In the wake of Hong Kong's \"anti-revision\" episode, Hong Kong media found a game called \"Xiangcheng Online\" spread in the mob's packed community of Liandeng. The game takes the virtualized city \"Xiangcheng\" as the background, the player plays the warrior, the supply soldier and so on in the game, completes \"follows the troop march, again free activity to climb the mountain, along the way has the different monster to need to fight, guards our city\" the so-called \"task \". Its strategy, including maps, occupation, monsters (innuendo police), equipment and so on, is extremely operational, the hong kong media described the game as \"in a short time to mass production of black-clad mob training manual.\"
In the context of media iterations in the era of the mobile internet, social movement virtualization is not a novelty in hong kong's \"counter-examples \". As early as 2015, in paris, there was evidence that terrorists used playstation 4 to plan and communicate in real-time for terrorist attacks, successfully avoiding big data screening on mobile communications and social media platforms such as phone calls, text messages, twitter, facebook and so on.
The virtualization of social movement in the era of mobile Internet is the result of the transformation of global culture history represented by youth culture. The Islamic State, for example, has used social media to effectively expand the spread of extremist ideas, while US authorities have also used the new media entertainment form of the mobile Internet to incite violence in Ukraine's chaos.
It can be seen that the extensive use of mobile communication tools to complete the organization of extreme emotional incitement and social movement planning is clearly a systematic operation, which contains two aspects, one is to complete ideological incitement through seemingly unremarkable forms of cultural entertainment, such as online literature, online games, music, animation and other media forms that are not yet in the mainstream media field, and the other is to make full use of the iterative media effect of the mobile Internet to transmit extreme emotions quickly in a seemingly unremarkable pan-cultural form. It is on these two sides that the opposing forces can complete the incitement and dissemination of extreme emotions in a short time, and then form a relatively effective broad range of ideological demagoguery and form a \"community of imagination\" in the contemporary edition. However, the uniqueness of this \"imaginary community\" is that its members usually converge around the central point of an extreme emotional source, and that games, anime, music, social media, virtual communities, etc. can serve as scattering outlets and pathways for this extreme emotional center point, so in most cases it presents a \"decentralization\" look. Because the media iterative effect of the mobile internet is so wide-ranging, this explains why there is so much scope and layer in this global wave of extreme emotions.
The mobile internet is not a flood beast, but rather a more open-minded approach. We also avoid the one-sided cognitive new media form on the youth identity shaping role. A survey of young people in hong kong and macau showed that if a macau teenager's mobile phone was turned on, we would find that it contained apps (or international versions of them) that were highly similar to those used by mainland teenagers. In contrast, most hong kong teenagers have mostly u.s. and uk-based apps on their phones, and hong kong's local apps are rare, not to mention playing online games in the mainland, watching online dramas and variety shows in the mainland. Therefore, it is not difficult to understand its subsequent complex effects.
The popular culture experience under the new media form plays an important role in connecting the youth groups in different regions. If Hong Kong cannot enjoy the outstanding achievements of the rapid development of the digital culture industry in the Mainland, it will inevitably lead to the domination and control of the source of its access to media information by hostile forces without sufficient content support. We should strengthen our efforts to encourage the digital culture industry to produce more digital culture products. At the same time, under the framework of \"one country, two systems\" in the field of copyright, explore new development path. To deal with the virtual phenomenon of social movement in the era of mobile Internet, we should not only plan for a long time, but also guide according to the situation. (The writer is an associate researcher at the Chinese Academy of Art)