商务传媒学院知识库

       斯蒂芬森首次把“游戏”引入传播学领域，形成传播游戏理论。该理论在
互联网时代显示着巨大的传播价值，他提出并区分了“社会控制”与“趋同性选
择”，“作为工作的传播”与“作为游戏的传播”，“传播快乐”与“传播痛苦”这三组概念。他注重受众的主体地位，认为这种传播是自由的、非功利性的、具有时空独立性的、规则制约性的。
       近年来，随着技术的赋权，使包括网络 IP 剧在内的互联网视听内容逐步走
进大众视野，成为文化生活重要组成部分，其消费群体不断扩大并显现出年龄下
沉的趋势，网络 IP 剧的市场地位逐步攀升。网络 IP 剧发展过程中受众本位被逐
渐重视，受众将自身看做“游戏者”沉浸其中。“游戏者”通过游戏的方式参与
到网络 IP 剧的狂欢中，符合了游戏化的传播，推动网络 IP 剧行业取得了令人瞩
目的成绩。因此，本文所要研究的网络 IP 剧，不仅逐渐向大众文化融合，也给
网络 IP 剧发展带来深远影响。本文第一部分对研究背景意义等进行阐释，第二
部分对传播游戏理论进行论述，第三部分阐释网络 IP 剧发展的相关内容，第四
部分为本文重点论述部分，在传播游戏理论视角下解读网络 IP 剧，分析受众进
行游戏传播的必然性，传播游戏的内容，传播游戏的媒介环境等。第五部分通过
分析，提出要把握游戏精髓，推动网络 IP 剧的发展。从游戏者本身出发探索网
络 IP 剧发展对其未来发展传播具有重要意义。本文在传播游戏理论视角下，以
受众为起点对网络 IP 剧的进行分析，可以为我国今后的网络 IP 剧行业如何创作
出既有商业价值又可以呈现主流文化价值的网络 IP 剧提供思路。

   Stephenson introduced “Play” into the field of communication formed the play theory of mass communication. This theory shows great communication value in the Internet age. He proposed and distinguished three concepts, including “social control” and “convergent choice”,“communication as work” and “communication as a play”, “spreading happiness” and “spreading pain”. He paid attention to the subject status of the audience, and believed that this kind of communication is free, non-utilitarian, independent of time and space, and restricted by rules.

   In recent years, with the empowerment of technology, Internet audio-visual content including network IP dramas has gradually moved to the stage of high-quality products. Consumer groups have been expanding and showing a trend of age decline, and the market position of network IP dramas has gradually increased. During the development of Internet IP dramas, the audience’s position is gradually valued, and audiences see themselves as “players” and immerse themselves in it.“Players” participate in the carnival of network IP dramas through games, which conforms to the spread of gamification and promotes the network IP drama industry to achieve remarkable results. Therefore, the network IP drama to be studied in this article not only gradually integrates into popular culture, but also has a profound impact on the development of network IP drama. The first part of this article explains the significance of the research background, and the second part discusses the communication game theory. The third part explains the relevant content of the development of network IP dramas. The fourth part is the key part of this article. It interprets the network IP dramas from the perspective of game communication theory, analyzes the inevitability of the audience for game communication, the content of the game, and the media environment of the game and so on. The fifth part proposes to grasp the essence of the game and promote the development of network IP drama through analysis. From the perspective of dissemination game theory, this article analyzes network IP dramas from the audience as a starting point, and can provide ideas for how the future IP network drama industry in my country can create IP network dramas that have commercial value and can present mainstream cultural value.