ABSTRACT

Branded escape rooms reveal points of tension between fan engagement and authorized content creation. Escape rooms are live-action puzzle games in which groups of participants are locked in a room and surrounded by puzzles and clues. Since at least 2017, a number of escape rooms function as franchise-branded experiences. In this paper, I highlight two such experiences, Doctor Who: Worlds Collide and Sherlock: The Game Is Now. Branded escape rooms function as sites of multiple overlapping connections between media tourism and ludic fandom, where the brand harnesses fan engagement. Playing the game allows the fan to feel closer to the text, but precludes fan transformational work, linking escape rooms to authorized tourist experiences.

摘要

品牌密室逃脱揭示了粉丝参与和授权内容创作之间的紧张关系。逃生室是真人益智游戏，参与者被锁在一个房间里，周围是谜题和线索。至少从 2017 年开始，许多密室逃脱成为特许经营品牌的体验。在本文中，我重点介绍了两个这样的经历，神秘博士：世界碰撞和夏洛克：游戏就在眼前。品牌逃生室作为媒体旅游和狂热粉丝之间多重重叠联系的场所，品牌利用粉丝参与度。玩游戏让粉丝感觉更接近文字，但排除了粉丝转型工作，将逃生室与授权的旅游体验联系起来。