Cross-dimensional literary and artistic criticism
Bailian ZX is a mall located along Nanjing Road, Shanghai, featuring the culture of ACGN. Photo: IC PHOTO
The “second dimension” primarily refers to the fictional world of ACG—animation, comics, and games, with (light) novels sometimes included. It contrasts with the “third dimension,” namely the real world, reflecting a contemporary tendency toward immersion in the virtual world. However, this concept has its limitations, as it simplifies complex issues and presupposes a dichotomy that is not entirely consistent with the actual development of new media literature and art.
First, through the lens of artistic activities and consumption mechanisms, the concept of the second dimension presumes consumers’ solitary immersion in literary and artistic works, whereas consumers in the digital age are no longer the passive recipients they were in the era of print culture. Digital media has introduced both interactivity and connectivity, enabling ACGN audiences to shift from passive immersion toward continuously navigating between virtual and real worlds.
This phenomenon is exemplified by the “Danmaku culture.” While watching a story unfold, viewers post real-time comments that are shared with others, frequently switching between the fictional narrative and the external world, as well as between individual immersion and group interactions. Sometimes viewers simultaneously post comments offering consolation and encouragement to protagonists, forming cross-dimensional connections wherein fiction and reality intertwine. On one hand, viewers seem to be collectively engaged in the story. On the other hand, they derive a sense of warmth from one another through interactions outside the narrative.
Given that new media literary and artistic consumption involves constant transitions between immersion and interaction, cross-dimensional literary and artistic criticism should move beyond the interpretation of works themselves to analyzing interactive practices external to the works and their profound influence on the works. In fact, for many consumers, exchange and discussion have become integral to consumption. Interactive practices reshape the internal structure of works and generate new content elements. For instance, creators of new media literary and artistic works often deliberately plant humorous or contentious elements designed to stimulate commentary. This has led to the topicalization of content, where certain works intentionally introduce controversial topics to provoke discussion among the audience.
Second, from the perspective of the relationship between literature, art, and reality, the fictional worlds depicted in ACGN culture appears to be groundless, termed “heterotopias” by certain scholars. However, this interpretation may only be partially accurate. In some sense, the second dimension is a virtual presentation of reality. For example, games and online literary works often feature narratives of desire, such as leveling up, defeating monsters for rewards, and striving for success against the odds. These depictions of desire reflect the survival competition inherent in human society and the restless mindset born of this struggle.
More importantly, beneath the surface of new media literature and art lies a new reality—the virtual existential experience in a networked society. This encompasses not only the new structures of consciousness, emotional perception, and imagination brought about by digital media, but also the new qualities emerging from traditional existential experience, which has been pervaded and transformed by digital media.
As digital media increasingly permeates and reshapes everyday life, virtual existential experience has become a prevalent psychological structure of contemporary individuals. Against this backdrop, literary and artistic criticism should focus on the imaginative world reflected in the surface content, virtual spatiotemporal relations, the multiplicity and decentralization of the subject, online communities, and interpersonal interactions in virtual space. The artistic value of virtual existential experience should be examined as well.
Third, in terms of the relationship between ACGN culture and value identification, cross-dimensional criticism should guide new media literature and art to address real-world concerns through virtual approaches. While the discursive characteristics and dissemination of ACGN works may differ from traditional forms, often favoring soft, “moefied” communication mechanisms over rigid, orthodox rhetoric, they should avoid reducing serious real-word issues to mere entertainment. Cross-dimensional criticism should leverage the interactive practices characterizing ACGN culture to encourage meaningful participation in real-world value practices. This involves striking a balance: employing moefied communication methods to express mainstream values while maintaining the gravity of the underlying themes.
In China, many ACGN audiences exhibit a notable enthusiasm for national and state affairs. Their identification with mainstream values is expressed via moefied characters and subculture-rich emojis. The “passionate” quality of ACGN works embodies fervor and idealism. State positions and national identity in the real world are integrated with expressions typical of ACGN culture. At the same time, user-generated videos that gain popularity on ACGN platforms like Bilibili are often based on real-world events, which also reflects the integration of ACGN culture with real-world value identification.
Li Yangquan is a professor from the School of Chinese Language and Literature at Central China Normal University.
Edited by WANG YOURN