Exploring Constant Character Arc in short narrative 3D Animation

**Fig. 1 - My own 3D animation project *Baby’s Quest* (2024).**

One of the concepts in a story involving characters is the character arc. In addition to being used to build the story structure, the arc also creates the conditions by which the audience might feel sympathy for the main character. When the main character begins at a certain emotional point, but by the end of the story experiences a change to a different point, that is the character arc (Myers 2022, 19). In his book Beyond the Hero's Journey, Anthony Mullins defines characters into two types: change and constant, and three types of arcs: optimistic, pessimistic, and ambivalent. Although this is not the first time someone has attempted to explain this concept of arcs (as in Creating Character Arcs by K.M. Weiland), Mullins' book provides the most detailed explanation of specific types of arc. A constant character arc is when a character does not experience any internal changes in values, beliefs, or desires from the beginning to the end of the story. This type of character arc is not discussed as often compared to the change character arc, where the character undergoes observable internal changes. Existing academic literature on character arcs often emphasizes the concept of character transformation as one of the device’s most important elements. There is an assumption that a good story is one where the main character undergoes internal changes, such as in values or beliefs, throughout the story (Mullins 2023, 138).

In this blog I want to focus on an analysis of constant character arc, and using a practice-based research method (Candy & Edmond, 2018), explore its uses in short form narrative storytelling. In making my own 3D animation project Baby’s Quest (2024), I have explored how this type of arc also applicable in more unconventional narrative structures (Fig. 1). Indeed, the characters used to analyse this type of constant character arc are still based on feature films and TV series that sit within more traditional storytelling modes. Through this article, I aim to contribute to scholarship on animated characterisation by adding some knowledge to the field regarding the constant character arc, especially in short narrative form.

A fictional character can be viewed from two aspects: the internal world and the external world. The external world consists of the physical aspects surrounding the character, such as family, friendships, work, or the environment. The internal world, on the other hand, comprises the emotional aspects within the character, such as beliefs, values, and desires. Typically, a story begins when there is a change in the character's external world. This change creates an unfamiliar condition for the character. When the change occurs, whether positive or negative, it creates a conflict between the internal world and the external world. A change in the character's external world is needed to create conflict; without an external change, there is no conflict, and without conflict, there is little drama and even less story (Mullins 2021, 25).

Based on the choices they make in facing conflict, characters are divided into change characters and constant characters (Mullins 2021, 27). A character is categorized as a change character if they choose a new option for themselves to face the conflict, leading to a transformation in their internal world as they adopt new beliefs or values (Mullins 2021, 27). On the other hand, a character is termed a constant character if they continue to make the same choices when facing conflict, in other words, they hold on to the same values or beliefs they had from the beginning (Mullins 2021, 28). In his book The Protagonist's Journey, Scott Myers uses a different term to define the nature of arcs, calling it “Refuse Change.” A Refuse Change is a story where the main character is presented with the opportunity to change but refuses it (Myers 2022, 19). In the same book, Myers also introduces a concept called “Change Agent,” which refers to a character who does not undergo change themselves but instead brings about change in their external world (Myers 2022, 19). In Wall-E (2008), the robot protagonist does not undergo emotional change; he remains the old robot who admires EVE, a futuristic robot sent to Earth. When Wall-E accidentally discovers a plant on Earth, it triggers a chain of events where EVE must return to her spaceship, and Wall-E follows her. Eventually, all the humans on the ship unite to save the plant, leading them all back to Earth. Throughout his journey, Wall-E remains true to his beliefs and values, but his optimistic nature influences those around him.

However, the projects used to evolve the concept of arcs mostly involve films or television series with longer durations. Meanwhile, shorter narrative forms like short animations are less explored. Structurally, there is not much difference between feature films and short films; the main difference lies in the time limitation needed to introduce the character's internal and external worlds. The structure used is the three-act structure: Act 1 is the introduction, Act 2 is the conflict, and Act 3 is the resolution. In Acts 1 and 3, the narrative is made direct and to the point. Therefore, Baby’s Quest will be used to analyse the application of this character arc theory in constructing story structure. In this project, the internal world of the character is not detailed extensively because the short film's duration does not allow enough time to fully introduce the character's internal world. The character's internal world is instead introduced to the audience through the choices they make. Nevertheless, the character's desire or goal is important and needs to be introduced at the beginning of the story to motivate the character to move towards their goal.

Baby's Quest is a 1-minute 3D short animation that tells the story of a baby trying to get an ice cream, but along the way, he creates chaos in the middle of the city (Figs. 2 and 3). Through this animation, we can see how the constant character arc is used in a short animation. The exploration of this concept is evident in how the protagonist responds when facing conflict. A character with a constant character arc is usually stubborn, while the world around them typically the one who changes (Mullins 2021, 98). Based on this understanding, I designed the internal world of the character in Baby’s Quest to be selfish, stubborn, and unconcerned with their surroundings. When the protagonist encounters conflict, he chooses to stick to his goal of getting the ice cream. The character's internal world remains unaffected by the external world; instead, it is the external world that undergoes change. The protagonist does not always have to undergo an emotional transformation in a story. The protagonist can choose to maintain the same internal state until the end of the story.

To better understand the conflict in this story, it is important to look at the character's internal world and external world. The external world in this story is the physical environment surrounding the character. This physical environment serves as a series of obstacles faced by the protagonist. It is this external world that will be influenced to change by the presence of the protagonist, not the other way around. In the opening scene, the protagonist's desire or goal—getting ice cream—is shown, representing the character's internal world. The external world is initially depicted through the physical appearance of the character, who is a baby riding a stroller. As the story progresses, the external world is gradually revealed, including cars on the road and a construction site with various obstacles. Conflict arises when these two worlds intersect: the baby's desire to get ice cream clashes with an unfamiliar and new situation. At this point, the protagonist is faced with the choice to change or remain the same. However, since change is still needed in the story, the external world in the animation is designed to change.

**Fig. 4 - *Baby's Quest* broadens the scope of character arc analysis.**

It is still a topic of discussion within the field whether emotional transformation is essential in screenwriting. This concept was first introduced by Joseph Campbell in his book The Hero with a Thousand Faces, followed by the publication of The Writer's Journey by Christopher Vogler, which popularized the concept of the Hero's Journey as we know it today. This concept explains how a character must go through a series of journeys in achieving their goals, which ultimately changes their emotional state. This theory has been used by screenwriters as a manual for story development for many years. However, Mullins argues that this theory has limitations in understanding character arcs, leading to distortions in discussions of characters whose emotions do not change (Mullins 2023, 138). The Hero's Journey is often used as a basis for analysing the character arc of a character who, in fact, does not undergo emotional transformation (Mullins 2023, 139). Baby's Quest contributes to this discussion by exploring constant character arcs in short narrative animation, and showing how such an arc can be applied to the structure of a shorter film in ways that contribute valuable insights to the ongoing discussion of character development in storytelling. Traditional theories, such as the Hero's Journey, emphasize the importance of emotional transformation in characters, suggesting that internal change is crucial for a compelling narrative. However, as Mullins argues, this perspective may limit our understanding of characters who remain emotionally constant, yet still drive the story forward. Baby's Quest illustrates how a protagonist can maintain their internal state while influencing changes in the external world around them. The short animation uses a concise narrative structure, yet effectively showcases the constant character arc through the protagonist's unwavering desire and the resulting impact on the environment. This approach challenges the notion that character transformation is essential, highlighting the potential for storytelling where the character remains constant, but their presence initiates change in the external world. By applying this concept in a short film format, Baby's Quest broadens the scope of character arc analysis, offering a new perspective for animators and storytellers. The project demonstrates that even within the time constraints of short narratives, complex character dynamics can be explored. The findings from this project provide a reference point for further exploration and discussion, encouraging a more nuanced understanding of character arcs beyond the traditional focus on emotional transformation.

**Article published: May 16, 2025**

References

Dancyger, Ken and Rush, Jeff. 2002. Alternative Screenwriting: Successfully Breaking the Rules. Woburn, MA: Focal Press.

Campbell, Joseph. 1993. The Hero with a Thousand Faces. London: Fontana Press.

Mullins, Anthony. 2021. Beyond the Hero’s Journey: Crafting Powerful and Original Character Arcs for the Screen. Harpenden: Kamera Books.

Mullins, Anthony. 2023. “Arc analysis: Redefining character arcs for ‘constant’ characters”, Journal of Screenwriting 14, no. 2 (September): 137–157.

Myers, Scott. 2022. The protagonist Journey: An Introduction to Character-Driven Screenwriting and Storytelling. Switzerland: Palgrave Macmillan.

Vogler, Christopher. 2007. The Writer’s Journey: Mythic Structure for Writers, Studio City. Los Angeles: Michael Wiese Productions.

Biography

Reonaldi Praditya is a 3D artist based in Melbourne, Australia, with a strong focus on visual effects and 3D rendering. With one year of experience in the VFX industry, he has honed his skills in creating highly realistic 3D environments and assets, while also enjoying the creative challenge of experimenting with various rendering styles. His portfolio includes contributions to big name projects like Satria Dewa: Gatotkaca (2022), Hello Ghost (2023), and Sri Asih (2023), where his expertise played a key role in bringing these films' visual effects to life. In addition to his professional work, Reonaldi is currently pursuing a Master’s degree in Animation, Games, and Interactivity at RMIT University