This study examines shape language when used in figures representing humanoid creatures and how a viewer can be manipulated by shape language to feel a certain way about a figure. The study focuses on good versus evil expression and how one can utilise shape to knowingly give cues about a figures alignment or how to mislead the viewer if so desired. Focus is on visceral emotion connected to sharp and soft shapes and asymmetrical or symmetrical features, but it is revealed that its use in character design may be a cultural convention rather than something hard-wired in our brains from years of natural selection and experiences tied to our subconscious visceral response.

The aim of this thesis is to understand how the level design elements in Lost in Random, staging, scale, and shape language convey danger within combat areas. The purpose of the analysis was to find patterns in the visual level design elements presented in the first moment of combat. Through this analysis, the authors offer level designers an overview of how visual level design elements could be used to communicate and create meaningful experiences in combat areas with Lost in Random as an example. A formal analysis was conducted in which screenshots of the game were analyzed to discover whether the visual level design elements are present in the first playable frame of the combat areas and if they share scale and shape characteristics throughout the combats. The main findings can show patterns in the use of staging and how enclosed areas are presented by using the focal point to guide the players towards the goals or challenges. Based on previous theories referenced in this thesis, there is an expectation that triangular shapes and exaggerated sizes will appear as part of these patterns.