Abstract
Fan translations are an important part of global fan subculture activity, intensified especially through the new media platforms which connect producers and consumers all around the globe. One recent trend within this category is that of English translations of Chinese online fictions. It is a newly emerging form of activity which takes place on blogs connected through a blogroll. Through these channels, fans comprising blog moderators, translators, and readers can engage in exchanges which add value to the appreciation of literature. Thus, it can be imagined as a ‘virtual settlement’ (Jones, 1997) after Anderson (1983)’s ‘imagined community’. Within this community, a further observation can be made about the mechanics of this practice. Like a game, the fans act as players where they negotiate rules regarding the production of translations. Given the community-centric nature of these websites, my paper outlines the formation of ‘illusio’, or “agreed rules of the game”, a concept introduced by Bourdieu. This is operationalised using Järvinen (2007)’s framework, locating the nine elements of a ‘gamified practice’ within the interactions of this community, known as Shusheng Bar. The findings suggest that members of Shusheng Bar possess a shared history and connected future. The significance of this observation assists in understanding the dynamics of online subcultures. 
Highlights
Games', or narratives can be played out in the process of reading fiction, especially when the practice of reading becomes interactive. Mead (1962) defined the ‘game stage’ as an individual’s ability to define behaviours and formulate group expectations (Vail, 2007)
What happens when the fiction is translated, not as commissioned by the official publisher, but by autonomous agents? This paper examines the mechanics of virtual settlements engaged in the unofficial translations of popular Chinese online literature, proposing it as a gamified practice that occurs within an imagined community
In my study, the nature of the translation site resembles that of an open forum which enables readers who are more experienced with English translated Chinese online literature, or even Chinese-literate readers who prefer to read English translations, to ‘mentor’ other less experienced readers in developing their understandings, for example in the case of discussing Han Dynasty history, as well as understanding ‘jargon’ created within the community. This is especially important where issues of cultural or historical knowledge are concerned, as readers need to understand these to successfully interpret the narrative. The significance of this observation assists in understanding the dynamics of online subcultures, which may diverge from working-class subcultures, as the ethos of its formation is based on shared interests rather than a response to norm rejection
Summary
Games', or narratives can be played out in the process of reading fiction, especially when the practice of reading becomes interactive. Mead (1962) defined the ‘game stage’ as an individual’s ability to define behaviours and formulate group expectations (Vail, 2007). Games', or narratives can be played out in the process of reading fiction, especially when the practice of reading becomes interactive. Mead (1962) defined the ‘game stage’ as an individual’s ability to define behaviours and formulate group expectations (Vail, 2007). An author produces, an editor rearranges, the book is published, and readers consume. What happens when the fiction is translated, not as commissioned by the official publisher, but by autonomous agents? This paper examines the mechanics of virtual settlements engaged in the unofficial translations of popular Chinese online literature, proposing it as a gamified practice that occurs within an imagined community. Gamification is defined by Deterding et al (2011) as “the use of game design elements in non-game contexts”. Bourdieu’s concept of illusio will be operationalised through the nine attributes of ludology (Järvinen, 2007)
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