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本文旨在讨论社交媒体是怎样通过为虚构人物建立“官方”账号参与到跨媒体叙事之中的。作者以跨媒体故事《大理石黄蜂》(Marble Hornets,创作于2009年6月至2014年6月)作为案例,研究虚构人物出现在社交媒体上会如何在虚构世界和互动者的现实间构筑新关系。这些新关系在手机技术的使用中变得更加明显。此外,为了更好地把握虚构和更为传统的媒体(如小说、漫画小说、电视、电影和电子游戏等)中的现实间的关系,而发展出来的“浸没”和“魔法圈”这两个概念,也因这些新关系而必须重新评估。本文的主要观点之一在于,这些新关系强调了一种作者称之为“包含式”接受的新型接受模式。“包含式”接受模式的主要目的在于使两个世界(即互动者所处的日常现实和他们所消费的虚构世界)的同时共存可能化,并以社交媒体为接合点将两个世界连接起来。最后,作者进一步假设,社交媒体作为接合点,会使虚构元素得以在互动者的日常现实中呈现,从而为互动者与虚构世界的人物沟通创造了新途径。
This article aims to discuss how social media engages in cross-media narrative by creating “official” accounts for fictional characters. The author uses the cross-media story Marble Hornets (June 2009 to June 2014) as a case study of how fictional characters appearing on social media can build new relationships between the fictional world and the reality of interactivity . These new relationships have become more apparent in the use of mobile technology. In addition, in order to better grasp the reality of the relationship between fictional and more traditional media (such as novels, comics, television, movies and video games), the “immersion” and “magic circle” “These two concepts, but also because of these new relationships and must be re-evaluated. One of the main points of the paper is that these new relationships emphasize a new type of acceptance the author calls ”inclusive“ acceptance. The main purpose of the ”inclusive" mode of acceptance is to co-exist with both worlds (the everyday reality in which the interactionors live and the fictional world in which they are consumed), with social media as the point of joining the two worlds connect them. Finally, the author further hypothesizes that social media, as a juncture, will allow fictional elements to be presented in the everyday reality of the interaction, creating a new avenue for interaction with the characters in the fictional world.