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Uncanny Valley Reviews: What Makes Almost-Human Characters Unsettling?

The uncanny valley describes a proposed dip in affinity for nearly human artificial figures. Here’s what the evidence suggests and how to assess the effect in games.
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“Uncanny valley reviews” is not a review of one named game or film: the title does not identify any works to assess. The useful starting point is the concept itself. The uncanny valley is a proposed drop in affinity for an artificial entity that looks nearly, but not convincingly, human. For video games, it offers a way to describe and examine a design effect—not proof that every lifelike character will unsettle every player.

What is the uncanny valley?

Masahiro Mori proposed that affinity for an entity can increase as it becomes more humanlike, then fall sharply when it approaches lifelike appearance without fully attaining it. He described the dip as a “valley” in a 1970 essay. The English translation authorized by Mori appeared in IEEE Robotics & Automation Magazine in 2012. IEEE Spectrum’s translation and contextual notes and the IEEE Robotics & Automation Magazine account provide the source history.

The term is narrower than “creepy” or “strange.” A stylized monster, an awkward animation, or an uncanny-looking face may be disturbing for many reasons; the hypothesis specifically concerns a proposed loss of affinity as an artificial figure nears human likeness.

Why can almost-human characters feel creepy?

One possible contributor is a mismatch in realism. A face may look highly lifelike while its eyes, skin, expression, or movement feels less convincing, creating a sense that the details do not belong together. A 2015 study found that reducing consistency in realism across selected visual features made human and animal images seem eerier and colder; that reported pattern did not apply to objects. This is evidence for one possible mechanism, not a complete explanation of the effect. The 2015 study in Cognition describes its findings.

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In a game, that idea can guide close attention to a character’s face, body, movement, and voice. It should not be mistaken for a validated scoring system or a guarantee about how players will respond. A response also depends on the particular design and how it is presented and evaluated.

Is the uncanny valley real?

There is empirical research on the hypothesis, but it does not establish one simple, universal curve that applies to every character or viewer. Findings depend on the stimuli and on how researchers measure responses. A replication-focused paper explicitly examined whether the effect recurs across stimuli and study designs, underscoring that the question remains active. The 2018 paper in Royal Society Open Science evaluates replicability.

Other findings complicate the familiar single-dip diagram. Researchers studying 251 real-world robot images reported evidence for two uncanny valleys, with different patterns in positive and negative responses. That result concerns the study’s robot images and measures; it is not a population estimate or proof that all games produce two valleys. The 2022 study in Computers in Human Behavior reports the analysis.

A separate 2015 result, in which realism consistency affected human and animal images but not objects, is another reason to avoid treating the hypothesis as a rule that automatically applies across categories. The study’s findings are tied to its selected images and conditions.

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How to judge an uncanny-valley effect in a game

Because no particular game is named here, there is no basis for ranking or reviewing specific releases. When assessing an actual game, separate what the design does from what the theory predicts. Useful questions include:

  • How humanlike is the character? A deliberately stylized figure is a different case from one presented as nearly photorealistic.
  • Do its details agree? Consider face, body, movement, and voice together rather than treating visual realism as the only factor.
  • Is the unsettling response intentional and sustained? A brief uncomfortable moment may serve a scene; an effect that persists can shape the player’s experience differently.
  • Does the design serve the game? Ask whether the character’s appearance supports the story or task, rather than assuming that more realism is always better.

These are practical review questions, not a research-validated rubric. An individual review should name the game, describe the relevant design choices, and distinguish the reviewer’s response from a universal claim about players.

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