Please use this identifier to cite or link to this item: https://ah.lib.nccu.edu.tw/handle/140.119/137325
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dc.contributor.advisor林玲遠<br>李蔡彥zh_TW
dc.contributor.advisorLin,Ling-Yuan<br>Li, Tsai-Yenen_US
dc.contributor.author徐逢亨zh_TW
dc.contributor.authorHsu, Feng-Hengen_US
dc.creator徐逢亨zh_TW
dc.creatorHsu, Feng-Hengen_US
dc.date2021en_US
dc.date.accessioned2021-10-01T02:13:48Z-
dc.date.available2021-10-01T02:13:48Z-
dc.date.issued2021-10-01T02:13:48Z-
dc.identifierG0106462013en_US
dc.identifier.urihttp://nccur.lib.nccu.edu.tw/handle/140.119/137325-
dc.description碩士zh_TW
dc.description國立政治大學zh_TW
dc.description數位內容碩士學位學程zh_TW
dc.description106462013zh_TW
dc.description.abstract  虛擬實境(Virtual Reality, VR)是一種極富敘事潛力及未來性的新興技術,打破了過去螢幕式敘事媒介的邊界與維度限制,使體驗者能親臨於計算機設備所建構虛擬的立體空間中。本研究設計以環境符號來使遊戲場景與文字資訊結合的手法,藉由呈現遊戲中的「場景空間」與「角色對於場景事物的個人解讀」,使空間承載更為豐富多元的敘事訊息,同時讓玩家更能沉浸於遊戲中的故事。研究透過概念探討與作品實作,來探索以VR敘事體驗在設計上的可能性,並探索據此發展之敘事策略的具體應用。\n  本研究之實作作品是一款名為《遲滯妄像》的VR敘事型遊戲,玩家需要穿梭於不同時空,搜索與事件有關的環境符號來完成關卡。在蒐集玩家反饋後發現,以環境符號傳達的故事訊息,是易於理解與閱讀的。而遊戲機制能讓玩家積極探索場景,主動了解故事中所發生的事件,並獲取故事推理的成就感。但也由於遊戲機制與敘事方式的特性,在「環境符號」設計上,並非以傳達完整故事內容為目的,還需要為解謎樂趣服務,重視彼此與事件的關聯性,以及能否創造轉折,營造張力與懸念。由於環境符號的訊息特性在於表達明確,但能承載的資訊量有限,嘗試讓玩家自行填補故事細節,才能設計出適合環境符號特徵的敘事體驗。zh_TW
dc.description.abstractVirtual reality is a new developing technique that has prospects and great potential for narrative. With the ability to extend the boundary and dimension of former screen media, VR makes it possible for users to travel through the virtual space built with computer equipment. The research attempts to bring the sense of immersion for VR game users with the method of environment symbols which combines game scenes with written information. By means of designing and presenting “scenes” in the games and “the character’s interpretations of surroundings”, the spaces in the games can bring out more narrative messages, and make users immerse in the game stories simultaneously. The research tries to explore the possibilities of narrative design of VR experiences through discussion of concepts and creation practice. Moreover, the application of narrative strategy based on the discussion is also explored.\nThe creation for the research is a VR narrative game called Light on the Past. To complete each game level, the player has to travel through different time and space to collect the environment symbols that are related to the stories. After investigating player’s feedback, it shows that the story messages conveyed through environment symbols are easy to be read and comprehended by players. Furthermore, the game’s mechanism motivates players to actively explore in game scenes, urges them to find out the events in the story, and through the acts of solving puzzles, bring them a sense of achievement. Nevertheless, due to the characteristic of game mechanism and narrative method, the creator should consider the playability of the environment symbol as a riddle as well as its function of conveying the story while designing. Creators should value not only the relationships between symbols and events, but also the shifts in the trend of events so as to create tension and suspense. As a message carrier, an environment symbol can convey clear but limited information. Thus, by leaving some spaces for players to fulfill the details of the story on their own, creators can design suitable environment symbols for a good narrative experience.en_US
dc.description.tableofcontents第一章 緒論 1\n1.1 研究背景與動機 2\n1.1.1數位遊戲中空間與敘事資訊的結合 2\n1.1.2 VR移動的限制性 4\n1.1.3 重新思考環境事物的敘事性 5\n1.2 研究目的 6\n1.3 名詞釋義 6\n第二章 概念探討與核心設計理念 8\n2.1 虛擬空間結合舞臺概念 8\n2.1.1 舞臺即空間與事件的結合 8\n2.1.2 虛擬空間與舞臺的關係 9\n2.2過往常見的空間敘事設計 12\n2.2.1 以放置文字載體傳達敘事資訊 12\n2.2.2 以角色演出來傳達敘事訊息 13\n2.3 舞臺提升到環境概念 14\n2.3.1環境符號敘事策略的兩種可操作屬性 15\n2.3.2環境符號的浮動特質 18\n第三章 設計方法 19\n3.1 為VR設計敘事空間 19\n3.1.1 多重時間的舞臺摺疊放置於同一空間 19\n3.1.2 舞臺以「局部」展開 21\n3.2 環境符號敘事策略設計與情境演示 22\n3.2.1 以蒐集意義訊息為核心的互動機制 22\n3.2.2 環境錨點選擇 23\n3.2.3 符號內容設計 23\n3.2.4 環境符號的浮動特質 24\n第四章 作品設計 26\n4.1 劇情設計 26\n4.1.1劇情創作思路 26\n4.1.2 劇情梗概 28\n4.2場景設計 29\n4.2.1行為的沉澱 30\n4.2.2文化共識用於訊息傳達 34\n4.3體驗流程設計 36\n4.3.1任務說明 36\n4.3.2核心體驗 38\n4.3.3遊戲結尾 43\n第五章 體驗者反饋 45\n5.1測試規劃 45\n5.1.1選擇對象 45\n5.1.2測試流程 45\n5.2回饋蒐集 46\n5.3回饋整理 50\n5.3.1體驗觀察 50\n5.3.2訪談蒐集 50\n5.3.3回饋總結 52\n第六章 反思與結論 53\n6.1創作反思 53\n6.1.1 環境錨點的設計細節 54\n6.1.2 環境符號的揭示順序 54\n6.1.3環境符號的訊息特性 55\n6.1.4環境符號敘事策略的設計前提 56\n6.2回顧與總結 56\n參考文獻 59\n附錄一、遊戲場景截圖與劇情概述 60\n zh_TW
dc.format.extent6611505 bytes-
dc.format.mimetypeapplication/pdf-
dc.source.urihttp://thesis.lib.nccu.edu.tw/record/#G0106462013en_US
dc.subject虛擬實境zh_TW
dc.subject空間敘事zh_TW
dc.subject遊戲研究zh_TW
dc.subject互動敘事zh_TW
dc.subjectVirtual realityen_US
dc.subjectEnvironmental storytellingen_US
dc.subjectVideo gameen_US
dc.subjectInteractive storytellingen_US
dc.title虛擬空間中以符號的浮動性為概念 所設計的VR敘事遊戲:以《遲滯妄像》創作為例zh_TW
dc.titleUsing the concept of floating symbols in the narrative design for VR game Light on the Pasten_US
dc.typethesisen_US
dc.relation.reference文獻引用\nJenkins, H. (2004): Game design as narrative architecture. First Person: New Media as Story, Performance and Game. Cambridge, MA: MIT Press.\nPrince, G. (1987). A Dictionary of Narratology. University of Nebraska Press, Lincoln.\n方舟(譯)。(2015)。《遊戲大師Chris Crawford談互動敘事》(原作者:Chris, C)。北京:人民郵電出版社。(原著出版年:2004)\n黃友玫(譯)。(2012)。《新設計教科書》(原作者:後藤武、佐佐木正人、深澤直人)。台北市:漫遊者文化出版社(原著出版年:2008)\n金彥良(2019)。圖標(ICON)與符號學:為何這個圖示這樣被解讀。取自https://www.yottau.com.tw/article/347\n作品引用\nThe Astronauts. (2014). The Vanishing of Ethan Carter (Windows10 ed.). The Astronauts.\nSquare Enix Holdings Co., Ltd. (2015). Life Is Strange (Windows10 ed.). Dontnod Entertainment\nUbisoft. (2016). Tom Clancy`s The Division (Windows10 ed.). Massive Entertainment\nFullbright. (2017). Tacoma (Windows10 ed.). Fullbright.\nAnnapurna Interactive. (2017). What Remains of Edith Finch (Windows10 ed.). Giant Sparrow\n3909 LLC. (2018). Return of the Obra Dinn (Windows10 ed.). 3909 LLC.zh_TW
dc.identifier.doi10.6814/NCCU202101608en_US
item.openairecristypehttp://purl.org/coar/resource_type/c_46ec-
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