社交媒體語言式角色扮演的實踐與投射性認同探析──以噗浪角色扮演為例

Abstract

噗浪角色扮演為一種社交媒體的角色扮演活動，扮演者多數具備迷的身分，透過書寫和互動的方式扮演既有作品裡的角色，以個人或團體為單位活動於噗浪場域中。社交媒體擁有非語言線索的過濾背景與互動環境，使得迷的扮演由物理進入虛擬，由獨白轉為集體，迷與角色、社群間的關係因而產生改變。

本研究以二次創作類型的噗浪角色扮演為研究對象，修改Davisson & Booth提出的投射性互動模式作為研究框架，將迷的個人實踐、心理認同、團體互動三面向納於噗浪平台下討論，透過原始文本/噗浪文本的戲劇五因分析比較與深度訪談，理出噗浪角色扮演者與角色、社群、媒體及自我的互動路徑，歸納扮演者經由互動路徑所投射出的認同特質，對迷群、社群的傳統研究觀點提出再思考。

研究發現，噗浪角色扮演者各異的構成動機，搖撼了共同興趣作為虛擬社群單一入口的觀點，同時團體成員間擁有去抑的衝突行為及牢固的團體規範，存在對虛擬社群和諧迷思與鬆散社會協議的破除；與角色互動方面，扮演者試圖強化或增添角色感性、缺陷的性格特徵，又或是重整時序，讓角色自原始文本的傷害中暫獲自由，以回應個人及社群的期望；然而另一方面，期望的滿足卻可能觸發互動夥伴的自我投射，使扮演者與扮演者間發展出浪漫關係；與媒體互動方面，噗浪既提供扮演者社會線索及文本管理的高度自主性，亦有效的阻遏社交媒體的情境崩解，滿足噗浪角色扮演者對於「隱密狂歡」的追求。

從研究結果可以看見，投射性互動模式以迷的「互動」補足「盜獵」觀，以「投射」補足「產製」觀，使迷群研究的關懷獲得行為層次的超脫，突顯迷群實踐所面臨的掙扎與侵擾，彰顯迷群文化建構過程中、千迴百轉的投射之旅。未來研究亦可探討其他社交媒體如Facebook的角色扮演，拓展此類實踐的新視野。

Plurk roleplay is a kind of role playing activity on the social media platform. Most of the Plurk roleplayers are fans, who engage the text-based role playing independently or with other roleplay group members. Due to the interacting nature and the absence of nonverbal cues, social media platform has changed the relationships between fans and characters, and between fans and community. In other words, Plurk has transformed fans’ play from physical to virtual, and from monologue to collaboration.

In this thesis, a revised projected interactivity model proposed by Davisson & Booth is adopted as the research framework. By discussing individual practice, projective identity, and group interaction in Plurk, this thesis aims to understand the interactions between Plurk roleplayers/characters, Plurk roleplayers/communities, Plurk roleplayers/media, and the characteristics of projective identity.

Three results are found in this thesis. First, Plurk roleplayers enter roleplay groups based on different motivations, which challenges the perspective that the “shared interest” is the single entry of virtual community. Disinhibited behaviors and solid group norms in roleplay groups also shake the ideas about “social harmony” and “informal social contracts” in virtual community. Second, Plurk roleplayers choose to change timeline and develop characters’ emotional characteristics or flaws in order to release characters from the damages of source texts or to meet the community expectation. However, meeting others’ expectation might lead to solipsistic introjections and hallucination of roleplay partners. Last, Plurk not only provides roleplayers high autonomy to manage their social interactions and texts, but also helps roleplayers to avoid collapsed context. That is, Plurk fulfills roleplayers’ need of a “secret carnival”, which is also the need of fans.

By using the terms “interact” and “project”, fans study gains a new possibility to move beyond the perspectives of “poach” and “produce.” This is because “interact” and “project” could reveal the struggling, winding journey between fans and characters/communities/media inside fans’ psychological world.