事物与事物之间的交流和表达形成程式化语言，便构成某种互动仪式。互联网时代，亲身在场扩展为虚拟在场，互动仪式的边界也在不断延伸。虚拟主播相较真人主播，具有超乎常人的外观，更符合亚文化群体的想象。近年来相关研究汗牛充栋，但较少有学者关注虚拟主播互动的内部结构，执着与情感和消费的二分对立研究。本次研究通过问卷调查、深度访谈和参与式观察法，系统调研B站虚拟直播，观察互动仪式这一模型在虚拟主播和迷群之间的运作模式。对于虚拟主播来说，如何扮演角色和适当糅合真实信息是获得正向反馈的关键。在这一场互动仪式中，虚拟主播和迷群的互动空间靠双方的情感流动构建，形成具有强互动性、高亲密性和低控制性的情感投射循环。这一循环存在的双重错位问题，常导致互动仪式的迟滞和破裂，迷群则通过想象和自我说服来完成虚拟形象和扮演者的融合。

The communication and expression between things form stylized language, which constitutes some kind of interactive ritual. In the Internet era, the physical presence has been extended to the virtual presence, and the boundary of the interactive ceremony is constantly extending. Compared with real anchors, virtual anchors have an extraordinary appearance and are more in line with the imagination of subculture groups. In recent years, there have been a lot of relevant researches, but few scholars pay attention to the internal structure of virtual anchor interaction, and the dichotomy between persistence, emotion and consumption. Through questionnaire survey, in-depth interview and participatory observation, this study systematically investigated the virtual live broadcast of Station B and observed the operation mode of the interactive ceremony model between virtual anchors and fan groups. For virtual anchors, how to play a role and properly blend real information is the key to get positive feedback. In this interactive ceremony, the interactive space between virtual anchors and fans is constructed by the emotional flow of both sides, forming an emotional projection cycle with strong interaction, high intimacy and low control. The double dislocation problem in this cycle often leads to the hysteresis and breakdown of the interactive ceremony, while the fan group completes the integration of the avatar and the actor through imagination and self-persuasion.