| dc.contributor.advisor | 黃厚銘 | zh_TW |
| dc.contributor.advisor | Huang, Hou Ming | en_US |
| dc.contributor.author (Authors) | 蔡昀霆 | zh_TW |
| dc.contributor.author (Authors) | Cai, Yun Ting | en_US |
| dc.creator (作者) | 蔡昀霆 | zh_TW |
| dc.creator (作者) | Cai, Yun Ting | en_US |
| dc.date (日期) | 2017 | en_US |
| dc.date.accessioned | 13-Sep-2017 15:18:34 (UTC+8) | - |
| dc.date.available | 13-Sep-2017 15:18:34 (UTC+8) | - |
| dc.date.issued (上傳時間) | 13-Sep-2017 15:18:34 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0101254018 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/112758 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 社會學系 | zh_TW |
| dc.description (描述) | 101254018 | zh_TW |
| dc.description.abstract (摘要) | 本文分析近年盛行的電子遊戲實況活動。從分心、不專注於電玩的現象開始，本文以「如何玩」這個提問來引導論證「嬉玩」與「遊戲」這組概念在分析上的效力，藉此，本文論證了電玩實況活動中的心智狀態與活動是游移在電玩活動與嬉鬧互動，在嚴肅遊戲與嬉戲玩耍之間游移，這樣的分神狀態之中也產生了有樂趣、具有實效的遊戲性。從技術架構的觀點來看，以即時串流的技術為基礎，電玩實況活動結合了即時傳輸與即時互動。使用者所獲致的遊戲聆賞經驗以及互動是即時且與他人同步，便也構成了網路媒介之下的共時經驗，實況中以電玩活動為對象的起鬨也便具共在的實感。本文從聊天室起鬨、技術戲耍挪用等現象中論證了基於遊戲性旨趣的共謀嬉玩。嘲諷、干擾的對抗性是為了製造分神的條件，從中產生張力並獲致遊戲性，而包括實況主在內的所有參與者，皆是在這樣的分神狀態中嬉玩，維繫歡騰的共感情緒。電子遊戲具有將遊戲性限定在其中的封閉性質，也因此對於電玩的遊戲經驗多有私密、個人的想像，即時串流的電玩實況活動便是打開了這樣的封閉性質。透過網路媒介將人匯聚在遊戲活動周圍，不僅共享了電玩活動本身的樂趣，也在即時串流之下共時的互動跟聆賞經驗中以遊戲為對象群聚嬉戲。這樣的網路活動之所以盛行，顯示了人對遊戲性的需求不僅是來自遊戲中，也來自與他人玩在一起的連結共感，電玩實況便是實現了這樣的需求。 | zh_TW |
| dc.description.abstract (摘要) | Taking the prevailing "video game live streaming" activities as research object, this thesis takes "play" and "game" as a set of core concepts, and begins the exploration into their conceptual effect. Setting out the arguments with "How to Play" question, this thesis concludes that the mentality and activities in video game live streaming are in an "in-between" condition. Between video game activity and playful disturbance, seriousness and playfulness, there are gameplay with actual effect.Taking the technical conditions into consideration, video game live streaming consists of live media transportation and live interaction. Users` experiences synchronize with each other, thus contribute to the "togetherness" mediated through the Internet, and also the carnivalistic interactions and disturbance in the live channel. From the fuss and disturbance in the chatroom to the appropriation of streaming "plugins", this thesis argues that these actions conducted by streamer and users contribute to the "distractive" scenario, and the conducts are all based on "the interest of play". Different from serious and immersive mentality which is deemed as the fundamental of playing and gaming, the gameplay in live stream is based on distraction, which is the core condition that brings tension and thus playfulness. All the users in video game live streaming, the streamer included, are connected and forged into a synchronized togetherness by this kind of distractive, carnivalistic playfulness.Digital video games have tributes of enclosure, which require concentration, seriousness and absorption. Video game live streaming opens up this kind of enclosure, and brings people in and around the video game activities. In the live channel, users experience the joy and fun of the game itself together in a synchronized way, and also act on the interest of play, creating distraction and disturbance that bring to playful experiences, and that explains why this kind of Internet activity prevails. This thesis shows that the need of gameplay comes not only from game activities themselves, but also from the desire to "play together". In a digital age, video game live streaming is just the fulfillment of this kind of desire. | en_US |
| dc.description.tableofcontents | 壹、導論 1前言 1一、經驗現象與提問 21. 面向觀眾也面向遊戲 22. 在實況中「玩在一起」 43. 與外掛打交道 4二、理論觀點 61. 在嬉玩與遊戲之間 62. 連結與互動性的增幅 123. 小結 15三、研究資料與章節安排 161. 電子遊戲實況平台Twitch.tv 162. 章節安排 19貳、實況主與電子遊戲 21一、遊戲的對象化 211. 傳播個人遊戲經驗 212. 遊戲的對象化 23二、自言自語：玩遊戲與說遊戲 251. 自言自語中各種視點的切換 262. 化身：玩家與電子遊戲的交會之處 29三、由「說」傳遞的遊戲體驗 321. 「玩遊戲」還要「說遊戲」322. 自言自語作為幻想 343. 幻想中止以致幻想 37四、小結 41參、喧鬧的文字隊伍：實況聊天室的起鬨 42一、即時聊天室中的留言嬉戲 421. 遊戲體驗的連鎖留言 422. 風向與話梗的生產 513. 最大起風範圍中堆疊滾動的短留言 57二、怎麼在一起？媒介技術條件產生的延遲 611. 媒介技術條件產生的延遲 612. 延遲與共享經驗的依據 64三、小結 67肆、幫我們玩在一起：電玩實況中的外部技術 68一、有機器人參與的電玩實況互動 681. 電玩實況助手：IRC聊天室機器人 692. 讓奶爸跟你一起玩：加入連鎖留言的外部技術 72奶爸當DJ 72奶爸幫你跟上∕帶風向 74二、協作與嬉玩：實況主與觀眾的共同旨趣 781. 共謀的另類生產：製造工具 78來作個指令吧！即興任意的集體創作 78再好玩的話梗也會老：不斷更新的話梗指令 812. 共謀的互動增幅：製造規則以致張力 84電玩實況中的追隨、訂閱及贊助通知 85追隨、訂閱通知的戲耍挪用 89更加強化的介入：改變遊戲環境 96為了「有效」遊戲 101三、小結 103伍、結論 105一、研究總結 105二、含混狀態的遊戲性 1071. 嚴肅地分神 1072. 共謀中曖昧含混的遊戲心智 108參考文獻 113 | zh_TW |
| dc.format.extent | 7701587 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0101254018 | en_US |
| dc.subject (關鍵詞) | 電子遊戲實況 | zh_TW |
| dc.subject (關鍵詞) | 嬉玩 | zh_TW |
| dc.subject (關鍵詞) | 分神 | zh_TW |
| dc.subject (關鍵詞) | 即時串流 | zh_TW |
| dc.subject (關鍵詞) | Video game live streaming | en_US |
| dc.subject (關鍵詞) | Play | en_US |
| dc.subject (關鍵詞) | Distraction | en_US |
| dc.subject (關鍵詞) | Twitch | en_US |
| dc.subject (關鍵詞) | Live stream | en_US |
| dc.title (題名) | 串流玩轉：論電子遊戲實況的嬉戲與遊戲 | zh_TW |
| dc.title (題名) | Stream, Play and Games : Playing and Gaming in Video Game Streaming | en_US |
| dc.type (資料類型) | thesis | en_US |
| dc.relation.reference (參考文獻) | U-ACG（2015年9月7日）。看遊戲實況非常愚蠢？美國談話節目對實況頻道的批判與思考。U-ACG。上網日期：2015年9月10日，檢自：http://www.u-acg.com/archives/5339曹家榮、黃厚銘（2014年6月27日）。PTT 推文與歧異文化: Mob-ility 作為游擊戰。跨媒介、文化創意與反思。中華傳播學會年會2014。李紹良（2012）。十五萬人的BBS是如何煉成的：批踢踢實業坊技術演變歷程之研究（1995-2008）。國立政治大學，臺北市。檢自：http://handle.ncl.edu.tw/11296/ndltd/58665116387131950455林意仁（2011）。網路群眾文化及其民主意涵-以PTT Gossiping看板為例。國立政治大學，臺北市。檢自：http://handle.ncl.edu.tw/11296/ndltd/34071361497438775795林意仁、李紹良、黃上銓、蕭煒馨（2016）。婉君妳好嗎？：給覺醒鄉民的PTT進化史（黃厚銘編）。群學。濱野智史（2011）。架構的生態系: 資訊環境被如何設計至今?。臺北市：大鴻藝術。王建興（2015年4月30日）。HLS+CDN巧妙的串流技術組合。iThome。上網日期：2016年8月30日，檢自：http://www.ithome.com.tw/voice/95294黃厚銘（2002）。網路上探索自我認同的遊戲。教育與社會研究，3，65–105。黃厚銘、林意仁（2013）。流動的群聚 (mob-ility): 網路起鬨的社會心理基礎。新聞學研究，115，1–50。Bateson, G. (1972). A Theory of Play and Fantasy. In Steps to an ecology of mind: Collected essays in anthropology, psychiatry, evolution, and epistemology. University of Chicago Press.Bourdieu, P. (1998). Practical reason : on the theory of action. Cambridge: Polity Press.Burn, A. (2006). Playing Roles. In Computer games: text, narrative, and play (pp. 72-87). Cambridge, U.K. ; Malden, Mass: Polity Press.Caillois, R. (1961). Man, play, and games. (M. Barash, Trans.). New York: Free Press of Glencoe.Certeau, M. D. (1984). The Practice of Everyday Life. (S. F. Rendall, Trans.) (1st US Edition edition.). Berkeley: University of California Press.Doug. (2015, December 18). Twitch Engineering: An Introduction and Overview. The Official Twitch Blog. Retrieved from http://blog.twitch.tv/2015/12/twitch-engineering-an-introduction-and-overview/Geod Studio. (2016). 3DNes Emulator - Beta Release. Retrieved from https://www.youtube.com/watch?v=Ti2fwroyP2AHuizinga, J. (1955). Homo Ludens : a study of the play-element in culture (First Beacon paperback edition.). Boston, Mass.: Beacon Press.Salen, K., & Zimmerman, E. (2004a). Defining Digital Games. In Rules of play: game design fundamentals (pp. 85-91). Cambridge, Mass: MIT Press.Salen, K., & Zimmerman, E. (2004b). Games as the Play of Simulation. In Rules of play: game design fundamentals (pp. 421-457). Cambridge, Mass: MIT Press.Salen, K., & Zimmerman, E. (2004c). The Magic Circle. In Rules of play: game design fundamentals (pp. 93-99). Cambridge, Mass: MIT Press.Simmel, G. (1997). Simmel on culture : selected writings. (D. Frisby & M. Featherstone, Trans.). London ; Thousand Oaks, Calif.: SAGE Publications.Twitch. (2016, June 16). Guide to Broadcast Health and Using Twit... Twitch. Retrieved September 10, 2016, from https://help.twitch.tv/customer/portal/articles/2420572Walther, B. K. (2003). Playing and gaming. Game Studies, 3(1), 1-20. | zh_TW |
