從玩家到觀眾：電玩遊戲改編電影之閱聽人跨媒介參與歷程─以【返校】為例

Abstract

近年來，「跨媒介敘事」逐漸成為影視公司蔚為主流的內容經營策略，隨著跨媒介改編文本的範圍不斷擴大，媒介所囊括的特質亦逐漸增多，相關研究亦涵蓋了小說、漫畫等圖文講述模式，以及電影、戲劇等表演模式之間的轉換。\n其中，電玩遊戲改編電影這一類型，雖行之有年，作品票房與評價卻一直以來都相當磕絆，成功案例更是屈指可數。因此，本研究選擇從電玩改編電影切入，以2017年發行之恐怖冒險解謎類型的獨立遊戲【返校】，及其2019年上映的改編電影作為研究個案，採取半結構式進行一對一的閱聽人深入訪談，一方面梳理互動性媒介之特質，並補足玩家參與模式下的敘事內容之轉換手法，另一方面則藉由互文性∕互媒性之概念，探究這群從玩家轉變為觀眾的群體，以梳理他們如何在媒介使用經驗中創造原作與改編之間的連結。\n研究發現，知情閱聽人消費【返校】遊戲改編電影的主要動機可歸納為「填補敘事空白」及「重溫遊玩經驗」；此外，電玩和電影分別是從不同角度引導閱聽人詮釋文本意義，在電玩中，玩家能感受到操作與敘事內容的呼應關係，玩家視角與角色亦極為貼近，因此，在電影改編上，不僅會設法讓角色特質更加豐富，亦擴大了玩家視角以外的敘事範圍，透過互文創造出新的意義，讓知情閱聽人認知到不同於舊有內容的另一層新意。\n在綜合各面向的討論後，本研究認為，由於電玩敘事是以玩家行動為中心推動，其所呈現的故事也多是聚焦在玩家所操作的角色身上，因此，電影改編可以適當賦予其他旁支角色更多形象與動機；並避免一味重複玩家的遊戲經歷，而是以劇中人物的合理互動來引導故事前進。電影媒介的特質能填補原先遊戲媒介具有的限制性，例如表達角色在遊戲操作介面下不易展現的情緒層次，或抽象概念，讓知情閱聽人對故事的認知與感受更加全面、更加豐富。

In recent years, “transmedia storytelling” has gradually become a mainstream content management strategy for media industry. With the continuous expansion of the scope of transmedia adaptation of texts, the characteristics of the media have gradually enriched. The relevant research covers the adaptation between “telling mode” such as novels and comics and “showing mode” such as movies and dramas.\nAmong them, although video games adapted for movies have been released for many years, the box office and evaluation of the works have always been quite stumbled, and there are only a handful of successful cases. Therefore, this research chooses to start from the video game adapted film, taking the horror adventure puzzle game “Detention” released in 2017 and its adapted film released in 2019 as the research case. This research adopts a semi-structured one to one in-depth interviews. On one hand, the research sorted out the characteristics of interactive media, and complemented the conversion methods of the narrative content under the player “participatory mode”; on the other hand, through the concept of intertextuality /intermediality, we can explore this group of people who have transformed from players to viewers to sort out how they create a connection between the original and the adaptation in the media experience.\nIt is found that the main motivation of the knowing audiences for consuming the game-adapted films, Detention, can be summarized as “filling the narrative gap” and “revisiting the play experience”. In addition, video games and films respectively guide audiences to interpret the meaning of the text from different perspectives. In a video game, the player feels the connection between the actions and the narrative, and the player`s perspective is very close to the character. Therefore, in the films adaptation, it will not only try to enrich the characteristics of the characters, but also expand the scope of narration beyond the player`s perspective. It will create new meanings through intertextuality, and provide knowing audiences with another layer of new ideas that are different from the old content.\nAfter synthesizing the various aspects of the discussion, this research argues that since the video game narrative is driven by player actions, the stories presented are mostly focused on the characters operated by the players. Therefore, the film adaptation can be appropriately assigned to other side characters for more images and motivations; instead of repeating the player`s experience, the story is guided by the proper interactions of the characters. The characteristics of the film medium can fill up the limitations of the original game medium, such as expressing the emotional or abstract concepts that characters are not easy to show in the game operation interface, allowing knowing audiences to have a more comprehensive and richer cognition and experience of the story.