드라마의 게임화, 게임의 드라마화 — 중국 TV 드라마 <미미일소흔경성微微一笑很傾城>의 스토리텔링을 중심으로

Abstract

In the digital cultural environment of the current generation, the convergence between media is no longer strange. This paper tried to analyze the mechanism of the crossover storytelling, its effect and its in-depth meaning, focusing on the interactive media associated with the game in the storytelling of the drama. This is because I think the mechanism and its medium of game, one of the most influential cultural genres, will be a part of a new strategy in the expansion of drama storytelling. When considering the storytelling of the game with the narrative structure of the drama, the two basically matched the hero’s narrative but showed a differentness in the second act. This is because storytelling elements, such as the setting of characters and events, showed self-selected and repeated characteristics by users in the game. When analyzing the story of the game in terms of the narrative structure of a drama, the back story is similar to the first and second episode of the drama, and the ideal story corresponds to the ending of the drama. However, the game’s random story is individual and nonlinear narrative, which is unique characteristic of game. As such, games and dramas have similarities and differences, respectively, showing the potential for media crossing possibilities among the media. This paper analyzed the correlation between the narrative of Chinese TV drama <Love O2O(微微一笑很倾城)> and that of the online role-playing game <A Chinese Ghost Story(新倩女幽魂)>. The drama uses the game-playing elements of “Tutorial, Ludus-type Competition” as a plot, turning the Playing Media into Showing Media. Meanwhile, in the game <A Chinese Ghost Story(新倩女幽魂)>, the simulations corresponding to the layers of random story portrays the characteristics of male and female characters in the drama and creates conflicts in the case. Game simulations advocate ‘dramas for games’ while actively engaging in the drama’s values and worldviews. The drama <Love O2O(微微一笑很倾城)> is the attempt of both the ‘game-style storytelling of dramas’ and the ‘drama-style storytelling of games’, and also it is the new experiment of the cultural content industry. It also proves that dramas and games can expand each other’s storytelling, form mutual marketing partnerships and reap huge value-added values. This will be a good example that will meet the demands of the era of digital storytelling and be applied to the inter-media crossing.