International Journal of Computer in Humanities
5(2)(2025) 98-106
Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

Character Game Naming in Ready Player One Movie: A
Literary Onomastic Analysis
Shifa Ghifari Fauziah*, Nungki Heriyati
Universitas Komputer Indonesia, Indonesia
*Corresponding Email: shifaghifari.f@gmail.com

Abstract. This research aims to analyze character naming in “Ready Player One”
movie through the lens of literary onomastics. The research used a qualitative
descriptive approach using Abbasbeyli’s framework, which categorizes names into
official, symbolic, and conceptual elements. This research explores how the names
Parzival, Art3mis, and Aech in virtual narratives serve as complex symbols that enrich
themes and reflect cultural views on identity in digital spaces. The findings reveal that
Parzival’s name connects to Arthurian legend, symbolizing heroic quests in a virtual
context. Art3mis blends Greek mythology with modern gaming culture, reflecting
independence and digital symbolism. Aech’s name highlights identity fluidity in virtual
spaces, masking real-world identity. The findings suggest that character names in
virtual narratives serve beyond identification, reinforcing themes of authenticity,
transformation, and human connection in digital spaces. This research underscores the
role of onomastics in contemporary media as a narrative tool shaping thematic depth .

Keywords: Onomastics, Ready Player One Movie, Character Naming

1. Introduction
The word name is commonly used to mean a term that can signifies anything, functioning
as an essential linguistic tool for identification and differentiation. In literature and film,
character names are more than mere labels. Names often carry symbolic meanings, reflect
personality traits, or contribute to thematic development. The study of names and their
significance, known as onomastics, provides a deeper understanding of how naming
conventions shape narratives and audience perceptions [1]. Theoretical onomastics examines
the origins of well-known names within language and speech, as well as their presence in
literary and dialectal contexts. It explores the principles behind naming, the evolution of names
over time, and their practical usage in communication. Additionally, this field analyzes the
geographical and linguistic distribution of names, along with their structural composition.
The study of names, known academically as onomastics, is a branch of linguistics that
studies proper names, the history of their origin and change, as well as their meanings, and
distributions. Onomastics has long been recognized as a crucial field for understanding how
language reflects and shapes human culture, identity, and social relationships. Onomastic

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

studies have become increasingly relevant as storytellers craft names that must resonate across
multiple layers of meaning, particularly in science fiction narratives where names often bridge
real and imagined worlds. The film adaptation of Ernest Cline’s “Ready Player One” presents
an especially rich text for onomastic analysis, as it operates simultaneously in both physical
and virtual realms, each demanding its own complex system of character naming and
identification.
Ready Player One movie exemplifies the rich implications of onomastics through its diverse
array of character names. Each name in the movie serves a dual purpose: it identifies the
character while simultaneously reflecting their personality or role within the narrative. These
carefully chosen names not only enhance character depth but also engage readers with
intertextual references that enrich the overall experience of the story. Ready Player One movie
intricate naming conventions reflect deeper thematic concerns about identity, digital
consciousness, and the intersection between reality and simulation in contemporary society.
This analysis employs literary onomastic theory to examine how character names in “Ready
Player One” operate as complex semiotic markers that enhance the narrative's exploration of
virtual reality, gaming culture, and human connection in a digitally mediated world.
Previous research on hyperreality in Ready Player One movie has been conducted by
Sarniyati Dalimu, Ansor Putra, and Rahmawati Azi. Their study, “The Portrayal and The
Effects of Hyperreality in Ready Player One Movie by Steven Spielberg,” employs Jean
Baudrillard's theory of hyperreality to analyze how the virtual world of the OASIS represents
a hyperreal environment where imagination and reality merge into an indistinguishable new
reality [2]. Furthermore, [3] conducted a comprehensive analysis of the OASIS virtual reality
system in Ready Player One movie, examining its multifaceted implications on identity and
social dynamics. The researchers identify key aspects of virtuality in the film, including the
emotional impact of virtual experiences, the creation of digital personas, and the formation of
social communities within virtual spaces [3].
Continuing the exploration of onomastics, [4] explores the significance of unembodied
names in seventeenth-century French tragedies, comedies, and tragicomedies. Sfeir
categorizes these names based on their relation to time, space, and their relevance to the play’s
action, arguing that they create a referential texture that expands the play’s temporal and
spatial scope [4]. Similarly, this research investigates three primary character names, Parzival,
Art3mis, and Aech through Abbasbeyli’s framework, which classifies names into official,
symbolic, and conceptual elements. While Sfeir’s study focuses on absent names that shape a
play’s narrative and setting, this study concentrates on the naming significance of three
primary characters: Parzival, Art3mis, and Aech, revealing how these digital pseudonyms not
only construct identity within the virtual realm but also reflect the characters’ aspirations,
cultural knowledge, and social positioning.
Therefore, the primary purpose of this research is to conduct a comprehensive literary
onomastic analysis of character naming conventions within the film “Ready Player One,” with
particular emphasis on the virtual gaming identities portrayed in the narrative. This research
aims to demonstrate that character names, particularly in science fiction and gaming contexts,
are not arbitrary designations but rather carefully constructed semantic units that carry
significant philosophical, cultural, and narrative weight. Through a detailed examination of
the film's character nomenclature, this research seeks to uncover the underlying philosophical
foundations, symbolic meanings, and cultural references embedded within each character's
gaming identity.

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

2. Literature Review
Onomalogy is derived from two terms: Onomo, which signifies name, and logos, which
refers to teaching or theory. The total collection of proper names within a language’s lexicon
is known as onomastics, while the linguistic discipline that studies these names and th eir
significance is referred to as onomalogy. The use of name symbolism to convey deeper insights
into characters, themes, and archetypes is an important part of onomastics. For instance, a
character named “Hope” may symbolize optimism, while “Grim” could evoke a sense of
foreboding. This practice extends beyond traditional literature into gaming and digital culture,
where players choose usernames and avatars that frequently reflect their personalities or the
identities they wish to create for themselves.
According to Abbasbeyli, onomastic analysis consists of three main types of objects. First,
official names encompass all entities with formal designations, including anthroponyms
(personal names), toponyms (place names), hydronyms (water body names), and
pragmonyms (institutional names). Second, symbolic names refer to proper names that hold
fixed meanings within their semantic framework, often representing a particular aspect of
reality. Lastly, concepts verbalized with proper names include any ideas or phenomena that
have been assigned or can potentially receive a suitable name within a linguistic group. These
classifications highlight the diverse functions of names in language and communication.
While the Abbasbeyli model posits that each given name passes through a conceptual filter,
recent studies have called for more frameworks that examine not only the thought process
behind naming but also the social communicative functions that names fulfill in storytelling
and a subtly signal the values, motivations, and archetypes that these characters represent.
These frameworks help illuminate how, in the OASIS, characters can build unique identities
through names that are chosen with the intent to evoke specific associations in the minds of
both the character and the audience.
Despite the relevance of these theories in understanding name symbolism, there is limited
research on how names function as layered identifiers in virtual or speculative settings like the
OASIS, where identity construction is highly complex. Ready Player One provides a
meaningful case study that demonstrates how names can convey a combination of personal
goal, cultural reference, and digital identification. However, more research is needed to
explore how names in digital or virtual narratives serve as conduits for character depth and
thematic resonance.
3. Methodology
This research used a descriptive qualitative method. The qualitative method was chosen for
this study because it aims to obtain in-depth and comprehensive results. Research with this
method produces information in the form of descriptive data or notes that are included in the
text being studied, providing a clear and systematic picture. the descriptive method is a
method based on facts and empirical deductions. This method is used to explain and describe
complexity and variation in a context. Qualitative research is a method that is related to quality
in the form of written word variables about certain things that are observed. This method helps
researchers to explore the context, perspectives, and experiences of individuals or groups.
4. Discussion
Ready Player One is a sci-fi adventure set in 2045, where much of humanity escapes their
harsh reality by immersing themselves in a virtual universe called the OASIS. The story

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

follows Wade Watts, an orphaned teenager, who joins a high-stakes treasure hunt within the
OASIS to find an "Easter egg" left by its late creator, James Halliday. The winner gains control
of the OASIS and its immense fortune. Wade and his friends face thrilling challenges and battle
a powerful corporation determined to seize control of the virtual world. Directed by Steven
Spielberg, the film explores themes of identity, nostalgia, and the intersection of reality and
virtuality.
The film delves into themes of digital identity, the power of corporations, and the balance
between virtual and physical realities. Through its richly detailed environment, it explores
how individuals navigate their identities in digital spaces and the impact of technology on
human connection. The OASIS serves as both an escape and a battleground, reflecting societal
struggles and aspirations. By weaving in iconic cultural elements, the movie not only pays
homage to the past but also raises questions about the future of technology and its role in
shaping our lives (Raedy Player One, n.d.). These themes of identity and authenticity provide
the perfect backdrop for an onomastic analysis of the three main protagonist avatars, Parzival,
Art3mis, and Aech, whose names function as carefully constructed identifiers that reveal
character motivations, cultural knowledge, and the complex relationship between virtual
personas and their real-world counterparts.
Additionally, after going through the data collection process, the researcher analyzed 3
main types of onomastic objects: official names, symbolic names, and concepts verbalized with
proper names. In collecting the data, the researcher focused on each name game character
given in the Ready Player One movie. The results of this research show that the character
names in Ready Player One are not randomly assigned but intentionally created to reflect
deeper meanings, personal identities, and thematic elements of the story. This analysis reveals
that each character's in-game name carries significant linguistic and cultural references.
1.

Parzival

Figure 1. Parzival

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

Parzival, origin to Percival, a character from Arthurian legend. Parzival, also used by the
13th-century German poet Wolfram von Eschenbach, symbolizes the pure-hearted knight on
a quest for the Holy Grail (Parzival Etymology, n.d.). Parzival is officially recognized in Western
literature and mythology as representative of a specific character with noble traits and a
historical background. Parzival representing themes of quest, purity, virtue, heroism, and
idealism. In Arthurian legend, Percival is often depicted as a seeker of the Grail, representing
the quest for enlightenment and the challenges faced along the way. The name also signals
Wade’s role as a hero with the qualities of bravery, morality, and dedication, qualities essential
for his quest.

Figure 1. The etymology of Parzival’s name
The etymology of Parzival’s name in Ready Player One movie reveals a fascinating
evolution through Arthurian mythology and medieval literature, demonstrating the depth of
onomastic significance in character naming. The image illustrates how the name originated
from “Peredur” in Welsh mythology, which then evolved into “Perceval” in the Arthurian
cycle, ultimately branching into multiple variants including “Parzival,” “Parsifal,” and the
English variations “Percival” and its diminutive “Percy”.
In the context of Ready Player One, Wade Watts’ choice of “Parzival” as his OASIS avatar
name carries profound onomastic significance, as it deliberately connects to the medieval
German poet Wolfram von Eschenbach's spelling “Parzival,” representing a pure-hearted
knight on a quest for the Holy Grail (Parzival (Ready Player One), n.d.). This choice exemplifies
all three of Abbasbeyli’s onomastic categories: as an official name rooted in Arthurian legend,
as a symbolic representation of heroic virtues and spiritual questing, and as a verbalized
concept embodying Wade's personal journey of transformation.
The name “Parzival” chosen by Wade Watts for his OASIS avatar reveals director Steven
Spielberg and author Ernest Cline's intention to establish a meaningful parallel to Arthurian
legend. Parzival (or Percival) was a knight of King Arthur’s Round Table who successfully
completed the quest for the Holy Grail, mirroring Wade’s journey to find Halliday's Easter
Egg. This deliberate naming creates a symbolic connection between medieval questing and
Wade’s virtual adventure, both involving protagonists who begin as outsiders but
demonstrate exceptional persistence, moral courage, and the ability to see beyond surface
appearances.

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2.

Art3mis.

Figure 2. Art3mis
The character name “Art3mis” represents a sophisticated example of onomastic layering
that combines classical mythology with modern digital culture. The name’s foundation derives
from Artemis, the Greek goddess of the moon and hunting, known for her independence,
strength, and protective nature, attributes that perfectly mirror the character’s role in the
narrative. Art3mis concepts linked to her character, such as empowerment, independence, and
female resilience. In the OASIS, Art3mis is a highly skilled, self-assured competitor,
exemplifies the ideal of a strong female protagonist who can independently take charge of her
journey.
The deliberate substitution of the number “3” for the letter “E” in “Art3mis” has several
key aspects that suggest her technological sophistication while maintaining the mythological
connection. First, it exemplifies “leetspeak,” a digital language convention where numbers
replace letters, demonstrating the character’s integration into gaming culture. Second, this
modification creates a unique digital identifier, essential in the OASIS’s virtual environment
where distinctiveness is prized. Third, it symbolically bridges the ancient and modern,
connecting the classical mythology of Artemis with contemporary digital culture.
Following Abbasbeyli’s onomastic framework, “Art3mis” functions as an official name
through its connection to Greek mythology, a symbolic name reflecting qualities of
independence and strength, and a verbalized concept representing digital age identity

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

transformation. The character embodies these elements through her resourceful, brave actions
in the OASIS, demonstrating how the onomastic choice of her name reinforces both her
character development and the movie’s broader themes about identity in virtual spaces.
The etymology of this name traces back to the Greek “Artemis,” which has evolved into
various forms across different languages and cultures: from Ancient Greek variations like
Artemidoros and Artemisia, to modern adaptations in Eastern European languages:
Belarusian “Artsiom”, Estonian “Artjom”, Western European languages: Italian “Artemio”,
Spanish “Artemio”, and Slavic languages: Russian variations including “Artem” and
“Artyom”. The widespread adoption and adaptation of this name across cultures mirrors the
OASIS’s nature as a global virtual space where identities transcend cultural boundaries.
The choice of “Art3mis” as Samantha Evelyn Cook’s avatar name is to invoke classical
mythology as a thematic framework for her character’s role. Artemis, the Greek goddess of the
hunt, wilderness, and the moon, was known for her fierce independence, exceptional hunting
skills, and protective nature, traits mirrored in Samantha’s determined resistance against IOI
and her skilled gameplay. Just as the goddess Artemis was respected for her strength rather
than her beauty alone, Samantha’s character transcends the typical female supporting role,
embodying courage, resilience, and tactical intelligence that prove essential to the ultimate
victory against corporate exploitation.
3. Aech.

Figure 3. Aech

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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

The name “Aech”, as an official name, serves as a phonetic representation of the letter “H”
cleverly referencing the character’s real-world identity as Helen Harris while maintaining
deliberate ambiguity. The French linguistic influence, where “H” is traditionally silent, adds
another layer of meaning, symbolically representing how Helen’s true identity remains silent
or hidden within the OASIS. Phonetically pronounced as “H,” the name serves as both a clever
homophone of her first initial and a digital mask that allows Helen, a Black lesbian woman, to
navigate the OASIS as a white male avatar, highlighting the film's commentary on how virtual
worlds can simultaneously liberate users from real-world prejudices while perpetuating
deception.
The simplicity of “Aech” as a chosen identifier is particularly significant in the onomastic
analysis, as it allows Helen to transcend gender constraints in the male-dominated gaming
world of the OASIS (Aech, n.d.). This aligns with the concept of names as tools for self-creation
and identity expression, where the chosen name becomes a vehicle for personal empowerment
and social navigation. The onomastic significance extends further as the name “Aech”
embodies the character’s straightforward, no-nonsense personality while serving as a broader
symbol of how virtual environments can provide opportunities for individuals to reconstruct
their identities free from societal prejudices and constraints.
The name’s historical roots can be traced to Scotland, specifically to Perthshire in 1841,
where historical records document the existence of the Aech family name. This historical
context adds depth to the onomastic analysis, as the name belongs to a family of similarsounding surnames including Pech, Mech, Cech, and others, suggesting a linguistic pattern in
Germanic and Celtic naming conventions (Aech Family History, n.d.). The choice of “Aech” as
an avatar name embodies three key conceptual elements: gender neutrality, allowing Helen to
transcend gender-based prejudices in the gaming world; self-creation, representing the
freedom to construct one’s identity in virtual spaces; and liberation through anonymity,
enabling the character to be judged solely on skill and personality rather than societal
expectations.
Helen’s choice to present differently online reflects the complex reality of discrimination
she faces, while the revelation of her true identity to Wade becomes a pivotal moment
reinforcing the film’s message about authentic human connection transcending digital facades.
The name exemplifies modern digital naming conventions through its minimalist design,
while simultaneously functioning as a powerful symbolic representation of identity fluidity in
virtual spaces. The deceptively simple name enables the character to function as a critical
examination of how marginalized individuals might find both freedom and complexity in
digital self-representation, making Aech/Helen one of the most nuanced explorations of
virtual identity in the narrative.
Acknowledgement
I express my gratitude to Allah SWT for His blessings throughout my academic journey. My
sincere appreciation goes to the lecturers at Universitas Komputer Indonesia. I am indebted to
my family for their unwavering support and to my peers for their collaborative spirit. I also
acknowledge all individuals who contributed to the completion of this work.
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Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum

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