Please use this identifier to cite or link to this item:

Title: 步行模擬遊戲中使用者非目的性探索行為之研究
The Role of Non-goal-oriented Exploration in Walking Simulator Games
Authors: 莊景翔
Chuang, Ching-Hsiang
Contributors: 林玲遠

Lin, Ling-Yuan
Li, Tsai-Yen

Chuang, Ching-Hsiang
Keywords: 步行模擬
Walking simulators
Video games
Game narrative
Non-goal-oriented exploration
Date: 2021
Issue Date: 2021-03-02 14:52:50 (UTC+8)
Abstract: 步行模擬字面上是一種以走路為主要操作方式的遊戲,但這個類型標籤從2014年被提出至今,遊戲社群依舊對這類遊戲缺乏充足的理解。為了重新釐清步行模擬遊戲的機制特色,以及它對未來的使用者與遊戲開發者有何種啟示,本研究提出以觸發使用者「非目的性探索」為機制特色的設計方法,並主張因為步行模擬大幅度降低遊戲既定印象的元素,讓使用者能夠在遊戲過程中主觀定義如何獲得與獲得什麼樣的樂趣,所以這些遊戲作品可以喚起不同文化社群與學術領域研究者的好奇心,甚至成為缺乏遊戲經驗的使用者踏入此文化圈的嚮導。
“Walking simulator” is a controversial tag for video games that generally eschew any type of gameplay outside of movement and environmental interaction based on walking around. It is generally considered that the fun of exploration and discovery is the driving appeal of walking simulators. This paper argues that the non-goal-oriented exploration is an important game mechanism that has not been taken seriously. In walking simulator games, users cannot expect to encounter the challenges and tasks in mainstream games, but in this way, they can perceive the fun of the game in a more flexible and active way. Therefore, this type of game has the potential to arouse the curiosity of researchers in different cultural communities and academic fields, and even become a stepping stone for users who lack game experience to enter the game world.
This study uses the 2015 walking simulator game Dr. Langeskov, The Tiger, and The Terribly Cursed Emerald: A Whirlwind Heist to carry out a four-steps research. Eight participants were asked to complete the whole game. Through observation and interviews, the behaviors and feelings of these participants were recorded and analyzed. This study explores how they perform non-goal-oriented exploration in walking simulator games, and how the performance differs between different player types.
The results demonstrate that users with gaming habits often have specific expectations toward video games, and therefore it is more difficult to get good experience in walking simulator games. On the other hand, users who do not have gaming habits are more likely to be triggered by the surrounding environment and to perform non-goal-oriented exploration behaviors. During their exploration, they repeatedly endow the space with meaning, creating their own narrative and aesthetic pleasures.
Reference: Bailey K. (2019). Death stranding review: the boldest, and most perplexing, game of 2019. USgamer. Retrieved from:
Bateman C. (2014). Empirical game aesthetics. From Bateman C., Handbook of Digital Games (pp. 411-443). NJ: John Wiley & Sons, Inc.
Biggin R. (2017). Play the story: an approach to narrative in immersive theatre. Immersive Theatre and Audience Experience, (pp.157-176). London: Palgrave MacMillan.
Bizzocchi J. (2007). Games and narrative: an analytical framework. Proceedings of CGSA 2006 Symposium.
Carbó-Mascarell R. (2016). Walking simulators: the digitisation of an aesthetic practice. DiGRA/FDG '16 - Proceedings of the First International Joint Conference of DiGRA and FDG, 1(13), 1-15.
Clark N. (2017). A brief history of the “walking simulator,” gaming's most detested genre. Retrieved from:
Darby K. (2018). Where is the game? : walking simulators as pedestrian performances. Paper presented at Beyond The Pedestrian: Walking in Research, Theory, Practice and Performance. School of Environmental Sciences, The University of Liverpool.
Debord G. (1958). Theory of the derive, reprinted in Internationale Situationniste #2. Translated by Knabb K. Retrieved from:
Flores M. (2016). Theory of the derive, The Archiologist. Retrieved from:
Fredner E. (2014). The year in anti-games, Kill Screen. Retrieved from:
Hunicke R., Leblanc M., & Zubek R. (2004). MDA: a formal approach to game design and game research. In Proceedings of the AAAI Workshop on Challenges in Game AI, 4(1), 1722.
Jenkins H. (2004). Game design as narrative architecture. First Person: New Media as Story, Performance, and Game. Cambridge, MA: MIT Press.
Kagen M. (2017). Walking simulators, #GamerGate, and the gender of wandering. In
J. Eburne, & B. Schreier (Eds.), The Year's Work in Nerds, Wonks, and Neocons (pp. 249-274). Indiana: Indiana University Press.
Mason G. (2016). The origins of the walking simulator, Retrieved from:
NackeLennart E., Bateman C., & MandrykRegan L. (2014). BrainHex: a neurobiological gamer typology survey. Entertainment Computing, 5(1), 55-62.
Nguyen D. (2014). The paradox of the derive, Interactive Crown Street. Retrieved from:
Rice L. (2009). Playful Learning. Journal for Education in the Built Environment, 4(2), 94-108.
Riendeau D. (2013). Gone home review: living room, Polygon. Retrieved from:
Stuart K. (2016). How walking sims became as important as the first-person shooter, The Guardian. Retrieved from:
Zimmermann, F. & Huberts, C. (2019). From walking simulator to ambience action game: a philosophical approach to a misunderstood genre. Press Start, 5(2), 29-50.
Description: 碩士
Source URI:
Data Type: thesis
Appears in Collections:[數位內容碩士學位學程] 學位論文
[數位內容與科技學士學位學程] 學位論文

Files in This Item:

File Description SizeFormat
201301.pdf2359KbAdobe PDF100View/Open

All items in 學術集成 are protected by copyright, with all rights reserved.

社群 sharing