The live streaming of digital and analogue gaming has emerged as a major new topic in games research. It concludes that through the use of the kyara, the IP owner avoids any clash between the dynamic game character’s appearance in its source work and its appearance in other ludic works, thereby giving the impression that the player’s agency over the dynamic game character stays intact. Through a case study of the Fire Emblem: Three Houses ludo mix, this article argues that the Japanese concept of the kyara, a proto-character, demonstrates to be an excellent means to avoid a clash between the dynamic game character in one work and its appearance in another work. Yet, in Japanese media and ludo mixes, character proliferation is the norm so that different versions of the same character can exist without any issues of narrative coherency. In particular, dynamic game characters, with a development structure that the player influences, cause narrative inconsistencies with the character’s transmedia appearances. The article focuses on how dynamic game characters create friction in a ludo mix strategy consisting of primarily ludic media, disturbing the narrative coherency that trans- or cross-media strategies strive for. Participation to create the illusion of a coherent identity between the manifestations of the Participation in the dynamic game character’s development. Once dynamic game characters transfer to other works, authoritative institutions break the player’s They challenge venues of control, because the player has creativeĪgency over the dynamic game character’s characterisation process within a single work. Digital games accelerate a dynamic gameĬharacter’s identity within a single work, unlike non-cybermedia in which a character’s identity isĬonstructed over multiple works.
Whose development consists of multiple outcomes. This study argues that dynamic game characters are a type of quasi-person in digital games The idea that within a single piece of work the character must maintain a linear, continuous andĬoherent identity that stretches the understanding of characters as authored and predictable within Media platforms that participate in this character ecology, and they allow characters to challenge With characters, stories and a variety of media platforms. Via different works, and how the perceiver comes to understand them within a context saturated A theory of dynamic game characters tells us about the migration of entities Structures branch into different outcomes, each of which are undetermined until the playerĪctualises one or more possibilities that steer that direction onto distinct paths with a specificĭynamic game characters have become a phenomenon that challenges practices of Dynamic game characters are those game characters whose development Order to be invoked, but the game encourages the meaning-making process with different means
The research question of this study is: What are dynamic game characters? Through reader�response theory adapted for cybermedia phenomena such as games, this study approachesĬharacters as a player-constructed phenomenon, in which the game character needs the player in Influence other character manifestations within a broader media ecology in which characters
This study addresses the struggleįor interpretive authority by explaining how the player constructs the identity of dynamic gameĬharacters in digital games, and by discussing how dynamic game characters connect to and Medium in particular: a character does not require a specific medium to come into existence.Īuthoritative forces try to shape the overall interpretation of circulating characters transmedially inĬomics, television series, films, games and more through different venues of control, such asĪuthorship, canonisation and ownership or intellectual property. Characters do notĪppear only in games, they migrate from one medium to another. Which characters are constantly produced and reproduced in a variety of media. This study presents a theory about dynamic game characters within a broader character ecology in
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