For example, in film, a camera may follow one or two characters through time, while other characters appear only as they are encountered by the main characters. Film-makers user various techniques for attaining attachment. In all the kinetic typography experiments we have made so far, characters are situated in the same time and space. We are experimenting with more complex stories to explore how we can achieve attachment in kinetic typography. Subjective access is how much we know about the inner life of a character.
Allegiance refers to the viewer's emotional and moral response to characters.
In constructing characters, spectators decide which characters have a morally desirable or preferable set of traits, relative to other characters. This evaluation causes a sympathetic or apathetic attitude towards the character, which affects how the spectator responds emotionally to situations in which the character is placed. For example, when a character that we like is put into danger, we might respond with fear, whereas if we don't like the character, we might not care. Smith also points out that each film or text creates its own internal system of value. In kinetic typography, we think that allegiance has a great rhetorical value.