Not only do they bear the ar-chitecture of our social world but, as computers and robots, they have bod-ies, “characteristics,” personality, and style.
We have created in our own image, demonstrating in the most forward of ways, a need to humanize and illustrate to all if not to ourselves, that we have a connection to objects and in turn are able to create relationships and interactive dynamics with what would be (or should be) move-less, lifeless, soulless objects.
These Pixar films challenge adult viewers to closely consider their relationship to “friendly,” “soulful” objects.
Scott's initial claim is simply made at the beginning of the section.
They feel, move, and have their being better than humans, who are often characterized as sadistic, careless, and preoccupied. They become not sur-rogates for human emotions but the ori-gin of a purer form of emotion than the corrupted or marginal human ones
Toys become a metaphor for the simpler human soul, the purer human soul, they are at the mercy of conditions out of their control and instead of responding with the modern human reaction (i.e. sadistic careless preoccupied) they respond with non-corrupted actions (usually "I don't want to die" if you watch the movies) by demonstrating this difference Scott has made the claim that Pixar is subliminally telling adults that they have strayed from kinder purer emotional responses to difficult life stimuli
we live with our objects intimately—that they “people” our world.
Scott implies a dependence upon objects. It's a fact that humans are social beings in need of emotional stimuli from others, when these needs are not met, we seek emotional stimuli even from fabricated relationships or intimacies