The Communication Strategy Of Traditional Festival Culture In Online Games

No matter the Spring Festival or the Mid-Autumn Festival,whether the elderly or children,traditional festivals are always the characteristic dates that people look forward to and celebrate,full of people’s respect for the past tradition and yearning for a better life in the future.Nowadays,new media technologies keep emerging.On the one hand,it is the impact on traditional festival culture.The fragmented and fragmented network space and living habits constantly impact traditional customs.On the other hand,the availability of new media has provided us with new ideas to revitalize traditional festival culture.In particular,mobile online games have performed well in game content production,mobile terminal experience and social function creation.This paper takes traditional holiday activities in Fantasy Westward Journey mobile game as a case study,uses the theoretical framework of media availability introduced by Professor Pan Zhongtang as a theoretical framework,and personally participates in traditional holiday activities in Fantasy Westward Journey mobile game,making detailed investigation and record of their activity content,symbolic elements and presentation forms,and then conducts research based on this.The first chapter mainly analyzes the social background of the current traditional festival culture.On the one hand,it is faced with difficulties,including external culture shock and internal power limitation.On the other hand,there are opportunities for its development,which often coexist with challenges.The development of new media brings infinite possibilities,especially the development of new media is crazying,cultural production,mobile immersion and social consumption have broad prospects.The second chapter mainly discusses how to do a good job in the production level of festival culture in Fantasy Westward Journey mobile game.Traditional festival culture itself is very extensive,and the connotation behind it needs to be deeply explored,which requires that it is very important to select the elements in the festival,extract the elements in the real festival,such as customs and rituals,and make the transformation suitable for the game and match the game tone.Its connotation should be expanded within a reasonable range.For example,props such as yuanxiao,mooncake and zongzi in Fantasy Westward Journey are inspired by festival food in real society,but given functions such as adding character attributes in the game to expand its value,which is in line with the values and story background of the game,constantly shaping players’ collective memory and building a common cultural space.Chapter three explores the availability of players,game scenes and game activities from the perspective of mobile immersion experience.In games,players are often virtual personalities,which is different from interpersonal communication in real society.In the online world,players are anonymous,which can be understood as a virtual personality.Players can express themselves to their heart’s content and rebuild interpersonal relationships that cannot exist in the real world.The connection between people and people,people and things,and things and things are constantly changing and developing with the continuous progress of technology.As an extension of people’s senses,game scenes not only include virtual scenes in the game world,but also offline physical scenes,players’ activities,virtual community communication,etc.In online games,players can’t play without props,story and other scenes every day.Besides the game,there are also virtual communities and game forums,which facilitate players to obtain more game information on the mobile terminal and increase the construction of the social circle of the game.Offline,there are also a series of activities and experiences,such as competitions,cultural and tourism integration,which enrich the expression of games.Chapter four explores the availability of social consumption from the perspective of capital.The boom of online games,especially the development of mobile media,provides a realistic basis for the public sharing culture.On the one hand,the public enjoys the festival carnival brought by the games,and on the other hand,what happens to the audience’s emotional sense of belonging after the popularity.Especially at present,the social pressure is generally greater,the network culture is relatively prosperous,the youth group in urgent need of cathartic emotions,to find emotional resonance,online games precisely for the traditional culture and public emotion sharing,empathy and participation plays an important role.When it comes to online games,there is no getting around the problem of consumption recharge.Fantasy Westward Journey is also faced with the double contradiction between capital and culture.As an online game developed for profit,it is inevitable to continuously increase the game’s ability to attract money,so as to maintain operating costs and ensure long-term vitality.However,too much development of top-up projects is like drinking poison to quench thirst and seeking fish after fish,which will lead to aversion and boredom for the game group,thus directly shortening the life of the game.In the process of participating in the game,players should also improve their initiative and enhance their understanding of the game consumption behavior.