ITM: On the opposite end of that spectrum, you have the character of Yesss. As opposed to going back 50 years, she’s got a contemporary look. Can you give me an overview of the design of that character?
Loftis: We really started with Taraji herself. As soon as the directors knew who they wanted to do that voice, all of the design focused towards that. Before there was Taraji, we were just trying to get a general vibe and feel to the character, trying to keep her fun but serious, and trying to explore different ideas for costumes. When you took Taraji, and then you see what we’re doing for the Netizens, we knew that Yesss was also a Netizen, so it was an idea of blending this real person with this very stylized Netizen design that we’d already agreed on and just meshing the two. We did lots of interesting things with her hair; we wanted her to keep some of the fun 2D stylizations the Netizens have so when she flips her hair from side to side, it sort of maintains a silhouette. She has a very strong stylized silhouette when she moves her shoulders up and down or when she bends her arm or her hand shapes, they’re very graphic. We tried to carry that through all the way from design into animation.
dos Anjos: One thing in the animation that is fun to play with — with the design being so stylized the way she is — we also want to play against that and make sure the character felt very believable and genuine. Her animation is very playable, very fluid, but her personality is very real. There’s a lot of power to her persona and we want to convey that in animation. It’s an interesting thing for us and my team to get someone that has a very stylized design to feel like it’s a real person that’s going through a lot of real situations in their world.