF THRONES 4 Specifically, the present work examines personality consensus and projection. Consensus describes the extent to which multiple perceivers (participants) rate targets (characters) similarly. If people are rating Game of Thrones characters in largely the same ways, then consensus correlations should be positive and significant. This stands to reason because authors, screenwriters, and directors often strive to convey to audiences the specific personality traits or profiles of their characters. But because Game of Thrones relies on unreliable narrators and dynamic characters (many of whom feature “dark” personalities), it forces readers and viewers to especially vigilant of subtleties in characters’ actions and motivations. Projection—also called assumed similarity—describes the association between perceivers’ (participants’) self-reports of their own personality traits and their ratings of targets (characters) on the same trait. In other words, projection assesses the extent to which people see their own traits in other people, or alternatively, the extent to which people see others as they see themselves. If people are projecting their own personalities onto other characters, or are assuming that other characters share their own personality traits, then projection correlations should also be positive and significant. This also stands to reason in fiction and television, where writers and directors also strive to make their characters relatable on a personal level, even when the traits displayed are socially undesirable (e.g., antiheroes; see Jonason et al., 2012). Theoretical Perspectives Literary and television characters’ personalities have been studied from multiple theoretical perspectives in psychology ranging from psychoanalytic approaches to contemporary ones in personality, social, and media psychology that stress empirical evidence. PERSONALITY PERCEPTION: GAME OF THRONES 5 Psychoanalysis According to modern interpretations of Freud’s (1894) original conception, projection is simply “seeing one’s own traits in other people,” and as such “projection may be regarded as more a cognitive bias than a defense mechanism” (Baumeister et al., 1998, p. 1090). Thus, people often believe that their own traits—as well as attitudes, beliefs, and motivations—are more frequently represented in other people than they truly are. Game of Thrones is merely one such TV series that has garnered various psychoanalytic interpretations (e.g., Poscheschnik, 2018). Although Freud may be credited with conceiving the notion of projection, it has adopted different names and received empirical support in personality and social psychology. Personality Psychology Personality psychologists that study personality perception or judgment typically use the phrase assumed similarity (here also identified as projection) to describe the cognitive bias that people often show in seeing their own traits in others. According to Kenny (2020), assumed similarity is “the extent to which a perceiver views the self in the same way as the perceiver views others” (p. 15) or “a perceiver’s belief that a target is the same on some dimension as the perceiver sees him- or herself” (p. 358). Personality psychologists often assess assumed similarity by correlating perceivers’ self-reported traits (participant’s reported agreeableness) with perceivers’ ratings of one or more targets’ traits (participant’s perception of their friend’s level of agreeableness). In prior research, this correlation averages .25 (Human & Biesanz, 2011). In a meta-analysis of 24 round-robin studies, where everyone serves as both a target and a perceiver in small groups, assumed similarity correlations averaged .42 (SD = .21; Kenny & West, 2010). In a study focused on Big Five personality perception, assumed similarity correlations PERSONALITY PERCEPTION: GAME OF THRONES 6 averaged .28, ranging from .45 for agreeableness to .18 for conscientiousness (Srivastava et al., 2010). Research on well-acquainted people found that openness was the Big Five trait with the highest assumed similarity correlations (≈ .40; Lee et al., 2009). In a meta-analysis of Big Five traits, assumed similarity correlations were small- to-moderate for agreeableness (.25) and openness (.23), and small for conscientiousness (.13), neuroticism (.13), and extraversion (.09; Thielmann et al., 2020). Although projection of trait-level