＂Interesting, dramatic, informative and well-informed＂： Four Dimensions of Viewing Network Literature

　　At present, online literary creation and criticism can be said to present a landscape comparable to that of Qi Fei. Some scholars have pointed out that online literature has formed three critical forces, namely academic criticism, media criticism and online criticism. The author believes that the "sankei review" from the field of industrial economy can be regarded as the fourth critical force. The emergence of this comment dimension is based on the great contribution of online literature in the field of pan-entertainment industry and the cross-border empowerment and linkage adaptation of high-quality online IP. Network literature is not only unique in the vertical field, but also has become an important means of production in the field of pan-entertainment.

　　Network literature is not just literature. As one of the important contemporary literary landscapes, online literature has been drifting away from literature with its virtuality, interactivity and cross-border derivative ability. It is obviously difficult for China’s classical literary theory, western literary theory and other classical theoretical discourses to satisfactorily interpret and evaluate online literature. Is it possible to find some new methods to evaluate online literature besides literature? In fact, no matter which dimension of comments, it is inseparable from the identity of online literature users and the value of works. I intend to talk about the critical standards of online literature from the four value dimensions of "interesting, interesting, informative and well-informed", and try to construct a relatively rough, but perhaps simpler and more effective evaluation system.

　　"Interesting" means the reading value of online literature. This is the basic creative requirement and basic value of net text. On the premise of correct values, to be "good-looking" and "interesting", online works can basically enter the room. What can be considered "interesting"? I think it is nothing more than providing readers with pleasure and satisfaction in the aspects of character setting, plot preparation and vivid language. User clicks, traffic and interactive comments are the most direct evaluations of whether a web work is "interesting". The "interesting" online articles satisfy the leisure desire of a certain audience with a sense of coolness, which is the basis for the prosperity of the large family of online literature.

　　"Youxi" refers to the IP value of online literature. On the premise of "fun", if it can be "interesting", this is IP in the conventional sense. IP value refers to the value potential of online texts in the related and derivative industrial chains such as film and television animation, game adaptation and peripheral development, in addition to online reading, audio works and offline publishing. This value is based on the integration and innovation of the types of online stories and stories, relying on big data and ultimately relying on industry judgment, that is, the evaluation of the value of production and marketing. Generally speaking, on the basis of "fun" and on the premise of accumulating a large number of fans, if there is a breakthrough in theme expression, characterization, story structure and genre innovation, that is, there is potential room for adaptation and deduction in cross-text production, that is, it has the usual IP value. Good IP is the treasure of multi-voice narration. Robert mckee, an American playwright, said that a wonderful story is like a symphony, and its structure, background, characters, types and ideas are integrated into a seamless unity. In order to find their harmonious point, writers must study the elements of the story and treat them as various instruments of an orchestra — — Practice separately first, and then ensemble. The successful IP building and operation is a complex integrated system. The online text of "There is a play",He is ingenious in the creation of character relations and the design of plot conflict.

　　"Material" refers to the cognitive value of online literature, which is higher than "play". With its large-scale and complicated content, online literature plays an irreplaceable role in many aspects such as historical narration, realistic reflection, time record, social concern and future imagination. "Material" means not only that online literature can be used as adaptation and reproduction materials for the pan-entertainment industry, but also that excellent online literature can help to unite people’s hearts, help build socialist core values, and carry the cross-cultural communication mission of Chinese culture going out through "going out to sea".

　　"Youdao" refers to the artistic value or aesthetic value of the net text, which is the highest value of the net text, that is, the classic value. Samuel Johnson, an English critic in the 18th century, said: "Shakespeare’s plays, in strict sense and in the category of literary criticism, are neither tragedies nor comedies, but a special type of creation; It shows the true state of ordinary human nature, which is both good and evil, happy and sad, and it is complicated and endless. " World literary masterpieces, such as A Dream of Red Mansions, War and Peace and Les Miserables, which are highly comparable to Shakespeare’s plays, have the energy to transcend "times, races and environments". Good online literature works can’t fit the scale of genre, and the significance and value of writers’ writing also go beyond the category of genre. Such works may not be the best in business, but they are the most classic.

　　Although scholars are controversial about the year of the first year of online literature, the creation of online literature will be "young" and in development for a long time, and the theoretical research and appreciation criticism of online literature will inevitably need to constantly introduce new methods and concepts. Only in this way can online literature develop across the border on the road of classicalization and become an important driving force for the construction of a cultural power and cultural output.

　　(Author: Ang Lee, a full-time researcher at the Institute of Internet Information, Communication University of China)