A Comparative Study of the Protagonist in the Animated Films Sinbad: Legend of the Seven Seas and The Holy Cast

Document Type : Research Paper

Authors

1 MA in Drama, Department of Drama, College of Arts, Tarbiat Modares University, Tehran, Iran.

2 associate professor of Drama, College of Arts, Tarbiat Modares University, Tehran, Iran.

3 Assistant Professor of Cinema and Animation, College of Arts, Tarbiat Modares University, Tehran, Iran.

Abstract

The protagonist is the character who should garner the most empathy from the audience. While classic literature and drama often present this character as an absolute embodiment of goodness, modern works strive to depict the protagonist's morally grey nature. Characters with inconsistencies in their behaviors and actions are today seem to be more relatable and realistic, and screenwriters often create such characters to foster a stronger connection with the audience. This is also true in animation, as exemplified by the American animation Sinbad: Legend of the Seven Seas and the Iranian animation The Holy Cast. Both portray protagonists that have negative aspects to their personalities. In Sinbad, the protagonist is a pirate who plunders other ships, but when his friend's life is endangered, he reveals his positive qualities and proves to the audience his capacity for empathy. However, his victory seems to generate more empathy in the audience. In The Holy Cast, the protagonist is a thief and a murderer who, at first glance, does not appear to possess positive personality traits; however, like the previous film, the feeling of love influences him, causing him to display his self-sacrificing side. However, his defeat at the end of the story does not seem to evoke empathy from the audience and, rather, diminishes the component of empathy. This paper analyzes the main characters of these works to examine the process of their character development and their impact on the audience. The research utilizes the theories of Robert McKee, John Truby, and Dean Movshovitz. McKee emphasizes character dimension for more depth, Truby focuses on the hero's position within the character web, and Movshovitz highlights the creation of empathy between the audience and the character. According to McKee, conflict in a character's behavior and actions creates dimensionality, ultimately moving the character beyond one-dimensionality. In Truby's view, a hero must possess a specific personal desire or goal within the narrative and must be able to deviate from the archetype of a purely virtuous hero through their behavioral traits to achieve believability. In the theory of Movshovitz, which is based mostly on Pixar Films, empathy is a factor that creates a positive bond between the character and the audience. This component typically operates on three levels: outward characteristics, the character's inner world, and identification with their triumphs and failures. This research employs a descriptive-analytical method, employing the American school of comparative literature to compare the works. The results of this study will show that while the construction of protagonists with negative moral attributes may seem unusual, their creation generates different and positive tensions in animated screenplays. This research also indicates that few animation screenwriters utilize this approach in creating their protagonists, as they wish to avoid leaving viewers with a negative impression of a fantasy hero and prevent the adoption of a flawed model of virtuous behavior. However, true heroes in modern literary and dramatic works have never been perfectly good; instead, they typically grow and develop throughout the narrative.
 

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References

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Journal of Fine Arts: Performing Arts & Music
Volume 31, Issue 1
February 2026
Pages 93-105

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