在当下的文化市场，围绕同一IP的多媒介开发正成为重要趋势。IP改编作品如雨后春笋一般层出不穷，在依托粉丝基础的同时，却屡屡陷入“魔改原著”的争议中。2022年12月与2023年1月，改编自刘慈欣同名小说的《三体》动画与电视剧分别上线，口碑却呈现出一贬一褒的巨大差异，原著粉丝在其中扮演着重要角色。
本文以《三体》改编动画与电视剧为案例，依托亨利·詹金斯的参与式文化、文本盗猎与跨媒体叙事理论，运用文本分析法、问卷调查法、深度访谈法等研究方法，以《三体》为切入点，阐释了原著粉丝针对改编作品的不同情感态度与传播实践行为。原著粉丝以改编作品对原著的还原程度为关注焦点，依据改编作品在剧情叙事、人物塑造、技术水平、商业营销等方面的表现呈现出不同的情感态度倾向，通过介入创作、集体审判、文本盗猎、文本游牧等多元方式参与到传播实践中。其实质是原著粉丝凭借对文本的超前性掌握自我赋权，在趣缘群体的话语共享中强化身份认同，表达对商业资本逻辑的抵抗的过程。
在文化产品的跨媒介生产中，原著粉丝的力量不可忽视，他们通过盗猎文本完成意义建构，拓展故事世界；通过在社交场域的意见参与直接影响改编作品的口碑，甚至介入到创作生态体系中参与决策。作为跨媒介文化产品的特殊消费者，原著粉丝身上体现着对文化工业的抵抗与妥协并存的特质，一方面他们通过文本盗猎、意见表达等方式实现抵抗，一方面又随时面临着被资本“收编”的可能，成为助推商业文化的一部分。原著粉丝拥有的主体性身份实际是非常有限的，在与不同类型粉丝群体的博弈中、在不同类型文本中的处境更凸显着原著粉丝的权利与具体语境不可分割。

In the current cultural market, multi-media development around the same IP is becoming an important trend. IP adaptation works are springing up in an endless stream, while relying on the fan base, but often fall into the controversy of "magic modification of the original". In December 2022 and January 2023,adapted from Liu Cixin's novel of the same name, the animation and TV series of The Three Body Problem broadcast respectively, but the public praise showed a huge difference between the two works. The fans of the original work play an important role in this process.

Taking the adaptation of the animation and TV series of the Three-Body Problem asthe case, relying on the theory of participatory culture, text piracy and transmedia narrative by Henry Jenkins, this paper uses text analysis, questionnaire survey, in-depth interview and other research methods to explain the different emotional attitudes and communication practices of the fans of the original work of the Three-Body Problem. The fans of the original work take the degree of the adaptation of the original work as the focus of attention, and show different emotional attitudes according to the performance of the adaptation of the story narrative, character shaping, technical level, commercial marketing and other aspects. They participate in the network communication practice by intervening in the creation, collective judgment, text piracy, text nomadism and other ways. In essence, it is a process in which fans of the original work empower themselves with advanced mastery of the text, strengthen their identity in the discourse sharing of the interest groups, and express their resistance to the logic of commercial capital.

In the cross-media production of cultural products, the power of original fans cannot be ignored. They complete meaning construction and expand the story world by poaching texts. Through the opinion participation in the social field, it directly affects the reputation of the adapted works, and even participates in the decision-making of the creative ecosystem. As special consumers of cross-media cultural products, fans of the original books embody the coexistence of resistance and compromise to the cultural industry. On the one hand, they realize resistance through text poaching, opinion expression, etc., on the other hand, they are faced with the possibility of being "absorbed" by capital at any time and become a part of boosting commercial culture. The subjective identity of the original fans is actually very limited, and the situation in the game with different types of fan groups and different types of texts highlights that the rights of the original fans are inseparable from the specific context.