Louise Bassou – Designing non-binary characters

Designing non-binary characters

by Louise Bassou

How does semiotics inform the representation of individuals outside the gender binary in contemporary illustrated media?

This paper examines gender representation in contemporary illustrated media with a focus on non-binary characters. Despite the significant amount of research into gender representation in media, the relationship between character design and gender theory, including the representation of non-binary individuals, has yet to be widely discussed. As creatives bear the responsibility of communicating a variety of concepts and narratives, it is crucial to understand what and for whom they are creating as the limited representation of non-binary individuals is highly criticised. To provide a nuanced discussion on the perception and presentation of gender, this research project brings together the experiences of non-binary individuals with semiotics, gender theory and character design principles. This approach provides an understanding of how character design can signify gender, which signs are identified by the audience as markers of gender identity and the limits of signs to express the gender identity of a character. The research project uses interviews with non-binary individuals concerning the representation of non-binary characters in illustrated media, followed by a character design workshop and focus group to gain the perspective of non-binary creatives to widen the perspectives on the creation of non-binary characters. This study reveals that in order to effectively convey gender in illustrated media, visual cues related to social and cultural gender norms are unavoidable. However, it is important to include a diverse range of characteristics that allow the audience to connect with the character. Characters in illustrated media should be composed of gender identity signifiers, as well as visual signifiers of their experiences and qualities that the audience can aspire and relate to. Otherwise, the character designer runs the risk of relying on preconceived notions of an identity, which can backfire and distance the character from the identity it is meant to represent. Thus, representing nonbinary individuals in illustrated media through semiotics requires actively identifying different identities within a character in order to convey them effectively. This research project asserts that by having a better understanding of the social and cultural experiences of the audience and creating characters with identities that extend beyond gender, characters of any gender identity can be successfully portrayed using visual signs.

Visual art is a means for individuals to express their individuality through their creative and critical skills. Creative practices allow for the expression of inner conflicts and emotions, as well as observations of the external world. This can help us gain different perspectives of the world and bridge cultural differences that often separate us. As creatives are responsible for communicating various concepts and narratives, it is crucial to understand what and for whom they are creating. At the time of this research project, the representation of underrepresented identities, such as non-binary individuals, has a limited number of positively received examples. With 0.4% of the United kingdom's population (Titman, 2014) and 5% of young LGBT individuals (METRO Youth Chances, 2016) identifying as other than "man" or "woman", there is a number of individuals who are not represented by most characters in contemporary illustrated media. In this paper, illustrated media is defined as any form of media that relies on illustrative techniques to communicate with its audience, rather than photographic or film-based media. Examples of illustrated media include comics, graphic novels, animation, and video games.

This research project aims to provide support to illustrators, animators, and character designers in designing non-binary characters using a semiotic approach. By doing so, the project seeks to explore how semiotics can be used to create more accurate gender representation in illustrated media. The experiences and skills of non-binary individuals are used to identify the limitations of this approach and to gain a better understanding of possible visual signifiers of gender identity within a particular social and cultural context. The goal is to provide guidance in the use of semiotics for better representation while acknowledging its limitations.

This review will explore this topic through a semiotic lens, to gain a better understanding of how semiotics can inform the representation of individuals outside the gender binary in contemporary illustrated media, what signifiers contribute to the communication of a character’s gender and the limits of semiotics in the representation of gender identity. This thesis will start with an explanation of semiotics and its application to this research project. Since semiotics is a way of analysing meanings by looking at the cultural and social codes that communicate them (Bignell, 1997), the effectiveness of this method to analyse illustrated media and character design will be determined in this research project. This

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process brings forward the small choices that creatives make, which can greatly impact the image and message conveyed to the audience.

The review then defines gender and identity, followed by an explanation of the term nonbinary in relation to gender identity. Given that gender is a complex and nuanced topic, it is important to establish clear definitions that will be used throughout this research project. While there are numerous definitions of gender, this review will focus specifically on its representation in illustrated media. As such, the definitions used will be tailored to this purpose. Thus, this project is based on Judith Butler's (2004) definition of gender, which emphasises the relational aspect of identity, whether it be with oneself or others. The review then proceeds to explore the representation of gender in media, highlighting common tropes and cliches, as well as the negative consequences of this representation. To better understand these issues, the review applies semiotics to the representation of gender in illustrated media, with a particular focus on fictional illustrated media for all ages, but from an adult perspective. This section helps to create an understanding of the challenges associated with representing gender identity, particularly non-binary identities, which cannot be signified through traditional tropes of femininity or masculinity.

Then, the methodology, methods, and ethics of this research topic will be discussed. This section will outline how this research projects aims to answer the questions on the role of semiotics in the representation of non-binary individuals in illustrated media. It contains an overview of the selection of participants, interviews as well as the aims and expectation of the workshop and focus group. Additionally, the ethics of this research project are highlighted as they are curial to this project. The topic of gender identity is personal, and if the research process is handled poorly, it can cause emotional and physical distress, in addition to negative repercussions outside of this research project if the identities of participants are exposed.

Finally, this research project will end with an overview of the results obtained from the interviews, workshop, and focus group. An analysis and evaluation of those results will be provided. The discussion points of the interviews will be organised into relevant categories that highlight the different aspects identified by participants as key elements that created a connection between them as an audience of this piece of media and the character. This section will review the character discussed during the interview to identify how non-binary individuals relate to the character and how those elements are represented in the design

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of the character. Then, the individual character designs will be discussed, using the discussion points of the interviews as a guide to analyse the results.

2. Semiotics

Semiotics or semiology is a way of analysing meanings by looking at the signs (like a word for instance, but also pictures, symbols etc.) which communicate meanings. (Bignell, 1997, p.1)

Semiotics is an analytical method composed of signs, which are composed of two parts, the signifier and the signified. According to Ferdinand de Saussure, the relationship between the signifier and the signified is arbitrary. However, this link is fundamental to the communication of meaning (Crow, 2010). For instance, the written English word "ROSE" is composed of letters that symbolise an object. From there, the signs may also convey additional meanings.

The example used by Roland Barthes (2009) to illustrate the concept is an analysis of the sign of a rose. The object itself, the roses, is considered the signifier. The concept of passion commonly associated with roses in western cultures is the signified. The concept of the “passionified” roses is the sign. While roses in themselves do not have any meaning other than being roses, our cultural and social background compels us to see the sign, “passionified” roses, before we notice the roses as signifier as Barthes explains: ‘I cannot dissociate the roses from the message they carry, [...] the signifier is empty, the sign is full, it is a meaning’ (Barthes, 2009, p.111).

While Saussure suggested that signs shape our perceptions of the world around us rather than reality (Bignell, 1997), it can be argued that the origin of a sign might not be as important as the relationship between how our perception impacts the signifiers utilised to communicate the signified.

Figure 1: Roland Barthes’ table of signification process and myth.

Roland Barthes's use of semiotics is expanded on with the analysis of media in Mythologies (2009) with the addition of the concept of a myth (Figure 1). As seen in the table of analysis of myth present in Mythologies, there is a double analysis of the signs presented which can deepen the understanding of the method of communication and meanings.

To elaborate on Barthes' example of "passionified roses", when someone writes the word "ROSE" or draws a picture of a rose on a paper, it becomes a signifier (Figure 2). The signified meaning behind that signifier is a “Real-life Rose”. Although there is no physical rose present in front of someone reading the word "ROSE" or looking at the drawing, they comprehend that the sign intends to convey a real-life rose to its audience. Additionally, the myth associated with that sign comes into play. In the context of the Western world, roses are often linked to romance. Consequently, the initial sign consisting of the signifier "ROSE" and the signified "Real-life Rose" became a signifier themselves that signifies romance. This can reflect a myth or an ideology, such as "All You Need is Love". It is important to note, however, that myth is not based on fact but instead on cultural and social understanding, as explained by Barthes:

Mythical speech is made of material which has already been worked on so as to make it suitable for communication: it is because all the materials of myth (whether pectoral or written) presuppose a signifying consciousness, that one can reason about them while discounting their substance. (Barthes, 2009, p.132)

In the creation of fictional characters in illustrated media, as will be discussed later in this paper, the performance of gender will likely be seen as a reflection of the identity of the Page of 9

Figure 2: Signification Process of the word “rose”.

character. This shows the importance of the signs utilised to signify an affiliation to femininity, masculinity or androgyny and how it reflects the myth of the character's gender identity to the audience.

2.1. Semiotics and illustrated media

Communicating with visual signs is the foundation of illustrated media. When creating media aimed at communicating meanings to an audience, semiotics are an available tool to analyse the choices of creators and their impact on their audience, ultimately enabling intentional use of the signs. In this research project, we will examine the effectiveness of the tool and explore potential applications for character design.

In her book Picture This: How Pictures Work (2000), Molly Bang demonstrates how simple shapes can be used to evoke emotions in an audience. She believes that small changes to those shapes can alter the audiences’ emotions. She explains:

We see shapes in context, and our reactions to them depend in large part on that context. […] I first decided to represent Little Red Riding Hood as a little red triangle and then asked myself, “Do I feel any thing for this shape?” The figure is

Figure 3: Molly Bang’s first illustration of Little Red Riding Hood and her mother (p.10).

not exactly fraught with emotion, yet I knew I felt things about it that I didn’t feel for others. (Bang, 2000, p.8)

The addition of a larger red triangle next to the smaller triangle, previously identified as the Little Red Riding Hood, is her mother (Figure 3). However, using the same sign to denote another individual in the context of the Little Red Riding Hood’s narrative has different implications as the mother overpowers the main character with her size, giving her character an unintentional emphasis. This exemplifies that using a visual sign that has previously been successful does not always translate as an effective communication in a slightly different context.

However, with the modification of the sign, the intended signified meaning can become clearer. In her third version of Little Red Riding Hood’s mother, Bang notes the effect of the change of colour from red (Figure 4) to purple (Figure 5):

She seems hugged and stable, though less strong and less warm than before. She is still motherly, and the emphasis of the picture is now more on Little Red Riding Hood as much as if not more than on her mother. (Bang, 2000, p.12)

Bang's approach to illustrating Little Red Riding Hood demonstrates the semiotic myth created by the choice of colour and shape to represent a simple character. In her work, the author's choices of shape and colour are subjective, revealing both her intyerpretation of Page of 11 73

Figure 4: Molly Bang’s second illustration of Little Red Riding Hood and her mother (p.11).

Figure 5: Molly Bang’s third illustration of Little Red Riding Hood and her mother (p.12).

the characters' personalities and roles within the story and her own cultural and social perception of the colours and shapes she employs to depict those characters. It is important to note that the colours red and purple can carry different meanings for different people depending on the context, as well as in different cultures. In this context, the perception of the colours is viewed through a Western lens which led to the red colour to be perceived as “strong” and “warm” compared to the “huggable” and “stable” purple.

Additionally, the myth of the mother being huggable and stable is not inherent to the visual representation, but it is the signified meaning that Bang's choices enabled. While the subtle changes may be overlooked, they are crucial to communicating the intended meaning to an audience and shaping their perception of the character. However, it is common for designs to be more complex than Molly Bang's shapes. Although it is interesting to examine the gendered connotations of rounded shapes (Figures 4 and 5) that make the mother of Little Red Riding Hood appear huggable and stable and therefore motherly, as the impact of creatives biases will be explored later in this paper, most contemporary illustrated narratives are expected to represent more complex characters that do not adhere to stereotypical archetypes.

2.2. Semiotics and character design

In storytelling, it is often expected that characters have some complexity, especially when it comes to their identity. If a character comes across as one-dimensional, the audience may struggle to relate to them and lose interest in the media they're consuming. According to Linda Seger, 'Great characters are essential if you want to create great fiction. If the characters don't work, the story and theme will not be enough to involve audiences and readers' (Seger, 1990, p.xii). To achieve more character depth and complexity, it is important for creators to draw inspiration from their own life experiences as well as research on cultures and social norms they may not have experience with. Since characters exist as part of a society and culture of their own, it is crucial to understand the dynamics of their background and to avoid relying on stereotypes. Seger defines stereotypes as:

The continual portrayal pf a group of people with the same narrow set of characteristics. Usually a stereotype if negative. It shows a cultural bias towards the characteristics of one's own culture, painting characters outside that culture in limiting, and sometimes, dehumanizing ways. (Seger, 1990, p.196)

As discussed previously illustrated media relies on signs to communicate meaning to its audience. Which brings the question, how can a creative communicate identity through visual signs?

To effectively convey a character's in depth identity, it is important to understand how people communicate their identity outside of media. While character design in illustrated media is limited by the medium, creators can learn from the complexities of real people to inform their approach to character design. In everyday life, appearance is a way of communicating identity. For example, individuals use dress to communicate their identity. Dress, as defined by Mary Ellen Roach-Higgins and Joanne B. Eicher in Dress and Identity (1995), includes body supplements such as clothing, as well as body modifications. They explain that:

From the perspective of symbolic interaction theory, individuals acquire identities through social interaction in various social, physical, and biological settings. So conceptualized, identities are communicated by dress as it announces social positions of wearer to both wearer and observes within a particular interaction situation. (Roach-Higgins and Eicher, 1995, p.12)

Whilst contrary to another person one would meet, illustrated characters need to communicate themselves as believable utilising visual signs. According to Ji Hyun Yi (2017), ‘a believable character is important because it reflects the character’s function within the narrative’ (Yi, 2017, p.2). He conducted a study to create a structure to extract a character’s visual components from a narrative in a video game or animation. He explains that:

A character’s physical appearance (e.g., skin, hairstyle, face shape, and height) and external appearance (clothing, tools, and weapons) are designed based on its characteristics according to its origin, age, and social status. (Yi, 2017, p.2)

Thus, he argues that a character’s emotions and personality must inform its appearance to be believable and that the signs of a character’s design can be extracted by analysing a character’s backstory.

With this personality first approach, a character’s signifiers are extracted from its signified so the character designer can then create the signs, reversing Barthes’ semiotic process. The traits that are extracted from the characters’ background are psychological and sociological and touch upon the personality, personal preferences, history, experiences, social relationships, capabilities and environment of the character (Figure 6).

In this image (Figure 6), it is possible to observe an outcome of Yi’s research next an organised list of the traits extracted from the character’s background information. The section “Dimension” compiles the background traits that were then translated into signifiers

Figure 7: Modification of Barthes’ semiotics table with the information on the character PeterWarrior and its assumed traits.

Figure 6: The extraction results for the character’s appearance components for PeterWarror’s.

in the “Appearance Components" section. While we do not have access to the backstory of the character, it is possible to speculate from its design. This method can be compared to Barthes’s semiotics table as it relies on the cultural and social background of the audience of a piece of media to deduce the background of the character and thus its signified. When the components of Yi’s study are organised in Barthes’s semiotics table (Figure 7) it is possible to see the similarity between the concepts, while the arrangement of the information differs.

However, character designers may base the traits they extract from of a character's identity on preconceived notions which can be influenced by the media they have consumed as well as their social and cultural standards. This can become problematic when creating characters with identities that are underrepresented and the creators may not have had prior exposure to. While Yi’s study includes the sex of the character as a physiological trait, it does not include the concept of gender identity, performance or stereotypes.

In a round table discussion on The Importance of Authenticity in Design (2015) hosted by The Creative Talent Network, art director Noah Clock, artist Rona Liu and character designers Daniel Arriaga and Chris Sasaki, moderated by art director Bill Perkins, discussed the concepts of "authenticity" and "honesty" in character design. In a similar manner to Ji Hyun Yi, they emphasised the importance of creating believable and complex characters whose design is informed by their cultural background, including their personality which will then result in the choice of clothing, colours and the shapes utilised to illustrate them. The creators stressed that character design should be based on a deep understanding of the character in all of their details, and that inspiration for design choices can be found outside of media during travel and in depth research. Differently from Yi’s research, they emphasised the importance of understanding a character’s cultural background and not relying on the stereotyped ideas one may have on an identity. In a similar way Linda Seger argued that:

Writing a character from a culture other than one's own includes first, creating the character as fully human, with the full rain of feelings and attitudes and actions of any other person, and, second, understanding the influence that the specific culture will have on the makeup of a character. (Seger, 1990, p.202)

However, audiences may not always possess the necessary knowledge to fully comprehend a character's identity based on the signs presented in their design. These signs are chosen by the designer to communicate a particular aspect of the character's identity, based on the designer's perception of that identity. This perception is influenced not only by the designer's cultural and social point of view, but also by the information they have about the identity being represented. When misinformed, the representation can end up being one-dimensional, stereotypical, or may not be understood by the audience. Therefore, the character designer must keep in mind not only their own perception of an identity, but also the potential perceptions of their audience regarding the signifiers used to communicate that identity. Moreover, the audience's perception of an identity is influenced not only by their familiarity with it, but also by their cultural and social background. This highlights the challenge of creating characters that accurately represent their identity while still being effectively communicated and understood by the audience.

3. Gender and Media

3.1. Gender

The concept of gender is difficult to define as traditional definitions of gender privilege the binary. While separated from the concept of gender identity, the World Health Organization defines gender as follows:

Gender refers to the characteristics of women, men, girls and boys that are socially constructed. This includes norms, behaviours and roles associated with being a woman, man, girl or boy, as well as relationships with each other. As a social construct, gender varies from society to society and can change over time. (World Health Organization, n.d.)

In the further explanation this binary definition, gender is differentiated from sex, which refers to the biological and physiological characteristic of females, males and intersex individuals. It is worth noting that this definition of gender does not cover how people express their gender identity outwardly. The way people convey their gender does not necessarily have to match their gender identity in practice. However, since this research deals with illustrated media, how gender identity is presented and communicated will be a key focus of this study.

However, for this research project, we will define gender according to Judith Butler's idea of gender. According to Butler, gender is ‘a practice of improvisation within a scene of constraint. Moreover, one does not “do" one's gender alone. One is always “doing” with or for another, even if the other is only imaginary’ (Butler, 2004, p.1). By framing gender in this way, we can better understand how one's perception of themselves and others' perception of them plays a key role in gender, since gender is performed for oneself and others. Therefore, it is important to communicate one's gender identity, whether to oneself or to others, and visual elements can be useful for this purpose. Based on this definition of gender, communicating gender involves the use of different signs, which highlights the importance of semiotics in exploring this topic and gaining a better understanding of the

fluidity of gender perception and communication, such as individuals presenting in feminine and masculine ways.

It is important to note that Butler argues that as the terms "masculine" and "feminine" are changeable and have evolved through history, as the gender is perceived through an evolving cultural lens. Which implies that communicating one's gender is based on the social and cultural expectations linked with a particular gender. This point is emphasised by Monique Wittig. In The Straight Mind and Other Essays (1992), she wrote that if womanhood depended on heterosexual frameworks and patriarchal norms, lesbians would not be considered women (Halberstam, 2011). In other words, the characteristics that form the social and cultural views of gender develop with the cultural and social principles. However, it is important to acknowledge that applying Butler's theory to the representation of non-binary individuals raises some questions. Specifically, what are the markers of those gender identities? This topic will be explored further in this thesis.

3.2. Identity

The notion of gender is linked to the concept of identity. According to Stuart Hall, 'identification is constructed on the back of a recognition of some common origin or shared characteristic with another person or group, or with an ideal, and with the natural closure of solidarity and allegiance established on this foundation' (Hall, 2000, p.16).

However, when the term identity is applied to gender, it takes on a new meaning. Gender identity ‘refers to a person’s deeply felt, internal and individual experience of gender, which may or may not correspond to the person’s physiology or designated sex at birth’ (World Health Organization, n.d.). Gender identities are defined by an individual for themselves, as the result of the perception of their own gender. While the deeply personal concept of gender identity seems to contradict the idea of identity as defined by Hall, a gender identity entails associated or rejected as norms, behaviours and roles that are bound to the gender an individual identifies with. Thus, individuals identifying with a gender identity share characteristics with others with the same gender identity.

The instances in which an individual's gender is identified as outside of the binary, it is referred to as "non-binary" and “genderqueer”. However, there are many identities and experiences that fall outside of the binary. In the book Genderqueer and non-binary genders (2017) the nuance is explained:

Essentially, of course, genderqueer or non-binary people are simply people who are not male or female; but as ever things are more complex than that. [...] Whatever their birth physicality, there are non-binary people who identify as a single fixed gender position other than male or female. There are those who have a fluid gender. There are those who have no gender. And there are those who disagree with the very idea of gender. (Richards, Bouman and Barker, 2017, p.5)

For this research, we will utilise the term "non-binary" as an umbrella term for all gender identities outside of the binary of man and woman, regardless of the fluidity of the gender identity of an individual or character.

Nevertheless, Judith Butler's idea of gender as performance will be at the forefront of the research. While a creator can showcase a character and associate that character with an identity, it is the visual performance of the assigned identity that is perceived outside of the narrative by the audience. Therefore, it is important to note the unique challenges nonbinary individuals face in regards to the presentation and communicate of their gender identity. Spencer Garrison notes:

Even if we explicitly attempt to present ourselves as ambiguous, others may thwart us, assigning us automatically to whatever category seems “closest”. In attempting to present ourselves as androgynous, we may indeed lead others to question our gender; however, lacking a set of signifiers to connote identities that are explicitly “in-between”, the question drawn is less often “Is that a non-binary person?” than “Is that a boy or a girl?” This isn’t to suggester that individuals have no agency to innovate in their performances of gender-they certainly do-but, for these performances to impact lived reality, others must also be able to recognise them.

(Garrison, 2018, p.617)

This experience of “misrecognition” (Pfeffer, 2014) non-binary individuals face, brings forward a key issue of this topic. They experience being identified as a gender identity one Page of 19

does not identify as because there does not seem to be distinct signifiers to signify nonbinary genders. The signs of non-binary gender identities are not recognisable to those that are not aware of those identities, individuals that do not identify as non-binary as well as non-binary individuals themselves as their experience of gender does not necessarily reflect the experience of others. This issue is further emphasised by the different ways non-binary individuals may choose to present their gender. Some may aim for an androgynous appearance, while others may feel more at ease expressing themselves in a binary gendered manner.

3.3. Gender representation in media

In the Netflix documentary Disclosure (Feder, 2020), a discussion centered around transgender individuals highlights the issues of their representation in media. The first point highlighted in the documentary is the effect of positive and negative representation on individuals supposedly represented by transgender characters. This reaction to the misrepresentation of transgender characters is amplified by their underrepresentation. As writer Liegegott clarifies, 'we have to scrutinize these characters in a way that we don't ask to scrutinize the characters of people who are not marginalized' (Jensen, 2015). This point is reinforced by Linda Seger, who explains that when a group of people is stereotyped, it creates a negative impression of the entire group. As a result, it is understandable that a marginalised group would not want to face negative consequences due to an inaccurate portrayal of their identity. The documentary also points out that many transgender individuals identify more with cisgender characters in media due to the misrepresentation of transgender characters. It is important to acknowledge that not all transgender individuals identify as non-binary, and vice versa. However, the experiences of transgender individuals appear to align with the perspectives of non-binary individuals. At present, there is insufficient research to confirm the opinions of non-binary individuals regarding their depiction in contexts beyond those related to transgender representation.

The representation of gender can be influenced by the opinions of the professionals involved. As illustrator Chris Campe notes, 'the illustrator's opinions become part of the visual representation they create and remain an integral part unless challenged by the client' (Campe, 2015, p.35). However, Campe also emphasises the importance of the

client's role in negotiating the representation. Many media projects are commissioned by clients who may have different beliefs about gender or come from different social and cultural backgrounds. Therefore, the client's input can have a positive or negative impact on how gender identities are represented in the media. According to Campe, clients may notice a bias in an illustrator's work and wish to correct it, or they may change the representation to benefit their image. Regardless of the reason for client involvement, the resulting negotiation reflects the biases of those involved.

3.4. Gender representation in illustrated media

In illustrated media, there is the added difficulty of not having the canvas of an actor or model to create the represent gender that can be linked to the assumed gender identity of the individual portraying a character.

It is common for issues related to the stereotypes surrounding non-binary individuals to arise. An example of a stereotyped representation is the MARVEL characters Snowflake and Safesapce (Figure 8). These characters were introduced in 2020 for the 6th volume of the New Warriors comic-book series but the comic-book was never released following the negative online reception of the characters. While the design of the twin superheroes

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Figure 8: Character design of the twin MARVEL superheroes Snowflake and Safesapce.

theoretically have gender-defying signifiers that could help a reader perceive them as nonbinary, the reliance on contradicting the gender associated signs such as body type and the colours blue and pink was considered stereotypical and tone-deaf on social media (Hitch, 2020) and while still relying on the binary signifiers of gender.

The representation of non-binary individuals in this context relies solely on the use of binary gender codes. By using femininity associated with the colour pink contrasted with a masculine body type and a feminine body type contrasted with the colour blue, there is an attempt to create a sense of androgyny. However, as discussed by Spencer Garrison (2018), such attempts at androgyny do not result in a recognition of non-binary gender identities, but rather create a perception of which binary gender the character is closest to. Thus, the use of androgyny does not result in a nuanced gender representation. The issues with the method of representation of the characters Snowflake and Safespace are amplified as they are criticised for being one-dimensional and relying solely on the androgyny of their design, which as discussed, does not result in a clear perception of the gender of the character, making it a one dimensional representation.

Additionally, the utilisation of stereotypes can affect the reception of otherwise multifaceted characters. For instance, the "Non-Human Non-Binary" trope creates a disconnect between a non-binary gender identity and humanity. Since non-human characters, such as aliens and robots, are viewed as being outside of human experience and do not conform to the societal norms of human culture, their non-binary identity may be accepted but is also separated from humanness (Ellis, 2021). The character Double Trouble (Figure 9) in

Figure 9: Screenshot of the character Double Trouble.

the animated show She-Ra and the Princesses of Power (2018-2020) exemplifies this trope. While the character is not explicitly identified as non-binary in the show, they are referred to with the singular pronoun “they”, have masculine and feminine coded traits in addition to their ability to shape-shift into individuals of different genders. While the portrayal of the character has enabled non-binary individuals to relate to the character even if they are not human, the creator has since expressed regrets in making the only non-binary character non-human after having been made aware of the trope (Chik and White, 2021).

While this research project will focus on fictional representation of non-binary characters, there is something to learn from non-fiction representation. Comic artists, Higu Rose and Maia Kobabe have both utilised the comic format to communicate their relationship to gender. While Rose (Figure 10) utilised visual metaphors and references to pop culture to create a visual representation of their feelings towards their body and gender identity, Kobabe (Figure11) utilised realistic personal experiences and uses narrative as a tool to communicate e’s exploration of e’s gender identity in a chronological order. These methods of representation function as a way to connect the reader to the experience of the

Figure 10: Page of Higu Rose’s comic, Tittychop Boobslash (2017)

Figure 11: Page of Maria Kobabe’s comic, Gender Queer, A Memoir (2019)

authors by illustrating the feelings and situations relevant to their gender identity. While these methods effectively showcase gender identity in illustrated media in a personal and nuanced way, these depictions of gender identity in a non-fiction setting may not fully translate to character design. As previously discussed, character design utilises semiotics to communicate identity.

3.5. Signifying gender Dress

To understand how semiotics is used to convey gender, we need to explore how gender is expressed through different methods, such as dress, among others. As discussed previously, dress a key method to signify identity which can be applied to character design. The V&A exhibition Fashioning Masculinities (2022) highlights the importance of cultural codes in the fashion used to express one's gender. While highlighting the evolution of the cultural codes of masculinity in western cultures, the exhibition showcases the fluidity of the presentation of masculinity that can be linked to the theory of semiotics. This further emphasises the difference of codes used in markers of masculinity, femininity or androgyny in contemporary fashion in the exhibition Africa Fashion (2022) in the V&A. Thus exemplifying that the lack of knowledge or explanation of the cultural codes can lead to a differing gendered perception of certain garments with a western perspective.

Figure 12: Photograph of Studio Nakamoto’s studio pocket dress.

For instance, the same garment can have a different association between cultures resulting in a mixed-gendered association. An example of this phenomenon is the "Genderless Dress" by Studio Nakamoto (Figure 12) also known as “Studio Pocket Dress”, a fashion brand based in London wanting to make the Japanese street style more accessible to individuals in western countries. The garment is associated with masculinity in a Japanese context, as it is inspired by traditional men’s garments, but is associated with femininity in a western context as it is perceived as a dress. It can be argued that the understanding of the conflicting associations, due to cultural associations of the same garment, has resulted in perceiving the "Genderless Dress" as an androgynous garment.

Applied to illustration, utilising dress is key to illustrate how a character is perceived. The clothing itself can signify gender identity but it is even more emphasised when the signs of characters identity contrasts with the signs on another character. The character of Rose in the graphic novel Le Jardin, Paris by Gaëlle Geniller (2021) is born a boy but performs in a female cabaret. His performance clothing consists the “feminine” accessories and garments but does show his bare “masculine” chest which can be considered a sign of androgyny and the fluidity of his gender identity. Even outside of the context of performance, Rose is perceived by other characters as a man or women depending on the signs of his dress. In Geniller’s concept illustration (Figure 13), Rose’s character design contrasts with the character Aimé’s, who’s dress is consistently signified as masculine.

Figure 13: Concept illustration of the characters Rose and Aimé

Body

While outside of illustration dress encompasses body supplements and body modification, in illustrated media the body and facial features can be modified and utilised by creators as a sign of gender identity. There are features of the body and body modification that are associate with the transgender and non-binary experience that can be achieved with the visual representation of genitals, secondary sex characteristics, surgery scars and body shape. This has been done by illustrator Toto Duarte (Figure 14). Toto creates a base on the intersex body in the instances where the sex is visibly outside of the binary while also showcasing the scars linked to surgical procedures linked to gender-affirming surgeries.

Figure 14: Toto Duarte’s Mural Ecologia Queer

Figure 15: Section of body shape in video game Coral Island

The use of body to represent gender is particularly noticeable in video games that have a character customisation feature. For instance, in the game Coral Island (2022) the gender identity of the playable character is not explicitly stated but players have the ability to choose the body shape, amongst other features, of their characters to signify their gender (Figure 15). In contrast, Animal Crossing New Horizons (2020) allows players to control various features, such as hairstyle, cheek colour, and nose, mouth, and eye shape to represent the gender of their character, while the body and face shape remain unchanged (Figure 16). The design elements in question function as signs, made up of signifiers and signified that are interpreted through semiosis. It is through the combination of these signs that a character is created, allowing players to express their character's gender.

It is worth noting that in the two games mentioned, the player's choice of body types and features does not affect the narrative. However, in some games such as Pokémon Brilliant Dimond (2021) and Pokémon Shining Pearl (2021) (Figure 17) the player’s choice of character, who’s designs contain signs of gender identity, affects how the player controlled character is referred to in the game. This emphasises that the appearance of a character is used to signify its gender and gender identity.

Figure 16: Animal Crossing New Horizons’ character customisation options

3.6. Semiotics and gender presentation

As discussed previously, the visual signs of gender are linked to the cultural and social codes connected with the perception of gender identity. As illustration is a practice that begins with a blank page, every element added to a character’s design becomes a sign. Thus illustrated media signifies gender by utilising the social and cultural codes of its audience. Therefore, to identify the signs of gender using semiotics in illustrated media, I will be utilising Barthes' approach to analyse the signs and meanings within character design regarding their perceived gender identity.

Figure 17: Pokémon Brilliant Dimond’s and Pokémon Shining Pearl’s character choices.

Figure 18: Example of female, gender-neutral and male emojis.

However, even in the representation of the gender binary, the signs utilised are based on stereotypes that do not represent the gender identity in all its complexities and nuances (Seger, 1990). The designs of Emojis (Figure 18) are an extreme example of this phenomenon. While the female and male emojis are identifiable, the designs are not indicative of what a women or man looks like. The addition of a “non-binary” emoji highlights the binary use of the “feminine” and “masculine” for its design. While the design achieves a sense of androgyny, as discussed earlier, it is not synonymous with a nonbinary gender identity (Garrison, 2018).

This brings in the idea of “authenticity” when it comes to the representation of characters’ gender. Authenticity is 'the decision to act as oneself, according to one’s own intellectual, spiritual and bodily inclination' (Vermeulen, 2017, p.21). While the concept is difficult to apply to a fictional character that is part of a product to be consumed, it is possible to imagine a character to be considered “authentic” if its characterisation encompass multiple informed identities.

While there is a debate about the relationship between authenticity of an identity, as it can be considered a social performance rather than an inner truth (Berardi, 2017), the discussion becomes increasingly complex with the fluidity of identity (Gauntlett, 2002). However, the representation of the gender of a fictional character in media can only be a manufactured performance of gender identity and relies on the illusion of authenticity to convince the audience of a character's identity.

Consequently, there is the issue of communicating seemingly complex fictional characters that will feel authentic to a hypercritical audience. An example of the discussion of authenticity concerning gender in media is the fan-coined term "queerbaiting" (Brennan, 2018). In some instances of perceived queer representation, which can include non-binary representation, the audience of the media may perceive the representation as a 'capitalist exploitation, [...] maliciously encouraging the emotional, interpretative, and managerial labor of queer fans' (Anselmo, 2018 cited in Brennan, 2018, p.106). This phenomenon is thought to be caused by 'how satisfactorily queerness plays out in canonical text relative to viewer expectations' (Ng, 2017 cited in Brennan, 2018, p.107). One could argue that, despite utilising gendered signs to indicate a character's gender, non-binary representation

may still be considered authentic if it successfully avoids gendered stereotypes. In addition, avoiding to focus a character’s signs of gender identity might simplify their design too much and break the illusion of authenticity.

This raises many questions on what it means to design non-binary characters. When can a fictional character be deemed non-binary? How can we bypass the binary tropes and stereotypes that are utilised in character design in illustrated media? How can fictional characters appeal to non-binary audiences in a way that bypasses binary codes? I hypothesise that non-binary individuals connect with characters that do not abide to gender expectation. However, the signs that will be identified in a character’s design as signifiers of non-binary gender identity will not be a sign of gender but of queer culture. This next section will outline the methodology employed in the thesis to address these research questions. The methodology will involve the process analysis of interviews, workshops, focus groups and other potential research methods to further explore the topic.

4. Methodology and Methods

To test the hypothesis concluded by the theoretical research on the subject, we will be using interviews, a workshop and a focus group (Figure 19). These different methods will be utilised to bring together different perspectives on the various elements of character design, the relationship these visual components of character design have with the perceived gender identity of a character and how these elements can be brought together.

Figure 19: Structure of the methods of this research project.

4.1. Interviews

The first round of unstructured interviews will be with individuals who identify outside of the gender binary and are not involved in the creation of illustrated media. The objective of these interviews is to gain an understanding of the landscape of representation from a perspective of an individual who is not involved in the illustrated arts. As the topic is complex and nuanced the interview format will be the most effective at gaining information since ‘unstructured interviews focus on complex voices, emotions and feelings of interviewees, as well as the meanings within the words that are spoken’ (Brennen, 2013, p.28).

The purpose of these interviews is to gather the perspectives of non-binary individuals on character designs they encountered to during childhood and those they currently come across. We are interested in understanding which aspects of character design they relate to, which they associate with gender, how they determine the gender identity of a character, and how their opinions on these elements has evolved over time. Additionally, we want to know what aspects of character’s design they feel should be more prevalent. To ensure we gather informative responses, each question asked is followed by probing to clarify their answers without influencing their opinions (Kvale, 2007). Though we anticipate discussing these topics, our questions also account for the possibility of gaining new perspectives on this research project.

A qualitative research interview seeks to cover both a factual and a meaning level, although it is usually more difficult to interview on a meaning level. It is necessary to listen to the explicit descriptions and to the meanings expressed, as well as to what is ‘said between the lines’. The interviewer may seek to formulate the implicit message, ‘send it back’ to the subject, and may obtain an immediate confirmation or disinformation of the interpretation of what the interviewee is saying. (Kvale, 2007, p.7)

Our interviews are structured around the photo elicitation method (Flick, 2022). Before the interview, participants will be given topics to consider and asked to prepare images of characters from illustrated media they related to in childhood and at present times. During the interview, I will also present my own characters to create a relaxed environment and

provide an example of the elements of character design that can be discussed. The interview guide is available in the appendix of this paper (Appendix).

We anticipate that the participants will bring up a diverse range of characters during the interviews. The relatability of these characters within the context of gender will be indicated by elements which the individuals connect with their own experience of gender. We theorised that the important aspect of character design which indicates the relatability of a character is a balance of signs that signify different aspects of a character’s identity. Thus their gender identity in not the key element informing the design. However, when a character’s gender identity is signified, the signs utilised that will be brought forward are the signs that are associated with the culture surrounding the identity, such as queer culture.

We will organise the information gathered from the various characters discussed by the participants into distinct categories: gendered signs, personality traits and LBTQIA+ cultural references. This data will help us identify which types of signs are most prominent among non-binary audiences and which ones may indicate a non-binary gender identity. Additionally, we will make note of any negative signs to be mindful of those to avoid as well as other nuances in the use of signs. The result of these first interviews will influence the remaining research methods. The types of signs collected will be brought to the attention of the participants of the focus group to discuss. As there are results that I not be able to anticipate, I will modify the structure, topics and questions of the workshop, focus group and final interviews accordingly.

4.2. Workshop

The second research method I will be employing is a workshop involving creatives involved in illustrated media who will meet face-to-face. This workshop is inspired by the "Lego Serious Play" method.

'Lego Serious Play begins with the notion that the answers ‘are already in the room’. Every participant gets an equal opportunity to express their feelings or ideas, and the collaborative process means that – as long as the session is facilitated

properly – individual contributions will be embraced within the broader overall vision which emerges during the consultancy process.' (Gauntlett, 2007, p.130)

For this reason, I will be conducting a workshop on the creation of non-binary fictional characters with creatives in illustrated fields such as illustration and animation. The participants of this workshop and focus group are individuals who identify as non-binary as defined in this research project, an umbrella term for all gender identities outside of the binary of man and woman regardless of the fluidity of the gender identity of the individual. This will bring multiple perspectives on the subject of representation in illustrated media with a previous personal understanding of the non-binary identity. Furthermore, the participants have experience in creating illustrative media. Their experience with gender and knowledge of character design, and more broadly illustrated media, will facilitate more thought-out results to be discussed. However, it is important to note that the participants in the workshop and focus group will not have the restrictions and structure expected in a professional setting.

This workshop was inspired by the video game character workshop conducted by Ji Hyun Yi (2017). In his workshop, the participants were instructed to inform their design with a background list they were given for each character. They had to ‘extract appearance components such as the character appearance sectors (physical species, body proportion, clothes, props, and symbolic objects) and visual elements (colour, face shape, body shape, and texture) from the background list’ (Yi, 2017, p.12), create a visual design for the character and finally ‘determine which items from the background list were extracted to determine the visual elements and appearance’ (Yi, 2017, p.12) (Figure 6). I believe that a similar process, informed by Barthes’ semiotic table, is an effective process to produce and analyse the character designs create during the workshop of this research project (Figure 7). For this workshop, the participants were instructed to create one or two characters that would identify as non-binary in any form of illustrated media. They were asked to think of a narrative or background for the character to help them during the design process and write down the characteristics that have informed the signs utilised in their design. Only after they finished designing the characters, they have been asked to determine the signs of the gender identity of the character as well as sign that are illustrate the background and personality of the character.

In the process of anonymising the character designs, as per the request of the participants, the key signifiers determined during the workshop and focus group will be taken into account as to generate a visual that remains accurate to the intent of the participant.

4.3. Focus Group

The workshop participants were then brought together for a focus group that I conducted to create a discussion-prone environment on their process, their challenges and thoughts on the process of creating characters that fit a non-binary identity. The focus group was conducted in an environment most participants are familiar with to create a safe and comfortable environment to promote a productive discussion.

A focus group is a directed conversation among several people regarding a specific topic, issue or concern that is led by a trained moderator who facilitates group discussion. The goal of a focus group is to stimulate discussion in order to determine how people think and act individually and within a social group (Berger, 1998 cited in Brennen, 2013, p.60).

During this focus group, I took on the role of moderator whose role is to ask questions and facilitate the discussion between participants. I started the session by making the participants create a name badge that included their pronouns and encouraged the participants to introduce themselves with their name, pronouns and experience creating illustrated media as an ice breaker. This preparation before the focus group has been done to crate a productive environment as:

In order for a focus group to be successful, a moderator must be able to gain all the participants’ attention and quickly create a welcoming environment of openness and trust. The facility should also control the group dynamic so that everyone can share their experiences and interact effectively in a non-threatening environment. (Brennen, 2013, p.64).

The discussion covered their thought processes during the workshop, their intentions and what they believe to have achieved. The participants were not be asked to show their design to other participants. The discussion was focused on issues on the process of character creation, their thoughts on the designs of existing non-binary characters in illustrated media and the use of tropes and stereotypes in the media representation. The topics discussed during the interviews informed the choice the topics to covered during the focus group. The discussion was also guided to discuss the balance of signs linked to gender and personality to create an “authentic” non-binary character design. To accomplish this, as the moderator, I directed the group towards the mentioned topics.

Focus groups are group discussions rather than group interviews; the moderator asks questions to facilitate the group dynamics and he or she uses a variety of strategies to encourage group members to fully interact with each other (Wilkinson, 2011 cited in Brennen, 2013 p.73)

All sessions were video or audio recorded to be able to analyse the interviews, workshop and focus group transcripts. The data gathered was analysed using the semiotics table (Figure 4) and the character design template (Figure 6). The assembled signs were sorted into the same categories as the sign mentioned in the interview: gendered signs, personality traits, and LBTQIA+ cultural references. This facilitated a more accurate comparison between the viewpoints of creators of illustrated media and their audience.

4.4. Further Interviews

To complete the primary research process, it would be beneficial to conduct a final round of interviews with participants of diverse gender identities. This could bring additional insight to this research project. Although it was not feasible to carry out within the timeframe of the project, this extra research would provide more insight into the reception of the signs selected by workshop participants. These interviews would involve participants sharing their opinions on the character designs created during the workshop.

These participants will be faced with the character designs one by one without being reminded that the characters were all designed to identify as non-binary and encouraged

to makes assumptions on the character’s personality. The participant’s use of feminine, masculine or gender-neutral pronouns will be the first indicator of their assumptions on the characters gender identity. After all the characters have been discussed, the participant will be asked about the gender identity of each character, giving them the time to reflect on their assumption and focus on elements they understand to be gendered markers. Finally, they will need to describe their decision-making process and which design elements influenced their decision.

In a way that is similar to Ji Hyun Yi's (2017) method of analysis, the visual elements of the characters will be extracted and organised into categories. These categories will be linked to gender presentation and will be sorted in the same way as the results of the initial interviews and focus group, allowing for more efficient comparison of results in this research project.

The expected results of these interviews are that cisgender participants will assume and base their description of the characters on gendered elements of the design. However, we hypothesise that transgender and non-binary participants will be more inclined to use gender-neutral terms to describe a character and look for cultural elements in the design of the character to identify the gender identity of the character. While visual signs will be the determining criteria for an audience to identify the gender of a character in illustrated media, the type of sign that is identified will differ between those that identify or are close to individuals who are non-binary and those who are not and rely on the socially and culturally expected design of gender-binary characters.

4.5. Ethics

The topic of gender identity is a sensitive and deeply personal one. As such, it is my priority to create a safe environment where respondents can express their opinions without fear of judgment or added stress. Interview participants will remain anonymous and associated with a code only they will know, to avoid exposing their identity to anyone other than myself (Kara, 2018). Focus group and workshop participants have been offered varying levels of anonymity (Figure 19) to provide an opportunity for participants to receive credit for the outcome of the workshop. Additionally, I have explained the purpose of this

research and its relevance to create a genuine connection and sense of trust between the participants and myself (Brennen, 2013).

The aftercare of all participants will also be given careful consideration. Participants will receive an in-depth explanation on the storage of their data, where it will be stored, and when it will be deleted. The option of withdrawal will also be communicated and can be done without question. However, the data can only be deleted prior to analysis, as communicated with participants prior to their agreement to participate in this research project. It will also be made clear that information already gathered will still influence the research (Kara, 2018).

5. Result and Analysis

5.1. Interviews

In the interviews, non-binary participants were asked to consider characters they felt connected to during both childhood and adulthood. The objective was to analyse how these characters utilised visual signs to effectively communicate elements that resonated with non-binary individuals. While I initially expected participants to discuss visual signifiers of gender identity, the attribute that interviewees brought up was a connection of experience to the character, rather than explicitly or exclusively linked to gender identity. This section will review key characters that highlighted different points discussed during the interviews, and analyse how those elements were integrated into the design of the characters.

The participants' connections to characters can be divided into three groups. First, the characters mentioned had similar traits and experiences to the participants, including the feeling of being different compared to their peers. The characters in the second category were aspirational figures that the participants were able to look up to. Finally, the participants identified non-binary characters with what they deemed to be representations that were "good", meaning characters that were perceived to have depth and a layered identity.

Overall, these findings suggest that non-binary individuals are drawn to characters that they can connect with on a personal level, rather than just through visual signifiers of gender identity. By understanding these connections and how they are expressed in character design, we can create more inclusive and authentic representations of nonbinary identities in media.

Signifiers of experience

One example of a character whose design incorporates signifiers of their experience that can be relatable to non-binary individuals is Ash (Figure 20) from the stop motion film Fantastic Mr. Fox (2009) directed by Wes Anderson. The participant explained that they

connected with the character's "oddness" compared to other characters in the same piece of media, such as Ash's cousin, which mirrored their own experience of feeling different from their peers and those surrounding them. While this connection based on experience is not necessarily linked to the gendered experience of non-binary individuals, multiple interview participants expressed feeling outside of the norm, which was reflected in the characters mentioned during the interview.

It's worth noting that the character designs takes into account the traits of each character. For example, Ash (Figure 20) is intentionally designed to be less capable than his cousin Kristofferson (Figure 21), who is depicted as more graceful and capable. Ash's small size, messy fur, frustrated expression, and ill-fitting swimsuit are in contrast to Kristofferson's well-kept appearance and better fitting swimsuit. These visual cues help convey the social standing and experience of each character. Early in the film, we see scenes that highlight the contrast in their abilities, with Kristofferson quickly outshining Ash and becoming more accepted by his peers. This narrative point is reflected in the design of the characters, which further underscores their dynamic. Ultimately, it's through this comparison that the visual clues to their differences become apparent.

This relationship to a character during childhood was expressed by multiple participants with different characters indicating the importance of not only a personality-first approach discussed by Ji Hyun Yi's (2017) but also utilising an understanding of the experience non-

Figure 20: Ash from Fantastic Mr.Fox.

binary individuals have to adapt them to the narrative the character is a part of. This will result in the generation of visual signs that are evocative of the non-binary experience.

Signifiers of aspiration

The second group of characters includes those to whom the participants felt connected due to the character's aspirational aspects. For example, one participant discussed their connection with the character Ashley Spinelli (Figure 22) from the animated show Recess (1997-2001). They aspired to be like her while growing up because of her strong and Page of 41 73

Figure 21: Ash (left side) and Kristofferson (right side) from Fantastic Mr.Fox

Figure 22: Ashely Spinelli from Recess

confident personality, rebellious attitude, and rejection of gender norms without alienating other girls. Her design, including her body language and dress, reflected these traits, with a contrast between her feminine dress and masculine leather jacket and chunky boots. While the character's gender presentation was an important factor for the connection with the participant, the participant did not see those elements as gender signifiers but as a reflection of her strengths and personality that they aspired to emulate.

The aspirational aspect of the participants can change as they grow older. For example, a participant identified with the character Jim Hawkins from the animated film Treasure Planet (2002) (Figure 23). As a child, they were drawn to Jim's character arc and adventurous spirit, but as adults, they perceive the character differently. With their adult perspective, they noticed the character's androgynous appearance, including the masculine hairstyle, jewellery, and oversized clothing, which they found aspirational for its balance of gender norms.

The elements of aspiration may vary and depend on the participants. With a limited number of participants and knowledge that they have similar backgrounds, the specific traits discussed may vary depending on the interview participants' backgrounds. Thus, it is reasonable to assume that the traits that are aspirational to an audience can vary depending on their lived experience and gender relationship.

Figure 23: Jim from Treasure Planet

Signifiers of gender identity

The third type of character discussed by the participants were characters that they relate to in adulthood because of the character’s gender. These characters are non-binary in the media they appear in and possess a gender expression that participants found relatable. The participants noted that the balance of feminine and masculine visual signifiers in nonbinary characters was important. While all participants agreed that a character's androgyny does not necessarily make them non-binary, they felt that the use of feminine and masculine gender markers could enhance the connection that non-binary individuals might have with a character. For instance, Raine Whispers (Figure 24) in the animated TV show The Owl House (2020-2023) wears clothing that could be considered masculine, but also wears heels and jewellery. The character's body shape emphasises both the shoulders, which could be seen as masculine, and the wider hips, which could be seen as more feminine. Although the participants did not specifically mention any additional qualities of the character, it is worth noting that Raine Whispers from the animated series The Owl House exhibits traits that non-binary individuals can look up to and experiences that mirror their own. This aligns with the previously mentioned traits that the participants identified as reasons for connecting with illustrated characters.

Figure 24: Raine Whispers from The Owl

Aspirations for future non-binary representation

During the interviews, participants were asked to comment on their hopes for non-binary representation. They unanimously wished for more diverse experiences and intersectional representation of different aspects of character identity such as race and disability. Participants noted that while non-binary individuals are a minority, they are often portrayed as white, thin, and able-bodied in media. This narrow scope of representation does not reflect the diversity of individuals who identify as non-binary. Participants also commented on the use of tropes and cliches in media. While they acknowledged that tropes and cliches exist for a reason, they expressed concern about these being the only indication of a character's identity.

The characters that were created and discussed in the workshop and focus group were analysed based on the traits discussed with the interviewees. The resulting points of discussion and distinct categories the characters could be grouped in demonstrate various aspects that creatives aiming to create non-binary characters could consider in order to achieve a layer representation that avoids stereotypes and has depth.

5.2. Workshop and Focus group

The next stage of the research process involved observing how non-binary creatives create non-binary characters for illustrated media. The workshop and focus group participants were university students and recent graduates with various skills and experiences related to their gender identity and expression. All participants identified their gender within the non-binary spectrum, but each had unique experiences in discovering their gender identity. It's worth noting that the participants share similar cultural and social backgrounds, which could have influenced their approach and responses during the workshop and focus group. Results from a more diverse range of participants from different ages and backgrounds may provide different outcomes and shed light on patterns that differ or common ideas on how to design non-binary characters. Furthermore, the participants in this workshop and focus group had limited experience in character design. Conducting the same workshop with creatives who have industry experience may yield different results and offer a different perspective on the selection of character traits for their designs.

During the workshop, participants created a non-binary character by answering questions about their personality, environment, and how their gender identity affects their life. This was crucial in informing the visual design, as the character's imagined environment could influence design choices. By prioritising the character's personality in the design process, the character designers were able to create a multi-faceted and developed character whose experiences informed their appearance. Using the insights gathered during this stage of the workshop, participants were tasked with developing their character design.

After designing the character, participants identified signifiers of their character's personality and identity, categorising them by personality, skills and abilities, religion, social class, finances, family life, education, temperament, morals, political affiliations, romance, occupation, race, intelligence, frustrations, and gender identity. This categorisation was based on research by Ji Hyun Yi (2017) on creating video game character designs with a personality-first approach. The purpose of this reflection was to encourage participants to reflect on their design process and identify key elements of their character, which became the basis for discussion in the focus group.

During the focus group, participants discussed their design process and what they found important in non-binary representation. This helped to identify the key signifiers present in the design and which elements were considered gender signifiers by the participants. The signs identified by the participants fell into three prominent categories, which were also identified during the analysis of the interview responses: signs of personality, signs of occupation, and gendered signs (Figures 25, 26, 27, 29 and 30).

Juliana’s character

Juliana's character Farro (Figure 25) is a fantasy character and the design choices reflect that. While the fantasy setting could affect markers of gender identity, it should not greatly influence the audience's perception of gendered signs, as they still interpret the character's design through their own cultural and social lens. This was also the case for the character Double Trouble (Figure 9) in the animated show She-Ra and the Princesses of Power (2018-2020). While the character’s design contributes to the Non-human Non-binary trope, the audience was still able to effectively understand the character's gender identity. The setting did not hinder the audience from identifying the character's assigned gender identity.

During the workshop and focus group, the designer identified several gender identity signifiers, such as top surgery scars, a flat chest, long hair, jewellery, and ornate, loose clothing. While a flat chest is generally seen as a masculine trait, long hair and jewellery are typically associated with femininity. Additionally, the character's clothing is quite ornate and loose, which could also be seen as indicating femininity. The top surgery scars on the character's chest communicate the specific experience of surgery on the breasts, emphasising the intentional masculinity associated with a flat chest and the experience of medical transition that some non-binary and transgender individuals may undergo.

The scars left by top surgery are not necessarily a reflection of femininity or masculinity, but rather a reflection of gender identity and the specific experiences that come with it. This aligns with the topics discussed in the interviews where participants shared their connection to "oddness" and experiences that deviate from societal norms. While the

Figure 25: Juliana’s non-binary character Farro.

surgery scars may be typical for transgender and non-binary individuals, they are not commonly seen in the general population and may be viewed as a symbol of "oddness" in addition to gender identity. It's important to note that these scars can also be mistaken as another type of chest scar, such as those resulting from a double mastectomy. However, in the context of designing a non-binary character, the scars are considered to be top surgery scars as specified by the designer. It is important to note that the origins of the scars may need to be clarified within a piece of media to be universally understood. Depending on the context and audience, people with different experiences and cultural backgrounds could perceive the scars as a symbol of a double mastectomy instead of masculinisation surgery.

Artemis’

In a fantasy setting, Artemis’ Petrikyre (Figure 26) is designed as a character similar to the previous one. The designer used hair, jewellery, clothing colour and eyelashes to indicate the character's gender as feminine. While the designer did not discuss the character's Page of 47 73

character

Figure 26: Artemis’ non-binary character Petrikyre.

body shape, the audience may perceive Petrikyre's body shape as masculine due to muscular shoulders, flat chest, and an angular face, which are typical masculine features. The combination of a masculine body shape and feminine clothing creates a balance of masculine and feminine elements, similar to Juliana's character. The designer included a balance of masculine and feminine elements in the design of non-binary characters, as seen in the pattern. It is difficult to compare the design of a character that identifies within the gender binary to the character designed by Artemis and Juliana due to the fantasy setting. Therefore, it is hard to identify the "oddness" signifiers that could be present in the character designs. However, the "oddness" of the character would be more apparent when compared to other characters created to fit in the same setting.

Emily’s Character

The main difference in Emily's character design (Figure 27) compared to the previous two designs is that it does not rely solely on references from fantasy settings. Although the character would not fit in a modern-day setting, the historical clothing references are more

Figure 27: The character designed by Emily

recognisable and allow for comparison to what is commonly known about history through the lens of contemporary social and cultural norms. This makes the signifiers of "oddness" and gender identity more easily identifiable.

The character's attire appears to be inspired by a historical masculine outfit. However, audiences view the character through their own lens, which includes their knowledge, culture, and social context. As we discussed earlier, the concept of masculinity has evolved over time. For instance, the use of lace was explored in the V&A exhibition Fashioning Masculinities (2022). Lace was once used as a symbol of wealth by men who wore it to display their financial status. But viewed through a contemporary lens, lace is seen as a feminine element that men have rarely incorporated into their attire since the late 18th century (V&A, 2022). Consequently, a modern audience may not perceive lace as a sign of wealth, but rather as a mark of femininity or flamboyance, depending on their knowledge of historical garments. Susan Sontag's essay Notes on Camp (1966) explores the evolution of adopting outdated fashions, using author Oscar Wilde (Figure 28) as an example. Although he adhered to old-fashioned manners of dress, the meaning of his dandy dress evolved:

Figure 28: Photograph of Oscar Wilde by Napoleon Sarony

Wilde himself is a transitional figure. The man who, when he first arrived to London, sported a velvet beret, lace shirts, velveteen knee-breeches and black silk stockings, could never depart too far from the pleasures of the old-style dandy; this conservatism is reflected in The Picture of Dorian Grey. But many attitudes suggest something more modern. It was Wilde who formulated an important element of Camp sensibility - when he announced his intention of “living up” to his blue-andwhite china or declared that a door-knob could be as admirable as a painting. When be proclaimed the importance of the necktie, the boutonnière, the chair, Wilde was anticipating the democratic esprit of Camp. (Susan Sontag, 1966, p.28)

The transition Wilde represents illustrates a change in behaviour and fashion, and how they are related. According to Sontag, ‘the old-style dandy hated vulgarity. The new-style dandy, the lover of Camp, appreciates vulgarity’ (1966, p.28). Emily's character's gender presentation is influenced by the expectations and perspectives of the time period. Although Emily's character may have been considered normal in historical context, their appearance would seem unusual in contemporary times. For example, today's gender expectations do not necessarily associate care with masculinity. However, this does not negate the truth of the time period the character is inspired by. The participants' concept of "oddness" can be compared to Sontag's "Camp", where someone stands out in a noticeable way. The topic of the evolution of gender signifiers throughout history could be a fascinating expansion of this subject matter.

Emily's character design uses various signs to communicate their "oddness", such as their glasses. The large, round glasses contrast with the formality of the rest of their dress. While the neat ponytail, formal shirts, trousers, and suspenders are traits that showcase a sense of Camp, they also portray a seriousness in the character that is contrasted by their glasses and boots. Emily has mentioned that the boots the character is wearing are to compensate for their height, which can impact how an audience perceives the character based on social and cultural expectations for height within binary gender roles. Although the character has a masculine body shape, their height contributes to their perception of "oddness".

However, the medals on the character's clothing contrast with their "odd" appearance and communicate their capabilities. The medals show that the character is not just non-binary, Page of 50 73

but also accomplished and purposeful. The balance of the aspirational aspects of the character is crucial to the representation of gender identities under the non-binary umbrella. It is important to create multi-dimensional characters that do not solely rely on stereotypes and tropes. A non-binary character that only relies on signs of "oddness" reinforces negative stereotypes of the identity and is reminiscent of the Non-human Nonbinary trope in non-binary representation.

Staffy’s character

Staffy takes a unique approach in representing non-binary identities in one of their characters (Figure 29). This character uses signifiers such as flamboyant clothing and a sporty body type that are traditionally associated with gender, but the main distinguishing feature is the use of identity flags. These flags and symbols on the character's baseball bat and pin on their chest indicate different identities. The designer used neo-identity and xenogender flags to represent uncommon identity labels that describe the gender, sexual, and romantic identities of individuals who do not feel represented by more common labels. While these flags might not be recognisable by many, they are markers of genders that are

Figure 29: Character Designed by Staffy.

important to the niche online communities that developed them. Thus they are a marker of identities outside of the norm and “oddness". However, the use of these niche signifiers can be a challenge in communicating the gender identity of a character to a wider audience. While the presence of identity flags is a marker of neo-identities, the exact identities they represent might not be understood by those who are not part of these niche communities.

Furthermore, Staffy has made it a priority to depict the skills of their character and highlight these as components of the character's identity. This reinforces the point discussed in the interview about creating impactful non-binary characters, by not solely concentrating on the gender expression of the character but also encompassing other facets of their identity in the design.

Ed’s character

The character in Figure 30, designed by Ed, was created with a unique concept. Their idea was to create a character for a video game that could be modified by a player-controlled

Figure 30: Character designed by Ed.

slider, which would adjust the character's body weight while maintaining a "gender-neutral" body shape. To achieve this ambiguity, the designer limited the amount of skin exposed to the audience. Ed aimed to define the character only by their occupation, as seen in the design of the motorcycle helmet. However, in the social and cultural context of the United Kingdom, certain occupations are gendered, and riding a motorcycle is often associated with masculinity. While participants acknowledged that audiences might make assumptions based solely on a character's occupation or hobbies, they also expressed that non-binary characters are not necessarily meant to be recognisable by all audiences, but rather to visually represent the non-binary experience for those with similar experiences.

Overall

Although it was expected for participants to create and identify gender signifiers in their character designs, the traits emphasised by participants were not primarily focused on gendered signs but on signifiers related to the experiences of non-binary individuals. This outcome is consistent with the results of the interview analysis. While gender signifiers were identified by participants, other signifiers were also discussed in the interviews, which can be organised into the following three categories: experience signifiers, aspirational signifiers, and gender signifiers. This is exemplified in an adapted organisation of the signifiers of Juliana's (see Figure 31).

Figure 31: Juliana’s character design’s signifiers organised into three categories.

Creating characters involves three pillars: consciously adapting aspects into visual signs for the target audience in illustrated media. However, semiotics methods have limitations in fully predicting how an audience perceives a character. That is why conducting further interviews, as discussed in the previous section, would identify different signs that audiences perceive in the same characters. Participants emphasised that designers of non-binary characters must research and understand the experience of non-binary individuals. While designing characters with care, the pillars of experience, aspiration, and gender signifiers form the foundation for a connection between a non-binary audience and a non-binary character. When creating a character, it is crucial to consider the character's different aspects and incorporate signs of the different identities that the character possesses, suitable for the intended audience of the media the character is part of.

This analysis of the characters emphasises the designers' focus on various signifiers. This specific choice was reiterated in the focus group discussion, as the character's experience is just as important as their gender in their design. Through this workshop and focus group, we can identify common signifiers for gender identity.

First, the character's dress, particularly their jewellery, clothing colours and accessories, are key signifiers of femininity and masculinity and express the character's gender.

Second, the character's body shape can indicate gendered experiences through signifiers such as muscle mass, height, and scars, as well as the character's clothing. Lastly, using identity flags as markers of gender is a more direct approach but has the disadvantage of narrowing down the audience that identifies with each identity flag.

However, other aspects of a character's identity are equally important, as previously discussed. The experiences related to non-binary gender identities cannot be reduced to just their gender expression. It is crucial to create a well-developed character that does not rely on stereotypes or tropes, and the signs of their profession and hobbies play a significant role. During the workshop, participants used clothing and accessories to communicate these aspects of their character, such as military uniforms (Figure 27), baseball bats (Figure 29), and motorcycle helmets (Figure 30).

Moreover, the experience of "oddness" was unanimously discussed as a key aspect of designing a non-binary character. Playing with expectations by incorporating elements of Page of 54 73

dress that seem out of place or historical references (Figure 27) that have a different social and cultural meaning in a contemporary context are ways to achieve this. The use of signifiers, such as the height of a character or scars, or visual representations of masculinisation surgery, also contribute to signify "oddness" and show that the characters are not conforming to the norm.

Moreover, it is possible that signifiers could be highlighted or downplayed when viewed in the context of other characters within a piece of media. During interviews, comparing Page of 55 73

Figure 32: Howl and Sophie (left side) with two soldiers (right side).

Figure 32: Sophie (left side) and Howl (right side) from animated movie Howl’s Moving Castle (2004).

characters was noted as a key way to identify different signifiers. For instance, the character Howl from Studio Ghibli's animated film Howl's Moving Castle (2004) was discussed in the focus group as an example of how comparing characters can help signify to an audience. Despite being male and presented as such in the film, all participants pointed to Howl as a possible representation of a non-binary gender identity. When Howl is introduced (Figure 32), he is directly contrasted with other men in the film. Compared to the soldiers (Figure 33), Howl's design includes more feminine elements that were considered signifiers of femininity by the participants, such as the jewellery, pink jacket, and heeled boots. These design choices heavily contrast with the military uniform of the soldiers, which are considered signifiers of masculinity. The relationship between characters is crucial in emphasising certain aspects of their designs, as it helps to showcase what is considered the norm in a piece of media, enabling the audience to distinguish unique aspects of other characters. This echoes Judith Butler's perspective on gender (2004) in which they emphasise the performance of gender, but also notes that this performance is relational, whether it is for oneself or for others. Although her definition is intended to apply to individuals and not characters in illustrated media, it highlights the relational aspect of communicating gender identity and places it within the realm of fiction. This relationship could be further studied with a similar workshop in which participants are tasked with creating a group of characters with varying identities from a single piece of illustrated media. Such a workshop would highlight how designers navigate the choice of characteristics to emphasise or change in each design to showcase varying identities.

It is important to consider the limitations of this research. For instance, a more diverse group of participants with varying cultural and social backgrounds could have led to more varied outcomes. The limited number of participants with similar experiences and ages has impacted the results of this research project. Furthermore, it would be valuable to include the perspectives of more experienced creatives in the industry, as well as their insights on the creation of the character and perceived limitations observed in the focus group.

Conclusion

The aim of this study was to investigate how semiotics can affect the portrayal of nonbinary individuals in illustrated media. While design elements can be used to signify gender identity as masculine or feminine within the gender binary, there are no signifiers for non-binary genders. However, using androgyny to represent non-binary genders can create stereotypical representations, which can be negatively perceived on social media. The use of non-binary tropes, such as the Non-human Non-binary trope, has also been criticised for separating non-binary gender identities from humanity.

To explore this topic, this research project examined the possibilities and issues of nonbinary representation by analysing the application of gender signifiers to communicate a character's gender identity to their audience. Through interviews with non-binary individuals, it was possible to identify which aspects of a character they connected with. While the gender presentation of a character did influence the relatability to a non-binary audience, it was characters expressing multiple identities within their design that had a greater impact. The characters reflected experiences parallel to their own, such as feeling "odd" and out of the norm compared to others around them. This emphasises the importance of comparison in character perception. While it is possible to design a character with a particular identity in mind, when this identity is relational, such as gender, the comparisons between characters within a piece of media become crucial to highlight those identities. Moreover, the interviewees highlighted the importance of aspiration to relate to a character. While a character can reflect an experience, making that experience the main element that drives a character's design can lead to a character that lacks depth or falls into stereotypes. Thus, having design elements indicating aspects of a character that an audience can aspire to is crucial in designing non-binary characters. However, the successful design of the character does not replace the confirmation of the non-binary identity of a character within a narrative, as discussed with the interview and focus group participants.

Through a personality-first approach to character design, non-binary illustrators were tasked with designing non-binary characters and identifying the signifiers they utilised to communicate different aspects of a character. The outcome of this workshop identified that the workshop participants aimed to showcase the various identities encapsulated into one

Page of 57 73

character, creating a layered character that does not rely on stereotypes to communicate their identities. In the focus group following the workshop, the participants discussed their approaches to the designs and the signs they utilised to signify different aspects of their character. The signifiers they used fell into the categories generated from the interviews: signifiers of experience, signifiers of aspiration and signifiers of gender identity. The different design elements identified by the character designers were sorted into those categories.

To create a non-binary character that non-binary individuals can connect with, a range of signifiers is needed to represent the experiences of the gender identities that fall under that term. This means that semiotics can be utilised to inform the representation of individuals outside the gender binary in contemporary illustrated media by ensuring the visual representation of different aspects of the character's identity, such as their personality and occupations. This creates points of connection between the character and their audience through their experiences, as well as aspiration that can be linked to their experience with gender and their gender identity.

Although androgyny does not equate to a non-binary gender identity, most of the characters discussed in the interviews had feminine and masculine signifiers. The signifiers identified as signs of a character's gender identity included the body shape of the character, such as their shoulders and hips, but also more specific signs, such as surgery scars that are visual signifiers of gender-affirming surgery. Additionally, the dress of a character has been seen as having a great impact on the perception of the character in regards to their gender identity. The colours and silhouettes of the clothing, jewellery, a play with historical references, and the hairstyle of the character were all listed by the workshop participants as signifiers of their character's gender identity. Many participants chose to use accessories to indicate a character's gender. Symbols of different identities, such as flags, were also used. Another approach to indicating gender identity was to cover the character's body completely to remove any gender signifiers.

All the characters had signs of experience that, as established during the interviews, are important to create a connection between the audience and the character. This is especially the case with signs of "oddness" that showcase the character as being outside of the norm or different from other characters. Those signifiers, however, are more visible

in the context of a larger piece of media rather than a singular character design. However, the difference can still be perceived through the diverse lens of an audience.

Finally, signifiers of traits that an audience can aspire to is the third category of signifiers for designers to keep in mind while designing non-binary characters. This is the category that separates characters that are designed with one identity in mind and therefore stereotypes of that identity from believable characters with depth. This aspiration can be due to the personality or occupation of the character that are signified through dress, body types, and language such as a signifier of their occupation, their character, or their relationship with gender norms.

Thus, semiotics informs the representation of individuals outside the gender binary in contemporary illustrated media by creating a framework that character designers can utilise to create representation. The three categories of signifiers explained above can guide character designers in their decision-making and through the process of deciding what elements to include in a design to communicate gender identity. Therefore, semiotics is a useful framework for character designers to keep in mind when creating representation for a specific identity.

It is important to acknowledge, however, the limits of semiotics to inform the representation of non-binary characters in illustrated media. It is the perception of the audience, through their cultural and social understanding and experiences, that creates a link between signifier and signified. Thus, character designers have limited control over the signs they utilise in their designs, regardless of their intentions. Additionally, social and cultural perception varies depending on the audience and evolves with time. This means that while understanding semiotics and doing your best to utilise signifiers to communicate to an audience, it does not guarantee that the signification will be understood by audiences at large. It is also important to note that, at the time of this research project, the gender signifiers still rely on the binary idea of gender with feminine and masculine signifiers.

Furthermore, there were practical limitations of this research project, such as the impact of having a small number of participants with similar experiences and ages. Had a more diverse group of participants been included, the outcomes may have been more varied. It would also be valuable to seek the perspectives of more experienced creatives in the industry regarding the creation of the character and any observed limitations.

On the other hand, this semiotic approach can also be a strength. Through this research project, it was shown that semiotics are not static, and can be flexible and adaptable when required. Unlike linguistic signs such as words, visual signs like top surgery scars, may not be completely "arbitrary" in their relationship between signifier and signified, as argued by Saussure. Instead, they represent social realities that can be anticipated or at least comprehended to some extent.

Upon completion, this research project has been successful in demonstrating the potential and significance of semiotics in representing non-binary individuals. This innovative approach to character design calls into question the use of semiotics for a range of gender identities and diverse identities overall, as many portrayals are founded upon stereotypes and clichés. Therefore, it can be argued that this approach to character design has the potential to benefit the representation of all identities. Despite these positive outcomes, there are limitations to this study, and further research is necessary to expand and build upon its findings. Additional interviews with a more diverse range of participants with varying backgrounds and experiences, such as race and disability, as well as additional workshops and focus groups, could provide further valuable insights into the signifiers utilised in character design. Such research could potentially delve deeper into the ways in which semiotics can be used to increase representation and inclusivity in media and beyond.

List of Figures

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Figure 3: Molly Bang’s first illustration of Little Red Riding Hood and her mother (p.10)

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Figure 4: Molly Bang’s second illustration of Little Red Riding Hood and her mother (p.11).

Bang, M. (2000). The Little Red Riding Hood and her mother. [illustrations]. In: Bang, M. (2000). Picture This: How Pictures Work. New York: SeaStar Books. p. 11.

Figure 5: Molly Bang’s third illustration of Little Red Riding Hood and her mother (p.12).

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Figure 6: The extraction results for the character’s appearance components for PeterWarror’s.

Figure 7: Modification of Barthes’ semiotics table with the information on the character PeterWarrior and its assumed traits.

Bassou, L. (2023). Modification of Barthes’ semiotics table with the results of Yi’s character design workshop. [online image]. In possession of: the author.

Figure 8: Character design of the twin MARVEL superheroes Snowflake and Safesapce.

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Figure 13: Concept illustration of the characters Rose and Aimé. Geniller, G. (2020). Rose and Aimé. [illustrations]. In: Geniller, G. (2020). Le Jardin, Paris Paris: Editions Delcourt.

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Figure 15: Section of body shape in video game Coral Island. Coral Island. (2022). Character Customiser. [screenshot]. In: Coral Island. (2022). PC. [game]. San Francisco: Humble Games.

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Figure 17: Pokémon Brilliant Dimond’s and Pokémon Shining Pearl’s character choices.

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Figure 19: Structure of the methods of this research project. Bassou, L. (2023). Primary Research Timeline. [online image]. In possession of: the author.

Figure 20: Ash from Fantastic Mr.Fox.

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Figure 21: Ash (left side) and Kristofferson (right side) from Fantastic Mr.Fox.

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Figure 22: Ashely Spinelli from Recess.

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Figure 23: Jim from Treasure Planet.

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Figure 24: Raine Whispers from The Owl House.

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Figure 25: Juliana’s non-binary character Farro.

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Figure 26: Artemis’ non-binary character Petrikyre.

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Figure 27: The character designed by Emily.

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Figure 28: Photograph of Oscar Wilde by Napoleon Sarony.

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Figure 29: Character Designed by Staffy.

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Figure 30: Character designed by Ed.

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Figure 31: Juliana’s character design’s signifiers organised into three categories.

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Figure 32: Sophie (left side) and Howl (right side) from animated movie Howl’s Moving Castle (2004).

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Figure 33: Howl and Sophie (left side) with two soldiers (right side).

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Yi, J.H. (2017). The structure of extracting a character’s appearance components. Arts and Technology. Vol.10 No.1. pp. 1-26.

Appendix: Interview Guide

[Childhood]

Could you tell me about a character that you could relate to in your childhood?

What aspects of the character did you relate to?

What do you think the gender identity of the character is?

Could you describe that character? (clothing, body shape, body language, face, hair, makeup)

Are there aspects of the appearance of the character that made them relatable to you?

Have you ever found a character who’s gender **presentation** you connected with as a child?

Have your feelings towards that character changed with time?

Can you tell me more about what changed?

Why do you think that change happened ?

[Present]

Tell me about the character you feel connected to now

What aspects of the character did you relate to?

What do you think the gender identity of the character is?

Could you describe that character? (clothing, body shape, body language, face, hair, makeup)

Are there aspects of the appearance of the character that makes them relatable to you?

Is there a character who’s gender presentation you currently connect with?

[Character Design] → With character prompts

How do you feel about the current representation of non-binary gender identities in contemporary illustrated media ?

Is there a character whose design makes them seem like a relatable and nuanced nonbinary character?

Are there any characters that you feel come close to it but falls short?

How do you identify a character as non-binary?

Is there an aspect of that character makes you feel that way?

Do you think the appearance of the character has a role in your opinion?

Are there characters that are not confirmed to be non-binary but you believe are actually non-binary?

What makes you think that character is non-binary?

Are aware of any cliches in the design if non-binary characters?

How does the use of those cliches affect your opinion on a character?

Are there any exception? [General]

Do you think your interpretation of a character’s gender identity might be different than someone’s in the gender binary?

Do you think that your experience with gender affects how you look at different aspects of the design?

How so?

What advice would you give to a character designer who wants to create a non-binary character?

Is it important to you for people that fit within the binary read a non-binary character as non-binary?