Research Article
Open access
Published on 3 April 2025
Download pdf
Wang,Y. (2025). "Traffic Attraction" and "Fan Retention" under the Framework of Meaning Construction: Content Production, Interactive Communities and Value Realization of Virtual Streamers—An Virtual Ethnographic Study of Virtual Streamers. Advances in Social Behavior Research,16(2),43-49.
Export citation

"Traffic Attraction" and "Fan Retention" under the Framework of Meaning Construction: Content Production, Interactive Communities and Value Realization of Virtual Streamers—An Virtual Ethnographic Study of Virtual Streamers

Yuexin Wang *,1,
  • 1 Anhui University

* Author to whom correspondence should be addressed.

https://doi.org/10.54254/2753-7102/2025.22002

Abstract

Virtual streamers (Vtuber) refer to content creators who conduct activities on video websites in the form of virtual avatars. Based on motion capture technology (mainly facial capture) and the combination with 2D or 3D character models, real people can hide behind the screen and perform with virtual avatars and voices. In the early stage, Vtuber mainly produced videos, but later shifted to live-streaming content such as games, chats, singing, and collaborations to attract fans and eventually monetize through "merchandise", paid subscriptions, and donations. The emergence of the virtual streamer cultural phenomenon and the development of related industries have contextually shaped new ways of connection and interaction among media, society, and individuals. Therefore, it is necessary to pay attention to the social significance construction behind the behaviors of virtual streamer cultural participants. This article uses virtual ethnography as the research method to study the characteristics of virtual streamer content production, interactive communities, and value monetization. The research finds that "meaning construction" occupies a hidden main line in the activities of virtual streamers and is one of the driving forces for viewers to pay and participate in the re-creation cyber community. Virtual streamers use short-term live streaming and long-term "re-creation" community construction to combine short-term and long-term fan attraction and retention. In this process, the relationship between virtual streamers and viewers has also changed with the commercialization and systematization of the virtual streamer industry.

Keywords

Virtual streamers (Vtuber), meaning construction, virtual ethnography, re-creation

[1]. iiMedia Research. (2023). 2023 China Virtual Host Industry Research Report.

[2]. Song, C., & Qiu, X. (2022). Digital-Physical Interaction and Cyber Clusterers: Identity Construction in Virtual Image Live Streaming. New Horizons, 6, 54-61.

[3]. Chen, X., & Liu, T. (2022). Fan Differentiation, Migration and Resistance in the Context of Platform "Going Viral": An Investigation of Virtual Host Fan Groups. Journal of Communication Studies, 29(6), 22-38 + 126.

[4]. Zeng, Y. (2018). The Body Performance and Social Interaction of Online Female Streamers. Journal of Northwest Normal University (Social Sciences Edition), 55(1), 26-35.

[5]. Yu, F., & Hu, P. (2018). Simulation, Body and Emotion: An Analysis of Online Live Streaming in the Consumer Society. China Youth Studies, 7, 5-12 + 32.

[6]. Wang, T., & Liu, Q. (2019). Self-Construction and Identity Recognition of Young Women in the Online Video Live Streaming Space. Contemporary Youth Studies, 4, 97-103.

[7]. Yan, S. (2019). Immersion, Metaphor and Group Reinforcement: New Scenery and Cultural Reflections of Online Live Streaming. Academic Frontiers, 11, 140-150.

[8]. Prosperity and Shadow: The Real Life of 3606 Virtual Hosts. (2022). Paike: SCUT Data Beauty.

[9]. Lin, H. (2020). The Dilemma and Solution of the Breakthrough of China's Virtual Host Industry. Frontiers of Social Sciences, 9(12), 1867-1876.

[10]. Xue, J. (2022). "I Love, Therefore I Am": Virtual Idols and "Emotional Realism". Literary Theory and Criticism, (06), 115-126.

[11]. Wang, Y. (2023). Coding a New World: The Gamification Dimension of Online Literature. China Federation of Literary and Art Circles Press.

[12]. Wang, Y. (2023). Research on Live Streaming Interaction of Virtual Hosts from the Perspective of Interaction Ritual Chain: A Case Study of Bilibili. Zhejiang Sci-Tech University.

[13]. Song, Z., & Jiang, Q. (2023). Dual Relationships in Live Streaming from a Mediatization Perspective: A Study on the Paying Behavior of Virtual Host Viewers. China Youth Studies, 8, 51-60 + 89.

[14]. Dong, C., & Ye, Z. (2021). Being a Streamer: A Digital Ethnography of Relational Labor. International Journal of Communication, 12.

[15]. Liu, X., & Zhao, S. (2023). Development Strategies of Virtual Idols from the Perspective of Participatory Culture: A Network Ethnography of A-SOUL Fans. Modern Communication (Journal of Communication University of China), 45(6), 151-159.

Cite this article

Wang,Y. (2025). "Traffic Attraction" and "Fan Retention" under the Framework of Meaning Construction: Content Production, Interactive Communities and Value Realization of Virtual Streamers—An Virtual Ethnographic Study of Virtual Streamers. Advances in Social Behavior Research,16(2),43-49.

Data availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

Disclaimer/Publisher's Note

The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

About volume

Volume title:

Conference website:
ISBN:(Print) / (Online)
Conference date: 1 January 0001
Editor:
Series: Advances in Social Behavior Research
Volume number: Vol.16
ISSN:2753-7102(Print) / 2753-7110(Online)

© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license. Authors who publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See Open access policy for details).