The following article relates and contrast these notions to international (“Western”) character theories and argues for their relevance beyond “exotic” Japanese contexts. Kyara can just as easily be enacted and performed as they can be brought back into narrative ( kyarakutā ) contexts. Theorists such as Itō (2005) or Azuma (2009) therefore differentiate sharply between kyarakutā und kyara, the latter being a pre- or meta-narrative “nodal point” for diverging games of make-believe. Such “characters without stories,” or kyara, are thus best understood as “mediated performers,” as fictional actors that can take on any fictional role attributed to them within the participatory cultures and collective creations of fan manga ( dōjinshi ), fan artworks, or even cosplay. They are nevertheless quite typical for the Japanese “media mix” franchising model, designed to allow for user-level reshuffling and reenactment. Rather, virtual idols like Hatsune Miku, fictional mascots like Kumamon, or notorious product placement figures such as Hello Kitty all seem to circulate mostly on non-narrative artifacts such as clothes, office supplies, or decontextualized artworks, and within mediated performances such as stage musicals, cosplay, or public appearances in full-body suits.
This article proposes to take a closer look at a variety of contemporary Japanese “character” franchises which cannot be accounted for if the entities in question are primarily understood with reference to diegetic worlds or stories.
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