2014年被誉为是中国电影产业“网生代”的开局之年，随着互联网的发展，不少头部的互联网公司携带着大量的资金进军中国的文化产业，纷纷关注到了影视行业。伴随着“互联网+”、“粉丝电影”等词出现的还有“IP”这个概念，IP可以被理解成“具有互联网价值的知识产权”。

在对IP的开发中，有一种方式是通过跨媒介叙事，将其打造成一个完整的“故事世界”，构成一个庞大的“影视宇宙”。本文运用亨利·詹金斯提出的“跨媒介叙事”理论，结合戴维·赫尔曼和玛丽-劳雷·赖恩等人的“故事世界”理论，通过对坐拥庞大粉丝数量的“九州”IP原著文本及其改编的影视剧进行综合分析，从如何建构“故事世界”出发，讨论了空间的运行规律、运行机制、社会法则的作用，接着关注到了“故事世界”的三组叙事模型，探索了“故事世界”扩张的方式，同时还强调了受众的参与和集体智慧在媒介融合时代对于建构“故事世界”的意义，希望能为中国影视剧IP的打造带来一些有意义的启发。

With the rapid development of the Internet, many leading Internet companies have entered China's cultural industry with large amounts of capital, and have focused on the film and television industry. Along with the terms "Internet+" and "fan films" came the term "IP", which can be understood as "intellectual property with Internet value".

One way to develop IP is to create a whole 'storyworld' through transmedia storytelling, forming a huge 'film and television universe'. This paper uses Henry Jenkins' theory of "transmedia storytelling", combined with David Herman's and Marie-Laure Ryan's theory of "storyworlds", to examine the text of "Jiuzhou", which already has a large fan base. By analyzing the original text of "Jiuzhou" and its film and television adaptations, we discuss the laws of space, the mechanisms of operation, and the role of social rules in the construction of "storyworlds", and then focus on the three narrative models of the "storyworld" and explores how the "storyworld" expands, while also emphasizing the significance of audience participation and collective wisdom in constructing the "storyworld" in the era of media convergence. I hope this paper can bring some new inspiration to the development of Chinese film and television IPs.