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Urban realms model chapter8/17/2023 Against this, some work has explored the extent to which fans of online fiction might be obliged to undertake a form of ‘data labor’ as a result of the algorithms platforms are choosing to use (Yin, 2020). Interestingly for the work presented here, some studies of fandom have focused on the potential for fans to ply pressure on online authors and ‘coerce’ them to produce particular kinds of novels (Tian and Adorjan, 2016). Against this, some work has explored how online literature fandom can serve as a motivating force for nationalism in China (Liao et al., 2022). Another concern relates to the effects of censorship on fandom and how it has generated a rather fluid online media landscape (Luo and Li, 2022 Ren, 2020 Wang and Ge, 2022 Zheng, 2019). A prominent vein in this body of work again relates to how matters of both gender and eroticism have played out in Chinese online fan communities (Guo and Evans, 2020 Li, 2022 Madill and Zhao, 2021 Zhang, 2016). Together with the interest in the production of online fiction, studies of fandom and its social effects have also featured strongly (Huang, 2022 Sauro, 2017 Yin and Xie, 2021 Zheng, 2016). ![]() Thus, in line with Jenkins’ notions of participatory culture (Jenkins, 2007), the subjective position of readers and writers has become more equalized, with readers becoming more ‘empowered’ and confident about the value of their contribution and authors coming to see themselves more as members of a broad creative community of practice (Wenger, 1998), with ‘expression’ (Jenkins, 2009) as its central goal. An alternative argument, however, would have it that this model makes authors more accountable and less authoritarian in their decision-making, with concomitant benefits in terms of such works becoming what might be considered more ‘collective’ productions, or, as Jenkins expressed it, the “coordinated authorial design of integrated elements” (Jenkins, 2010). This, in a sense, therefore, enables them to exert more power over the producers of fiction of this kind (Tian and Adorjan, 2016) and this is reflected in the way in which the online platforms themselves ‘promote’ (or don’t) the authors (Freeman, 2014). Overall, the consumption behavior of readers of transmedia novels occurs earlier in the production process, is more active, more visible, and typically happens at a larger scale (Boni, 2017). Readers of transmedia novels, however, can actively participate in the creation of the work during the writing process, and can thus influence its progress and even the ending of the whole work through their interaction with the author. Of course, after a work is published, the readers of traditional novels may not like it and give it a negative evaluation, but this has no impact on the published content of the work. Readers of traditional novels can only read works published on paper, so they cannot have an impact on the novel during its creation they are only passive recipients, largely accepting what they are supplied. ![]() The consumers of online science fiction of this kind differ from the consumers of traditional print media in a number of important ways.
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