GoKawiilIn 2018, Amazon brought me in as the lead UX Sound Designer for Astro, their first consumer home robot. Astro used cameras and other sensors to map and navigate your home and workplace, and could proactively patrol, check up on loved ones, and transport small items using its built-in cargo bin. While there was a well-defined feature set and form factor, initially there was no character direction. In fact, even before Astro had a name, there were two main questions—was it simply Alexa on wheels, or was it a robot with its own character?
The Astro team was divided. One option was to focus on Alexa, and treat the mobile robot simply as an added utility. I argued for Astro to not focus on Alexa, along with the majority of the UX team. Our belief was that a thing that moves through your home and turns toward you with intent can never be just an appliance. People would ascribe character to whether we wanted them to or not, and so the only question was whether we shaped that character or let it happen by accident.
Ultimately, Astro became Astro rather than Alexa, and user testing backed up our decision. People didn’t see the robot as Alexa. They saw it as its own character, and that’s what they wanted it to be. Alexa on the device felt somewhat strange and creepy, but building Astro its own voice was too slow and expensive in 2018. So, we settled on Alexa as a supporting character that handled any actual talking, while Astro was the main character, communicating as much as it could without words, through sound, motion, and facial expressions.
I had been brought on to the Astro team to define the robot’s sound design language and voice. But there was no one to flesh out the robot’s actual character. You cannot make a single real decision about a character without defining it first. Every choice about how Astro moved, sounded, paused, or reacted was a character choice, and those choices required all disciplines working together. As Sound Lead, I was weaving together sound, motion, and character, and how they played together inside each story moment. The animators, who programmed Astro’s motion and facial expressions, were extraordinary at what they did, but the emotional arc they were animating came from the sound (and therefore character) work first. So I stepped into that role, which is where my real work started. What I learned about building character for robots applies to nearly everything being built in embodied AI right now.
Character Is a Design System
Developing a character for Astro meant answering questions that had never been asked about a product at Amazon: What is the emotional range of this robot’s baseline state? How does this robot communicate uncertainty without eroding trust? Where is the line between being expressive and annoying? What are the vulnerabilities of this device’s character?
These are design questions. They have real answers, and every team working on the product has to build from them. For example, Astro’s emotional range was designed to be relatively small at first. We never wanted Astro to get too sad or too angry. It could play sad, but would snap out of it quickly and end the reaction on a high note to keep things positive.
Character leaks out of every seam and can create a disjointed experience if not defined correctly. Even if it’s just animation timing that’s slightly off, or a response that’s technically correct but contextually tone-deaf, users feel every one of these inconsistencies, even if they can’t name them. Watch what happens at the beginning and end of this Sing sequence:
Astro goes from nothing, into the emotional moment, and then lands back on nothing. No build up, no cool down, no sense that the feeling came from somewhere or had anywhere to go. I pushed hard for better character stitching, the transitions in and out of expressive moments that make a performance feel continuous rather than assembled, but it never got implemented. The moment itself works. But without the stitching, it reads as a clip playing on a robot rather than coming from within the robot character itself.
Story and Sound at the Beginning
... continue reading