Skip to content
1981
Volume 13, Issue 1
  • ISSN: 2046-6692
  • E-ISSN: 2046-6706

Abstract

Much has been written when it comes to world-building, the nature of fan cultural practices, affect and digital media platforms. Each contributes in their own way to the field of media and cultural studies; yet their convergence continues to lack the attention it deserves. The aim of this research is to observe that. This study examines how the participatory culture of the Sarah J. Maas fandom on Spotify contributes to the world-building of each series’ respective fictional worlds through affective experiences. The goal of this research is to present how participatory fandom culture can function as world-building.

Loading

Article metrics loading...

/content/journals/10.1386/jfs_00105_1
2025-08-21
2026-04-14

Metrics

Loading full text...

Full text loading...

References

  1. @G3LUD4 (2024), ‘Comment: Acotar themed parties/balls’, r/acotar, 19 May, https://www.reddit.com/r/acotar/comments/1cw193n/comment/l4t2v6v/. Accessed 1 September 2024.
  2. Balfe, Lorne (2021), ‘Yelena Belova’, Black Widow, Digital, USA: Universal Music Group.
    [Google Scholar]
  3. Beach, Weather (2023), ‘Sex, Drugs, etc.’, Pineapple Sunrise, Digital, USA: Arista Records.
    [Google Scholar]
  4. Boni, Marta (2017), World Building Transmedia Fans Industries, Amsterdam: Amsterdam University Press.
    [Google Scholar]
  5. Celtic, Woman (2017), ‘Mo Ghile Mear (My Gallant Star)’, composed by S. Domhnaill, Digital, Ireland: Universal Music Group.
    [Google Scholar]
  6. Collins, Jim (2017), ‘Transmediaphilia, world building, and the pleasures of the personal digital archive’, in M. Boni (ed.), World Building Transmedia, Fans, Industries, Amsterdam: Amsterdam University Press, pp. 36276.
    [Google Scholar]
  7. Cyrus, Miley (2019), ‘Mother’s Daughter’, composed by M. Cyrus and A. Miettinen, She Is Coming, Digital, USA: RCA Records.
    [Google Scholar]
  8. Enaid and Arkenstone, Diane (2002), ‘Road to Camelot’, Avalon, CD, USA: Neo Pacifica Recordings.
    [Google Scholar]
  9. Eventbrite (2024), ‘Fantastique Starfall BallTM’, Eventbrite, https://www.eventbrite.com/e/fantastique-starfall-ball-tm-tickets-867829299797. Accessed 26 September 2024.
  10. Fantastique Collection (2024), TikTok, 15 August, https://www.tiktok.com/@fantastique.collection/video/7403376065210748206. Accessed 1 September 2024.
  11. Fuller, Matthew (2005), Media Ecologies: Materialist Energies in Art and Technoculture, Cambridge, MA: MIT Press.
    [Google Scholar]
  12. Genette, Gérard and Maclean, Marie (1991), ‘Introduction to the paratext’, New Literary History, 22:2, pp. 26172, Cambridge, MA: https://doi.org/10.2307/469037.
    [Google Scholar]
  13. Grace, Alicia (@Alicia Grace) (2021–22), Pov: Ur High Lady of the Night Court, playlist, Spotify, https://open.spotify.com/playlist/71JKumY17GCi4ZfyUU0x9g. Accessed 1 June 2022.
    [Google Scholar]
  14. Gray, Jonathan, Sandvoss, Cornel and Harrington, C. Lee (eds) (2007), Fandom: Identities and Communities in a Mediated World, New York: New York University Press.
    [Google Scholar]
  15. Gregson-Williams, Rupert (2017), ‘Wonder Woman’s Wrath’, composed by A. Kawczynsk, H. Zimmer, M. Music and R. Gregson-Williams, Wonder Woman, Digital, USA: WaterTower Music.
    [Google Scholar]
  16. Hakemulder, Frank, Kuijpers, Moniek, Tan, Ed, Balint, Katalin and Doicaru, Miruna (eds) (2017), Narrative Absorption, Amsterdam: John Benjamins B.V, https://doi.org/10.1075/lal.27.
    [Google Scholar]
  17. Hessler-Forest, Dan (2016), Science Fiction, Fantasy, and Politics, London: Rowman & Littlefield International.
    [Google Scholar]
  18. Horton, Justin (2017), ‘The building and blurring of worlds: Sound, space, and complex narrative cinema’, in M. Boni (ed.), World Building Transmedia, Fans, Industries, Amsterdam: Amsterdam University Press, pp. 187203.
    [Google Scholar]
  19. Jenkins, Henry (1992), Textual Poachers: Television Fans & Participatory Culture, New York: Routledge.
    [Google Scholar]
  20. Jenkins, Henry (2006), Fans, Bloggers, and Gamers, New York: New York University Press.
    [Google Scholar]
  21. Jo, Abby (@Abby Jo) (2019), Let’s Be Real, Fenrys Is Hands Down the Best Dancer in the Cadre & They’re All Lowkey Salty about It, Spotify, https://open.spotify.com/playlist/2aNgKn34TC6BFsav64ZEp7?si=ec5745bcf3c14051. Accessed 5 June 2025.
    [Google Scholar]
  22. Jo, Abby (@Abby jo) (2019–24), Let’s Be Real, Fenrys Is Hands Down the Best Dancer in the Cadre & They’re All Lowkey Salty About It, playlist, Spotify, https://open.spotify.com/playlist/2aNgKn34TC6BFsav64ZEp7?si=83845f3f1228412a. Accessed 1 June 2022.
    [Google Scholar]
  23. Maas, Sarah J. (2014), Heir of Fire, London: Bloomsbury.
    [Google Scholar]
  24. Maas, Sarah J. (2015), A Court of Thorns and Roses, London: Bloomsbury.
    [Google Scholar]
  25. Maas, Sarah J. (2016a), A Court of Mist and Fury, London: Bloomsbury.
    [Google Scholar]
  26. Maas, Sarah J. (2016b), Empire of Storms, London: Bloomsbury.
    [Google Scholar]
  27. Maas, Sarah J. (2017), A Court of Wings and Ruin, London: Bloomsbury.
    [Google Scholar]
  28. Maas, Sarah J. (2022), House of Sky and Breath, London: Bloomsbury.
    [Google Scholar]
  29. Marks, Laura (2018), ‘Affective analysis’, in C. Lury, R. Fensham, A. Heller-Nicholas, S. Lammes, A. Last, M. Michael and E. Uprichard (eds), Routledge Handbook of Interdisciplinary Research Methods, London: Routledge, pp. 15257.
    [Google Scholar]
  30. McCain, Katherine (2018), ‘Epoximise!: The renegotiation of film and literature through Harry Potter GIF sets’, in J. Alberti and A. P. Miller (eds), Transforming Harry: The Adaptation of Harry Potter in the Transmedia Age, Detroit, MI: Wayne State University Press, pp. 11330.
    [Google Scholar]
  31. Powell, John (2010), ‘Test Drive’, composed by J. Powell and recording artist G. Greenaway, How to Train Your Dragon, Digital, USA: Varèse Sarabande.
    [Google Scholar]
  32. Priest, Eldritch (2013), ‘Felt as thought (or, musical abstraction and the semblance of affect)’, in M. Thompson and I. Biddle (eds), Sound, Music, Affect: Theorizing Sonic Experience, Bloomsbury Press, pp. 4564.
    [Google Scholar]
  33. Rentschler, Carrie A. (2017), ‘Affect’, in L. Ouellette and J. Gray (eds), Keywords for Media Studies, New York: New York University Press, pp. 1214.
    [Google Scholar]
  34. @Rightly_Mourning (2021), Throne of Glass Instrumental, Playlist, Spotify, https://open.spotify.com/playlist/1F4Ja2RwwQRcZJwJoQVisf?si=e0BU3B6-S3ygxgHjVSTdxQ. Accessed 4 June 2025.
  35. @runawaywithliz (2022), Frat Pack | Crescent City, Playlist, Spotify, https://open.spotify.com/playlist/48r4SAyH5bAkJFrnbf9iiK?si=08e431e219a54bc1. Accessed 1 June 2022.
    [Google Scholar]
  36. Ryan, Maurie-Laure (2015), ‘Texts, worlds, stories’, in M. Hatavara (ed.), Narrative Theory, Literature, and New Media, New York: Routledge, pp. 1128.
    [Google Scholar]
  37. Samutina, Natalia (2016), ‘Fan fiction as world-building: Transformative reception in crossover writing’, Continuum: Journal of Media & Cultural Studies, 30:4, pp. 43350.
    [Google Scholar]
  38. Sanders, Timothy and Cairns, Paul (2010), ‘Time perception, immersion and music in videogames’, Proceedings of HCI 2010: Human Computer Interaction, University of Abertay, Dundee, 6–10 September, Swindon: BCS Learning & Development, pp. 16067, https://doi.org/10.14236/ewic/HCI2010.2.
    [Google Scholar]
  39. Schäfer, Thomas, Sedlmeier, Peter, Städler, Christine and Huron, David (2013), ‘The psychological functions of music listening’, Frontiers in Psychology, 4:511, pp. 133.
    [Google Scholar]
  40. Siles, Ignacio, Segura-Castillo, Andres, Sancho, Monica and Solis-Guesada, Ricardo (2019), ‘Genres as social affect: Cultivating moods and emotions through playlists on Spotify’, Social Media + Society, 5:2, pp. 111.
    [Google Scholar]
  41. Spotify (2022b), ‘Spotify shares our vision to become the world’s creator platform’, Spotify, 8 June, https://newsroom.spotify.com/2022-06-08/spotify-shares-our-vision-to-become-the-worlds-creator-platform/. Accessed 1 July 2022.
  42. The Oh Hellos (2015), ‘Soldier, Poet, King’, composed by T. Heath and M. Heath, Dear Wormwood, CD, USA: Elektra.
    [Google Scholar]
  43. The Young Dubliners (2007), ‘I’ll Tell Me Ma’, With All Due Respect, Digital, Savoy Records.
    [Google Scholar]
  44. Tomin, Brittany (2020), ‘Worlds in the making: Worldbuilding, hope and collaborative uncertainty’, Journal of the American Association for the Advancement of Curriculem Studies, 14:1, pp. 115.
    [Google Scholar]
  45. u/Master_Avocado (2022), ‘Music under the mountain’, r/acotar, 24 March, https://www.reddit.com/r/acotar/comments/tgolt1/music_under_the_mountain/. Accessed 1 September 2024.
  46. u/WorkingBuilding7372 (2024), ‘Comment: Playlist to listen to while reading ACOTAR series?’, r/acotar, 24 March, https://www.reddit.com/r/acotar/comments/103wtuj/comment/kwfd66p/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button. Accessed 1 September 2024.
  47. Usherwood, Bob and Toyne, Jackie (2002), ‘The value and impact of reading imaginative literature’, Journal of Librarianship and Information Science, 34:1, pp. 3342, https://doi.org/10.1177/096100060203400104.
    [Google Scholar]
  48. Wolf, Mark J. P. (2012), Building Imaginary Worlds: The Theory and History of Subcreation, New York: Routledge.
    [Google Scholar]
  49. Wolf, Mark J. P. (2017), ‘Beyond immersion’, in M. Boni (ed.), World Building Transmedia, Fans, Industries, Amsterdam: Amsterdam University Press, pp. 20414.
    [Google Scholar]
  50. Wolf, Mark J. P. (2018), The Routledge Companion to Imaginary Worlds, New York: Routledge.
    [Google Scholar]
  51. Woods, Kelsey (2022), ‘Music under the Mountain’, Digital release, USA.
    [Google Scholar]
  52. van Goethem, Annelies and Sloboda, John (2011), ‘The functions of music for affect regulation’, Musicae Scientiae, 15:2, pp. 20828, https://doi.org/10.1177/1029864911401174.
    [Google Scholar]
  53. von Ziegler, Adrian (2011), ‘Night Mist’, Wanderer, CD, Switzerland.
    [Google Scholar]
  54. Genette, Gérard (1997), Paratexts Thresholds of Interpretation, Cambridge: Cambridge University Press.
    [Google Scholar]
  55. Hagen, Anja N. (2015), ‘The playlist experience: Personal playlists in music streaming services’, Popular Music and Society, 38:5, pp. 62545, https://doi.org/10.1080/03007766.2015.1021174.
    [Google Scholar]
  56. Kruse, Liz (@lizkruse) (2022), ACOMAF Ambience [Instrumental], Playlist, Spotify, https://open.spotify.com/playlist/0sCLagm5cNdNvZvVN2GeT5?si=Mh6yoStbQTuGocJiMDkfmQ. Accessed 4 June 2025.
    [Google Scholar]
  57. Maas, Sarah J. (2012), Throne of Glass, London: Bloomsbury.
    [Google Scholar]
  58. Priest, Eldritch (2013), ‘Felt as thought (or, musical abstractions and the semblance of affect)’, in M. Thompson and I. Biddle (eds), Sound, Music, Affect: Theorizing Sonic Experience, London: Bloomsbury Publishing, pp. 4563.
    [Google Scholar]
  59. Shortland, Cate (2021), Black Widow, USA: Walt Disney Studios Motion Pictures.
    [Google Scholar]
  60. Spotify (2022a), ‘Spotify celebrates 20 Years of Harry Potter with fan-streaming insights: Did your listening habits correctly sort you?’, Spotify Newsroom, 5 January, https://newsroom.spotify.com/2022-01-05/spotify-celebrates-20-years-of-harry-potter-with-fan-streaming-insights-did-your-listening-habits-correctly-sort-you/. Accessed 1 July 2022.
  61. Wolf, Mark J. P. (2020), Exploring Imaginary Worlds: Essays on Media, Structure, and Subcreation, Milton: Taylor & Francis Group.
    [Google Scholar]
/content/journals/10.1386/jfs_00105_1
Loading
  • Article Type: Article
Keyword(s): affect; audio; fantasy; music; playlists; Spotify; textual poaching; transmedia
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test