1. Introduction
[1.1] The Elder Scrolls (1994–), developed by Bethesda, is a prominent fantasy role-playing game (RPG) franchise comprising five single-player titles—most notably Morrowind (2002), Oblivion (2006), and Skyrim (2011)—as well as the massively multiplayer online RPG (MMORPG) The Elder Scrolls Online (ZeniMax Online Studios, 2014), alongside board games, a digital card game, and mobile games. The franchise has a sizable fandom, with communities active on multiple platforms, known for producing a variety of fan-made content. Particularly notable are modding communities (see Gallagher et al. [2017] on Skyrim modding), fan-curated wikis, and The Imperial Library (https://www.imperial-library.info/), which archives in-universe texts and developers' writings published outside the games.
[1.2] As part of our larger study on The Elder Scrolls (TES) fan fiction, we draw on our analysis of fan texts and associated metadata on the Archive of Our Own (AO3). We examine fan-authored texts set in the world of TES and/or that borrow fictional characters from the games and explore how players' engagement with the games, fictional characters, and narratives translates into fan creations. The findings highlighted in this article demonstrate a notable prevalence of original characters (OCs) in our dataset, along with narrativization of gameplay and the player character's journey. We situate these trends within broader fan fiction scholarship, drawing on game studies and prior research on fan fiction, and look at how the nature of RPGs and TES-specific features inform these fan creations.
2. Games and fan fiction
[2.1] Previous research on game-based fan productions highlighted the transformative nature of fan creativity in the way it rewrites source texts and offers alternative narratives and character dynamics (e.g., Dym et al. 2018; Pelurson 2018). Researchers observed how fan texts inspired by video games not only reimagine and reinterpret the story but challenge on a broader level the dominant narratives and ideologies related to gender, sexuality, nationalism, and belonging (Hemmann 2018; Wu and Martin 2023). This echoes the wider idea of fan fiction as a space of creativity, criticism, and resistance established in fan studies research. On the other hand, the interactive and immersive nature of video games—where players can experience stories and worlds through player characters, shape narratives through their choices, and form meaningful relationships with other characters—creates unique conditions for fan fiction, making game-based fan works into sites for exploring agency, identity, and interpersonal dynamics beyond the constraints of gameplay.
[2.2] In comparison to other media, players' engagement with video game characters is further sophisticated by the participatory quality of video games, with well-developed characters fostering empathy and offering social interactions similar to those between humans (Lankoski 2011). Game studies research has emphasized the centrality of game characters to the player experience, which connects to the character-centered nature of fan fiction, with recent studies delving into players' nuanced parasocial relationships with nonplayer characters (NPCs; see Pelurson [2018], Karhulahti and Välisalo [2021]) and the complex dynamics between players and playable characters—whether customizable or prewritten (see Välisalo and Ruotsalainen [2019, 2022], Erb et al. [2021]). The cognitive, affective, and embodied entanglements between the player and their avatar—understood as a player-controlled character, serving as both the player's representation and a tool for navigating the game world (Blom 2020)—have also been explored extensively in earlier research (e.g., Jin 2011; Banks and Bowman 2016; Hart 2017; Klevjer 2022; Wilde 2024).
[2.3] Digital RPGs center on the player experiencing game worlds, in-game events, and interactions from the player character's point of view. Despite the flexibility offered by character customization, especially in contemporary RPGs, players encounter constraints in terms of characters' choices and narrative trajectories. Scholars have documented strategies players use to navigate these limitations, especially in relation to sexuality and romance, through transformative, transgressive, and subversive play (Reiss 2014; Stenros and Sihvonen 2020). Such strategies resonate strongly with fan fiction and can carry over to fan texts based on the games. Elaborate fictional worlds of fantasy RPGs—such as The Elder Scrolls, Dragon Age, or Elden Ring—offer not only rich settings for new narratives and OCs (Hergenrader 2011, 2017) but also a framework for negotiating agency. Through fan texts, players can reconfigure constraints imposed by game mechanics, experiment with alternative choices, and articulate identities and relationships that reflect their own interpretations and desires.
3. Methodological and ethical approaches
[3.1] This study draws on fan fiction as its primary empirical dataset, correlating observations with the in-game content of The Elder Scrolls series and the material from The Imperial Library archive. As of August 2025, AO3 hosted over 15,300 English-language fan works based on The Elder Scrolls. We reviewed metadata of these fan stories using AO3's search functionality, focusing on characters, relationships, and popular tags. This allowed us to observe the key features of TES fan fiction, some of which are related to RPGs more broadly, while others are specific to the franchise. Crossover fics—drawing on more than one source text, in this case non-TES media—accounted for approximately 2,000 entries and were excluded from our analysis. The final metadata sample comprised 13,240 texts. In order to closely observe the strategies utilized by fan writers, we further conducted a close reading of the seventy most recently published or updated works, along with accompanying authors' notes.
[3.2] To protect the privacy of fan writers, we refrain from providing author names, story titles, or direct quotes and do not include links to individual works. This decision is informed by ethical concerns over the use of user-generated online data and participant privacy, EU General Data Protection Regulations (GDPR), Finnish national guidelines, and institutional recommendations. Given the scrutiny surrounding fan fiction within game-centered communities, we consider it especially important to avoid referencing individual stories to prevent potential negative consequences for authors and readers.
4. Original characters in The Elder Scrolls fan fiction: Prevalence and relationships
[4.1] Our analysis of metadata and close reading indicate that no less than one-third of TES-based fan texts feature OCs as protagonists, which most commonly—but not always—represent the player character in different TES games (see table 1 in the appendix). Determining the exact number of texts with original main characters presents challenges due to AO3's tag system, which does not require distinguishing major from minor characters or relationships; authors' approaches when tagging also vary. Furthermore, customizable player characters in TES games are referred to by various designations and can be tagged in different ways: as "Vestige" in The Elder Scrolls Online, "Dragonborn/Dovahkiin" in Skyrim, "Hero of Kvatch/Champion of Cyrodiil" in Oblivion, "Nerevarine" in Morrowind, and "Hero of Daggerfall" in Daggerfall (Bethesda, 1996); titles from faction quest lines (e.g., "Listener" in the Dark Brotherhood or "Archmage" in the Mages Guild) are also common. Despite these challenges, in this sample, stories centered on OCs appear far more frequently than in fan texts based on non-RPG games or other media.
[4.2] This prevalence invites comparison with other RPG-based fan fiction, where similar patterns emerge. The majority of TES fan stories are based on Skyrim, the most recent and widely popular single-player title in the series. Among stories that specify the player character's gender, most focus on original female characters—female OCs outnumber male OCs by a ratio of two to one. Comparable trends appear in other fantasy RPG fandoms: At least two-thirds of texts based on Dragon Age: Inquisition (BioWare, 2014) feature the player character, predominantly female, commonly paired romantically with NPC(s). Similarly, the player character appears in at least half the Elden Ring (FromSoftware, Inc., 2022) fan texts, frequently shipped with prominent NPC(s). More than one-third of Hogwarts Legacy (Warner Bros. Games, 2023) fan texts feature original female (player) characters, typically paired with male NPC(s). In contrast, fan texts based on non-RPG titles such as The Witcher (CD Projekt, 2007–22) and God of War (Santa Monica Studio, 2005–26)—where player characters are predetermined—have a markedly lower presence of OCs, usually below 10 percent.
[4.3] Beyond prevalence, relationship dynamics in TES fan fiction reveal how fans expand the game's interaction possibilities. While F/M (female/male) relationships constitute the largest category in TES fan fiction, the most popular pairing is that between a female player character and Serana, a female vampire and key character in the Skyrim Dawnguard (Bethesda, 2012) DLC (downloadable content). This is especially notable in the broader AO3 context, where F/F-focused stories represent a significant minority among the most popular ships (https://archiveofourown.org/works/68352911/chapters/176886216). Serana, along with other frequently featured Skyrim NPCs who are also shipped with the player character in fan stories—such as faction members Farkas and Vilkas (Companions), Cicero (Dark Brotherhood), and Lydia (housecarl)—can act as followers in the game, accompanying the player, carrying items, performing tasks, and fighting alongside them. Skyrim also allows the player character, regardless of gender, to marry certain NPCs, including Farkas, Vilkas, and Lydia. Other prominent NPCs often depicted as romantic partners in fan fiction—despite lacking romance options in the game—include Ulfric Stormcloak (leader of the Stormcloak rebellion), Brynjolf (Thieves Guild member and quest follower), and Miraak (antagonist in Skyrim Dragonborn). The prominence of OCs and their frequent pairing with NPCs illustrates how TES fan texts reflect the nature of the RPG and extend the interactive possibilities, creating spaces for alternative identities, relationships, and storylines.
5. Character's journey and point of view
[5.1] Close readings of selected texts further reveal how TES fan fiction mirrors the structure of RPG gameplay: Fan texts often serve as a way to document the player character's journey through the fictional world. Stories frequently center on the original (player) character's adventures, exploring their background, emotions, and motivations while detailing travels to different locations, completion of quests, and encounters with NPCs. These narratives commonly adopt either a first-person or third-person perspective, sometimes shifting to other characters' viewpoints. A notable feature is the elaboration of quest choices—authors frequently explain the player character's decisions or introduce new options and outcomes. Several writers explicitly note that limited freedom during gameplay inspired them to create these expanded narratives.
[5.2] Echoing Wu and Martin's (2023, 2024) observations on the narrativization of gameplay in RPG-based fan fiction, our analysis shows that canonical storylines and quest content—including major events, travel sequences, combat, and character interactions—are often woven into fan texts. Narrated from the perspective of the original (player) character or the NPCs, these stories may closely follow the game, incorporating direct quotes from dialogue, or diverge from canon. Authors frequently indicate the temporal setting of their narratives in relation to the game's timeline, sometimes referencing specific quest lines or events in tags and author's notes. The patterns we observed underscore how fan fiction functions as a creative response to the affordances and boundaries of RPGs. Adopting the player character's perspective and expanding their choices, fan writers reclaim narrative agency and address perceived constraints in the original games.
6. Modding meets fan fiction
[6.1] Of the seventy stories in our close reading sample, eighteen incorporate player-made mods—game modifications available for download (Gallagher et al. 2017)—alongside the official game content, as indicated in tags or author's notes. The most frequently referenced mods introduce unique follower NPCs and romance-focused features (e.g., Skyrim Romance Mod), which add dialogue options and expand the pool of marriageable characters, including both existing NPCs and newly created ones. Mods that add new locations and quest lines also appear (e.g., Beyond Skyrim: Bruma), reflecting fans' interest in exploration and narrative expansion of the game world.
[6.2] The interconnection between modding and fan fiction is significant, given Skyrim's status as one of the most modded games: Mod creators extend the game in ways that players find engaging, and this influence carries over into fan texts. Popular mod NPC followers that appear in fan stories include Kaidan (with 282 stories), Lucien Flavius (253), Inigo (271), and Bishop (108); while these characters appear less frequently than canonical NPCs, they are similarly depicted as companions, confidants, and romantic partners for the player character. Their presence reflects the popularity of follower mods that introduce well-developed characters with distinct personalities, backstories, and interactions—features that align with game studies research on parasocial relationships between players and NPCs. Depictions of romantic and sexual relationships with these characters, often narrated or mediated through the player character, echo Karhulahti and Välisalo's (2021) findings on parasocial love as romantic and sexual feelings toward fictional characters.
[6.3] The integration of modded content into fan fiction demonstrates how fans leverage multiple creative practices to overcome perceived limitations in the original game. Mods not only expand the range of narrative and relational possibilities within gameplay but also inspire fan writers to incorporate these additions into their stories. This convergence underscores the collaborative nature of game fandoms, where player agency manifests through both game modification and narrative transformation. By combining modding and fan fiction, fans construct personalized versions of the game world that reflect their aesthetic preferences, emotional investments, and interpretive desires.
7. Mary Sues everywhere? Player characters in fan fiction
[7.1] The high prevalence of OCs in TES fan fiction is striking, given their generally negative perception in fandom more broadly, stemming from fears of self-insertion or, more divisively, the Mary Sue—especially when the OC serves as the protagonist. These terms, however, are not interchangeable: An OC is created by the fan author and may have any narrative role, from protagonist to minor side character; a self-insert represents the author or reader; the Mary Sue, often a smart, beautiful, over-capable female OC, is a subtype of self-insert who "warp[s] the fictional world around her person" (Beck and Herrling 2009, ¶ 1.6) and is often the most derided type of OC due to connotations of private wish fulfillment (Sapuridis and Alberto 2022). In our close reading sample, several authors describe their OC as their player character or even as a self-insert.
[7.2] Scholars have explored the empowering potential of self-inserts as a space for identity play or resistance (e.g., Bonnstetter and Ott 2011; Lehtonen 2015; Sapuridis and Alberto 2022), especially for female and queer writers. Yet, little research exists on RPG fandoms, where OCs are particularly common. Arguing that fandom is a collaborative venture, Beck and Herrling (2009, ¶ 6.2) suggest that "it is only in single-player computer/console RPGs that [...] the Mary Sue is truly at home," noting that what is a "bug" in fan fiction is a "feature" in RPGs (¶ 5.3). Hoch (2020) echoes this, suggesting that video game fandoms are the only space of solace for original female characters. Hergenrader (2011, 2017) emphasizes the creative opportunities RPGs and fan fiction provide for amateur writers to develop characters within preexisting worlds and explore their personal histories and motivations. Game-based fan fiction can hence reflect gameplay also in relation to character design and perspective: "The Sue writer is simulating a single-player campaign" (Beck and Herrling 2009, ¶ 6.2).
[7.3] Most RPGs afford a canonical placeholder for OCs by design: Players choose the protagonist's gender and appearance and, in some games, may pursue same- or other-gender relationships with NPCs. Thus, an OC based on a player character is not necessarily read as a self-insert or Mary Sue. Genre expectations, which are transposed to fan fiction based on RPGs, support above-average, powerful protagonists. Still, Hoch (2020) notes that female OCs of color may be disproportionately labeled Mary Sues and dismissed as low-quality writing.
[7.4] Inserting an idealized self is often frowned upon (Busse 2016), but RPG fan stories circumvent this by focusing on gameplay narratives and player characters, not the author's real-life self. This also means that OCs representing the author's player character can be seen as self-insert characters only in the second degree. While some scholars frame RPG fan fiction as the Mary Sue's natural habitat, we argue that this insertion is fractured through the medium of the game—the player character is initially created for the game and shaped by its customizing options rather than solely for wish fulfillment. RPGs may omit certain real-world identity features while offering others—such as nonhuman fantasy races to choose from. Only secondarily, this player character then becomes a fan fiction OC, which may result in a different character than an OC written from scratch.
[7.5] Furthermore, not all player characters reflect their players or their ideal self—cisgender players, for instance, may choose different gender avatars; resemblance to one's avatar has been found to correlate to competitiveness, player attitudes, and personality factors (Trepte and Reinecke 2010; Dunn and Guadagno 2012). While some players identify strongly with their avatar and label their fan stories as self-insert in author's notes on AO3, as we have found in this study that others consider them distinct entities or blur both ways of engagement. These dynamics underscore the complex and multifaceted nature of player-avatar relationships and the various ways they can translate into fan fiction.
8. Concluding remarks
[8.1] RPGs—and the fandoms surrounding them—share a focus on creating an original player character and experiencing the game world through their perspective. In this study, we found this emphasis reflected in the predominance of OCs in The Elder Scrolls fan fiction. Most stories in our sample feature female player characters as protagonists, documenting their adventures and interactions with NPCs, including those introduced through mods. These characters are frequently written into relationships with both female and male NPCs, resulting in a higher proportion of F/F and F/M pairings compared to AO3's most popular ships. We argue that female OCs based on player characters are not necessarily perceived as Mary Sues or even self-inserts, given genre conventions and the mediating role of player-avatar dynamics.
[8.2] While RPGs can provide a significant degree of freedom to the player, fan fiction addresses aspects missing from the games—such as characters' backstories, motivations, alternative choices, and interactions. By drawing on the player-turned-writer's own gameplay experience and modders' creativity, fan fiction thus emerges as a space for both continuity and transformation of the game experience.