









































Lacertilia. — Fiderhlen. by Ernst Haeckel, 1940. Public Domain.



Multispecies Encounters

Anthropomorphism Unveiled: A Case 
Analysis of Isle of Dogs and Its Role in 

Mediating Multispecies Narratives
Eden Hathaway

• •  • •

 This essay explores Wes Anderson’s Isle of 
Dogs through the lens of anthropomor-

phism and multispecies theory, examining how the 
film captures the complexities of human-animal 
relationships and the interconnectedness of all be-
ings. Anderson’s distinctive filmmaking style, char-
acterized by vibrant visuals and intricate narratives, 
serves as a backdrop for the exploration of themes 
such as empathy, collaboration, and the blurring of 
boundaries between human and non-human worlds. 
Drawing upon Donna Haraway’s ideas in When 
Species Meet and academic film reviews, the essay 
analyzes key scenes and characters to uncover the 
profound insights offered by Isle of Dogs regarding 
the nature of interspecies communication and the 
transformative power of companionship. Ultimately, 
the film challenges viewers to rethink their perspec-
tives on the world around them and embrace a more 
inclusive understanding of multispecies interactions.

©2024  Hathaway. The Digital Literature Review, 11, 12-23. doi: 
10.33043/y9y6a9wdz. Shared with CC BY-NC-ND 4.0 Liscense.



13

 Wes Anderson is a renowned filmmaker recognized for his dis-
tinctive style—featuring vibrant colors, notable soundtracks, 

intricate costume designs, and consistent font usage—and narrative tech-
niques that offer valuable artistic insights into humanity and the world 
around us. His films, which often focus on themes such as love, capital-
ism, and over-consumerism utilize postmodern styles to evoke feelings of 
nostalgia and hope within their viewers (Szemetová 5–6). 
 Among Anderson’s repertoire is his 2018 stop-motion animated 
film Isle of Dogs. The film transports viewers to the realm of Trash Is-
land, where the canine inhabitants’ journeys mirror human challenges of 
forging connections, navigating loyalty, and confronting environmental 
decay.  This practice of attributing human or personal characteristics to 
non-humans, called anthropomorphism, plays a pivotal role in storytelling. 
It acts as a bridge between the familiar and the bizarre, allowing viewers 
to suspend their disbelief to a degree that allows them to confront diffi-
cult dynamics within the human narrative more empathetically. In Isle of 
Dogs, the canine characters are given human-like qualities, transforming 
them into relatable figures and allowing audiences to emotionally invest in 
their struggles and triumphs. They each have names, distinct accessories 
that match their individual personalities, dynamic relationships, and the 
ability to communicate with one another—and with the audience, which 
is important for later discussions. These attributes help the audience make 
inferences about what the characters are going through, which should, in 
turn, allow viewers to empathize with the characters by relating the expe-
rience to emotions they have felt in similar situations (Harrison and Hall 
34). Anderson’s use of dogs was an especially strategic decision for the 
anthropomorphizing of this narrative because studies show humans are 
already confident in their ability to communicate and understand feelings 
among dogs, compared to a list of other animals (Harrison and Hall 37-
40). Despite the benefits of using anthropomorphism in regard to the nar-
rative, there are limits to the strategy, relating to its morality and effective-
ness in media. While it undoubtedly serves as a valuable narrative tool, at 
what point does the use of anthropomorphism hinder our ability to connect 

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with the animals and cultures represented in the media outside of the con-
text of the film?  
 In When Species Meet, Donna Haraway delves into the complex rela-
tionships between humans and animals, challenging traditional notions of 
species boundaries and emphasizing the interconnectedness of all beings. 
Haraway’s ideas resonate deeply with the anthropomorphic portrayal of 
canine characters in Wes Anderson’s Isle of Dogs. Haraway’s emphasis on 
interspecies communication and collaboration underscores the importance 
of understanding and respecting the perspectives of non-human entities—a 
theme echoed in Isle of Dogs as the characters work together to navigate 
their shared challenges. By drawing upon Haraway’s ideas and various ac-
ademic film reviews, this analysis aims to explore how the anthropomor-
phism in Isle of Dogs serves not only as a narrative device but also as a 
reflection of broader inquiries into the nature of interspecies relationships 
and the blurring of boundaries between human and non-human worlds.  
To review, Isle of Dogs is set in a dystopian near-future Japan where dogs 
have been quarantined on Trash Island due to an outbreak of a canine flu 
called Snout Fever. When a young boy named Atari Kobayashi, or the 
little pilot, crashes on the island to find his lost dog Spots, a group of five 
alpha dogs—named Chief, Boss, Duke, King, and Rex—aid him on his 
quest. The story revolves around their journey, and the narrative is driven 
by their interactions with each other, the island, and the human characters.  
The first interaction we see among the characters of the film is a political 
gathering, or “a special midnight session at the Municipal Dome,” where 
Kenji (Mayor) Kobayashi addresses the canine flu to a large crowd of 
Japanese citizens (Isle of Dogs 00:03:45). The first observation a viewer 
can make is that the humans in the film are speaking Japanese, yet there 
are no subtitles provided. Rather, viewers rely on interpreter characters 
and machines to explain and emphasize important information in English. 
For instance, after Mayor Kobayashi calls for a hasty and crowd-pleas-
ing quarantine, an electronic display board translates what appears to be 
Mayor Kobayashi’s exact words: “Our legal-system provides for: dissent-
ing opinion.” This is where the minority opposition, scientists exploring a 

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cure for Snout Fever, has a chance to advocate for the dogs. The scientists 
seem confident they will be able to find a cure, so they are pleading with 
the crowd to be patient and ask themselves, “What ever happened to man’s 
best friend?” This line is intended to evoke feelings of nostalgia, which, as 
previously mentioned, Anderson commonly focuses on in his films. Still, 
the crowd responds by cheering with displeasure and throwing things at 
the scientists on stage. The interpreter contextualizes this visual response 
by announcing, “The crowd is calling for the immediate ratification and 
approval of the mayor’s proposal.” This implementation of limited English 
and communication from the human characters is intended to decenter the 
humans from this narrative. The audience is meant to focus on the ways in 
which the dogs are shaped by the world around them. Thus, the only in-
formation we need to know about the humans is that this crowd supported 
their exile, but there are still a few humans who trust in the bonds of their 
human-animal relationships.  
 Aside from this observation about Anderson’s use of language in the 
film, this scene also lays the foundation for all future interactions between 
the characters, as well as their interactions with the surrounding environ-
ment. Mayor Kobayashi’s anger and the crowd’s overwhelming support of 
his decree show viewers the crowd’s general disdain for the dogs. On the 
contrary, the scientists, as well as their supporters [1], showcase the side 
of this community that still cares for these animals. This shows viewers 
that the beliefs that lead to the dogs’ excommunication are not unanimous 
among humans, and there will likely be advocates appearing later in the 
film.  
 While most of the animals in Isle of Dogs exhibit a degree of human 
traits, it is important to note that the deepest emotions associated with hu-
man beings are projected onto our five leading canines and the compan-
ions they connect with on their journey. After the first dog is transported 
to the island, the film cuts to six months later, after all of the inhabitants 
have arrived and grown accustomed to their new home. After a bag of gar-
bage is dropped on the island, a pack of five nearly identical dogs show 
up to investigate (Isle of Dogs 00:09:35–00:13:30). They gather close to-

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gether behind the bag before looking up at the main pack, and the camera 
cuts to a long symmetrical shot of five dogs standing a few paces from 
one another. Our leads Rex, Duke, King, Boss, and Chief are introduced 
using single medium shots of each member in that order. This is how they 
are established as a pack yet noted to be individual beings with alpha-like 
personalities. In the single shots, viewers see the dogs’ names on their col-
lars—aside from Chief, who doesn’t wear a collar. After the packs are in-
troduced and the exigency, the trash, is presented, the packs move toward 
the trash slowly yet ferociously. Once they meet face to face directly in 
front of the trash, Rex interrupts the face-off to present the option of open-
ing the bag first to see if it is worth fighting for. They all agree, open the 
bag, and are met with rotting fruit and meatless bones. While it looks like 
an unsavory meal, the animals quickly decide it is worth it and jump into 
a chaotic ramble that ends with Chief biting the ear off of the rival pack’s 
leader Igor. His yelp concludes the fight, leaving Rex, Duke, King, Boss, 
and Chief with their prize.  
 In this short interaction, the rivaling packs, the trash, and even the 
humans “become with” (Haraway 4) each other in tight-knit packs in order 
to survive, which is an unfortunate contradiction to their need to fight oth-
er packs in order to do so. Additionally, they once “became with” human 
beings, but that connection is not entirely severed here on the island, as the 
dogs’ dependence on human-generated waste reflects the ways in which 
human activities shape the ecology of the island and influence the behav-
iors of its inhabitants. These aspects of the film resonate with Haraway’s 
exploration of the entanglements between humans, animals, and their 
shared environments, emphasizing the ways “in which diverse bodies and 
meanings coshape one another” (Haraway 4).  
 After the alpha pack’s chaotic scramble with Igor’s pack of pedigree 
dogs, Rex interrupts their relaxing mealtime to say, “I don’t think I can 
stomach any more of this garbage,” initiating a discussion about their old 
lives. This dialogue scene serves as a crucial moment of reflection and in-
trospection for the pack. Rex, once accustomed to the warmth and comfort 
of indoor living, is now on the cold and desolate Trash Island, longing for 

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the security and care provided by his human owners. King, once the star in 
dog food commercials, bears the disheveled appearance of neglect, a stark 
contrast to his former glamorous life. Boss, formerly a spirited mascot for 
a baseball team, now lacks his former spirit, crushed by the harsh reali-
ties of life on the island. Duke, desiring nothing more than basic care and 
attention, grieves the absence of the comforts and routines he once took 
for granted. As the conversation progresses, Rex admits fearfully, “I want 
my master” (00:12:30). This underscores a deep emotional bond between 
humans and their canine companions. However, Chief, who embodies re-
silience and survival instincts, intervenes to scold his companions for their 
lack of resilience as alphas, urging them to persevere. At the end of his 
speech, Chief insults the pack by referring to them as “pets.” Rex begins 
to retort with the clear intention of calling him a harsher term, and Chief 
finishes his sentence, confidently claiming his identity as “a stray.” 
 This scene provides a rich exploration of multispecies encounters 
as well. Through their reminiscence of past lives as pets and their cur-
rent struggles on Trash Island, the dogs embody the complexities of hu-
man-animal relationships and the intertwined histories that shape them. 
Haraway’s premise that touch shapes accountability is evident in the dogs’ 
interactions with each other and their environment, reflecting their shared 
experiences and responsibilities. Rex, King, Boss, and Duke were each 
touched by their masters with various expressions of love and care, which 
shaped who they are today on the island. Conversely, it is later revealed 
that Chief has not experienced this kind of love from humans, so he finds 
a deeper connection with the island, where he can express his resilience. 
These histories drive their journey and the narrative throughout the film. 
Additionally, the use of anthropomorphism serves to enhance these and fu-
ture messages about multispecies encounters. By portraying the dogs with 
human-like emotions about their past lives, viewers are invited to consider 
the complex bonds that exist between humans and animals from an empa-
thetic perspective. While in real life, dogs do not have the cognitive abil-
ities required to reflect upon change and relationships, those relationships 
still exist. The film just paints it in a way that human viewers can personal-

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ly connect with. 
 Atari Kobayashi arrives on the island at 00:14:41 after the animals 
discuss their situation and witness his plane crash in the distance. They 
watch from a distance as he gets out of the plane and collapses on the 
ground, taking a vote on whether they should eat him or rescue him. De-
ciding to help, they embark on a journey with the little pilot to find his lost 
dog Spots. In the midst of this, viewers are shown a scene from three years 
prior, when the little pilot and Spots are first introduced. After his parents 
were in a fatal train accident and his uncle adopted him as a ward of the 
mayoral household, Atari is gifted with Spots as a highly trained guard 
dog. They are told that Spots is not a pet and should not be treated as one, 
but their connection as companions is clear from the beginning. They each 
receive a communication apparatus that is attached to their ears, and as At-
ari mumbles into the device, Spots begins to tear up repeatedly saying, “I 
can hear you.” Throughout the film, as they search for Spots, Atari’s pres-
ence builds on what we know of each dog’s relationship with humans. 
This flashback to Atari’s past emphasizes the deep emotional connections 
that can exist between humans and animals. Despite the instruction that 
Spots is not a pet, their relationship is characterized by companionship, 
communication, and mutual understanding. Haraway discusses the ways 
in which an encounter among species changes once they gain the ability to 
communicate, as they move from being an object to being a subject (25). 
Their ability to communicate opens the door for Spots and Atari to have a 
meaningful and impactful relationship that drives the film. Once again, the 
anthropomorphism in this scene helps the audience engage with the char-
acters on a more emotional level. The little pilot is a vital character in the 
film, being the only human to show up looking for his lost dog. He rep-
resents the perseverance of deeply woven relationships between species, 
and his relationships with each dog, mainly Spots thus far, highlight those 
aspects of multispecies theory.  
 Upon the little pilot’s arrival, we see a stark contrast between human 
and animal perspectives on survival and morality. While Chief, repre-
senting the more feral instincts of the canine pack, initially leans toward 

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viewing Atari as a potential food source, Rex advocates for compassion 
and assistance, reflecting a tension between primal instincts and empathy 
within multispecies interactions. Atari’s presence on the island highlights 
the interdependence and mutual reliance between humans and animals in 
extreme circumstances. Despite their initial differences, they recognize a 
shared bond and understand the importance of collaboration for not only 
survival, but also the preservation of love and friendship. This underscores 
the notion that multispecies encounters often require cooperation and mu-
tual aid, transcending traditional boundaries between humans and animals.  
Atari’s relationships with the dogs, especially with Chief, embody this 
film’s lessons about multispecies interaction. An important aspect of that 
is Chief’s backstory, which is revealed at 00:40:23 after he, Rex, Boss, 
Duke, King, and Atari have been traveling for some time. In a close-up 
shot, he tells the pack that he grew up on the streets, running from dog 
catchers. After being caught three times and escaping the first two, he was 
adopted by a large family that had two dogs already. The youngest child 
woke him up one morning and tried to pet him. Scared, Chief bit the child 
and was locked in the family’s shed. Once again, he escaped, returning to 
his life as a street dog. In this monologue, Chief explains that he knows 
the child was only being nice, so he doesn’t know why he bit him.  
 As the audience, we can understand why, connecting his story to mul-
tispecies theory. Chief was not raised with humans, yet his species is one 
that relies on them entirely. Among the basic necessities, Boss relies on 
them for cheer, Rex relies on them for comfort and safety, King relies on 
them for his ego, and Duke relies on them for structure, but Chief has only 
ever relied on them for garbage. The only connection he had to humans 
before this was being captured by them unwillingly, and that is who the 
little boy was reaching out to when he was bit. These knots that tie him to 
humans are rotten, and new knots that consider his different past need to 
be tied with this human Atari to make the new pack work (Haraway 18). 
I say, “new pack,” because this scene also emphasizes Atari’s growing 
role as a member of their pack. Recall the earlier scene where we first met 
Chief, Rex, Boss, Duke, and King in an extreme long shot. In this scene, 

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when Chief is talking about his past, we cut to a much closer but similar 
shot of Boss, Atari, Rex, King, and Duke. This visually establishes that the 
lines between dogs and humans here are blurring, new knots between hu-
mans and animals are being tied, and Atari is becoming a member of our 
alpha pack. Additionally, he is paying attention to Chief and learning about 
who he is, reflecting Haraway’s assertion that companion species need to 
learn to pay attention (19).  
 Atari’s connection with Chief is solidified later in the film after the 
pack is separated and they continue the journey as a pair (00:55:04). After 
convincing Chief to fetch a stick, Atari calls him a “good boy” and hugs 
him. From this point forward in the film, their relationship is changed. In 
the next scene, Atari bathes and grooms Chief, revealing the true color and 
pattern of his coat. Throughout the film it was black, but the bath revealed 
it is white with black spots, just like Atari’s lost dog Spots. Observing their 
similar appearance, Chief reflects on his history. He has brothers, but their 
breed isn’t a rare one. Chief becomes unsettled by his confusion, so Atari 
offers him half of the dog biscuit he brought to the island. Declaring it as 
his “new favorite food” (00:57:39), Chief thanks Atari before the camera 
cuts to a close-up shot of the two moving forward on their journey, this 
time as true companions.  
 These pivotal interactions between Chief and Atari represent the new 
knots being tied in their multispecies relationship, which showcases the 
positive aspects of their new relationship. They also actively oppose the 
preconceived notions Chief has about humans, untying the old rotten knots 
that connect him to the people who believe he is a bad dog. Once the bar-
rier that Chief has between him and Atari falls, Atari is able to help Chief 
step out of survival mode and reflect on his past. This kind of understand-
ing of Chief’s complex being is a key aspect of forming strong compan-
ion relationships (Haraway). Once this bond is formed, Chief and Atari’s 
relationship drives the point of the narrative. The pack reunites and suc-
cessfully completes their journey to find Spots, who has been living on the 
other end of the island with a pack of aboriginal dogs. Upon their arrival, 
it is confirmed that Chief and Spots are in fact brothers, and Spots reveals 

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he has a mate and will soon be a father. Unable to neglect his newfound 
responsibilities, he asks that his brother Chief replace him as Atari’s body-
guard dog. They both accept in a discussion that mirrors traditional wed-
ding vows, once again highlighting the depth of the connection between 
companion species (01:16:57).  
 In the final parts of the movie, it is revealed that the cure to Snout 
Fever has been proven effective and that Mayor Kobayashi hid the serum 
to push his personal agenda forward. After the scientists’ supporters—a 
group of local young journalists—and Atari reveal this to the citizens at 
the megadome, he gives a touching speech that resonates deeply with the 
multispecies theory present in Haraway’s work. Here is the relevant ex-
cerpt: 

I have spent much of my time in recent weeks traveling in the compa-
ny of the very kind of animals our mayor refers to as bad dogs. They 
are the finest living beings I have ever come to know in all my dozen 
years on this earth. To your readers, the good people of Megasaki, 
I say, ‘The cycle of life always hangs in a delicate balance: who are 
we and who do we want to be? (In English) Who are we?’ . . . I dedi-
cate this poem to my distant uncle Mayor Kobayashi, who took me in 
when I myself was a stray dog with nowhere else to turn. (01:24:34) 

Here, Atari actively decenters his humanity in this narrative by referring 
to himself as “a stray dog.” The speech awakens something in Mayor 
Kobayashi, forcing him to reflect on the deeply rooted bonds between 
humans and their companion species. After a few moments, Kobayashi 
announces, “Not fair to the boy, not fair to the dog,” officially unstamping 
the Trash Island Decree.  
 Multispecies theory invites us to connect with the world around us 
without using our individual experiences as humans as the lens through 
which we see the species we are connecting with. By anthropomorphizing 
the canine characters, Anderson enables viewers to empathize with their 
struggles and triumphs, fostering a deeper understanding of the shared 
experiences between humans and animals. This narrative strategy not only 
serves as a powerful storytelling device but also prompts reflection on the 

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nature of interspecies relationships and the blurred lines between human 
and non-human worlds. Drawing upon Donna Haraway’s ideas and aca-
demic film reviews, we can see how Isle of Dogs delves into the complex-
ities of human-animal interactions, emphasizing the importance of com-
munication, collaboration, and mutual aid in navigating shared challenges. 
Through characters such as Atari Kobayashi and Chief, the film portrays 
the transformative power of companionship and the capacity for empathy 
across species boundaries. At its core, Isle of Dogs invites us to reconsid-
er our relationships with the world around us, urging us to connect with 
other species without imposing our human-centric perspectives. As Atari’s 
poignant speech at the film’s conclusion suggests, embracing multispecies 
theory allows us to recognize the inherent value of all living beings and 
strive for a more harmonious coexistence on this delicate balance of life. 

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Works Cited

Haraway, Donna. “When Species Meet.” The Routledge International 
Handbook of More-than-Human Studies. Routledge, 2008. pp. 42-78. 

Harrison, Marissa A., and A. E. Hall. “Anthropomorphism, empathy, and   
perceived communicative ability vary with phylogenetic relatedness 
to humans.” Journal of Social, Evolutionary, and Cultural Psychology  
4.1 (2010): 34.Karlsson, Fredrik. “Critical anthropomorphism and 
animal ethics.” Journal of Agricultural and Environmental Ethics 25 
(2012): pp. 707-720. 

Szemetová, Lucia. “Deconstructing the Fantastic World of Wes Anderson 
- the Philosophy behind the Artificial Surface of a Contemporary 
Director.” 2016, https://dspace.cuni.czhandle/20.500.11956/75435?lo
cale-attribute=en.

Isle of Dogs. Directed by Wes Anderson, performances by Brian Cranston, 
Ed Norton, Bill Murray, Jeff Goldblum, and Bob Balaban, Fox 
Searchlight, 2018. 

________________
[1] At 00:05:51, the audience is shown a small section of the crowd that 
is in support of the scientist, sporting “pro dog” clothing accessories and 
raising their fists in solidarity. (Isle of Dogs 2018)

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