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題名 以譬喻性手法傳遞多層次的環境敘事設計: 以《塵居之家》創作為例
Conveying multi-dimensional environmental narrative through metaphorical techniques for VR game Dust-Clad Home作者 黃淳妤
Huang, Chun-Yu貢獻者 李蔡彥<br>林玲遠
Li, Tsai-Yen<br>Lin, Ling-Yuan
黃淳妤
Huang, Chun-Yu關鍵詞 環境敘事
虛擬實境
具身認知
概念譬喻
Environmental Storytelling
Virtual Reality
Embodied Cognition
Conceptual Metaphors日期 2024 上傳時間 1-Mar-2024 14:13:21 (UTC+8) 摘要 環境敘事（Environmental Storytelling）是以環境驅動遊戲故事進行的敘事手法，許多遊戲透過讓玩家探索並與環境互動的方式表現環境敘事。然而，一些研究認為環境敘事僅能作為輔助遊戲敘事的手段，但本論文認為環境敘事的潛力是被低估的，而其不足的地方，在於環境敘事的設計沒辦法傳遞足夠多的訊息量。所以本論文認為如果提升環境敘事內容的乘載力，就能讓環境更好地傳遞遊戲故事。 因此本創作提出可能的提升環境敘事的構想：以模擬真實身體互動的VR，激發玩家的具身認知（Embodied Cognition）引出特定想像或感受，並在此基礎上，使用概念譬喻（Metaohpors）轉化遊戲故事，嘗試疊加多種概念譬喻於玩家的行動或可互動的環境物件上，使敘事內容更加豐富、強烈。 為了驗證這個創作概念，本論文提出以該創作概念發想的兩種敘事策略：以玩家行動作為敘事的中介點、控制外在環境變化來引導玩家行為，並製作應用敘事策略的虛擬實境遊戲《塵居之家》，玩家需要擦除環境中物件上的灰塵、髒汙來獲取更多訊息來尋找遊戲目標物。而為了確認設計成果，徵求五位體驗者參與遊戲體驗，藉由遊戲故事內容問卷、IPQ量表、半結構式訪談法以及觀察體驗者在《塵居之家》的遊玩狀況，了解敘事策略的效果。 最後本創作發現提出的敘事策略手法，被體驗者視為有效的設計方式。體驗者都能了解遊戲基本故事，並能大致了解故事細節與同理角色情感，同時敘事策略也更容易地觸發體驗者聯想自己的經驗以及與角色情感共鳴，使他們獲得的敘事內容更加豐富。
Environmental Storytelling, a narrative technique driven by the environment, is commonly used in gaming to engage players through exploration and interaction. While regarded by some studies as a supplementary storytelling tool, its potential is underestimated due to limitations in information conveyance. Therefore, the thesis suggests to elevate the narrative capacity of environmental storytelling to enhance the environment's ability to convey the game's story effectively. To achieve this, the paper proposes a concept to boost the narrative capacity of environmental storytelling: utilizing VR to simulate realistic bodily interactions, invoking players' embodied cognition to elicit specific imaginations or sensations. Building on this, conceptual metaphors are employed to transform the game story, attempting to overlay various conceptual metaphors onto player actions or interactive environmental objects, enriching and intensifying the narrative content. To validate the proposed creative concept, the thesis introduces two narrative strategies: utilizing player actions as a storytelling focal point and controlling external environmental changes to guide player behavior and feeling. These strategies are applied in the VR game "Dust-Clad Home" in which players clean objects to gather information and find the game's target objects. The game sought five participants to play "Dust-Clad Home" to confirm the design outcomes. This evaluation involved game content questionnaires, the IPQ scale, semi-structured interviews, and the observation of participants' interactions within "Dust-Clad Home" all aimed at understanding the effect of the narrative strategies. In conclusion, the narrative strategies were deemed effective by participants. They successfully grasped the core storyline, understood the details, and felt a strong connection with the character's emotions. The strategies also easily prompted participants to relate their own experiences, enhancing the overall richness of the narrative content.參考文獻 文獻引用 Azmandian, M., Grechkin, T., Bolas, M., & Suma, E. (2016). The redirected walking toolkit: a unified development platform for exploring large virtual environments. 2016 IEEE 2nd Workshop on Everyday Virtual Reality (WEVR), Beilock, S. (2015). How the body knows its mind: The surprising power of the physical environment to influence how you think and feel. Simon and Schuster. Bevensee, S. H., Dahlsgaard Boisen, K. A., Olsen, M. P., Schoenau-Fog, H., & Bruni, L. E. (2012). Project aporia–an exploration of narrative understanding of environmental storytelling in an open world scenario. Interactive Storytelling: 5th International Conference, ICIDS 2012, San Sebastián, Spain, November 12-15, 2012. Proceedings 5, Breuleux, Y., de Coninck, B., & Therrien, S. (2019). The World Building Framework for Immersive Storytelling Projects. SHS Web of Conferences, Fisher, J. A., Garg, A., Singh, K. P., & Wang, W. (2017). Designing intentional impossible spaces in virtual reality narratives: A case study. 2017 IEEE Virtual Reality (VR), González-Franco, M., Peck, T. C., Rodríguez-Fornells, A., & Slater, M. (2014). A threat to a virtual hand elicits motor cortex activation. Experimental brain research, 232, 875-887. Hemberg, M., & Josefsson, L. (2021). Architecture as Narrative in First Person Level Design: A Reading of Mirror’s Edge Catalyst. In. Hvass, J., Larsen, O., Vendelbo, K., Nilsson, N., Nordahl, R., & Serafin, S. (2017). Visual realism and presence in a virtual reality game. 2017 3DTV Conference: The True Vision-Capture, Transmission and Display of 3D Video (3DTV-CON), Jenkins, H. (2004). Game design as narrative architecture. Computer, 44(3), 118-130. Kilteni, K., Groten, R., & Slater, M. (2012). The sense of embodiment in virtual reality. Presence: Teleoperators and Virtual Environments, 21(4), 373-387. Lakoff, G., & Johnson, M. (2008). Metaphors we live by. University of Chicago press. Lynch, K. (1984). Reconsidering the image of the city. Springer. Matamala-Gomez, M., Donegan, T., Bottiroli, S., Sandrini, G., Sanchez-Vives, M. V., & Tassorelli, C. (2019). Immersive virtual reality and virtual embodiment for pain relief. Frontiers in human neuroscience, 13, 279. Pietroszek, K. (2018). Virtual Hand Metaphor in Virtual Reality. In Encyclopedia of Computer Graphics and Games (pp. 1-3). https://doi.org/10.1007/978-3-319-08234-9_178-1 Schneegans, S., & Schöner, G. (2008). Dynamic field theory as a framework for understanding embodied cognition. Handbook of Cognitive Science, 241-271. Sim, Y. T., & Mitchell, A. (2017). Wordless games: gameplay as narrative technique. Interactive Storytelling: 10th International Conference on Interactive Digital Storytelling, ICIDS 2017 Funchal, Madeira, Portugal, November 14–17, 2017, Proceedings 10, Smith, H., & Worch, M. (2010). What happened here? Environmental storytelling. Game Developers Conference, Suter, B., Bauer, R., & Kocher, M. (2021). Narrative Mechanics. Viswanathan, V., Lees, M., & Sloot, P. M. (2016). The influence of memory on indoor environment exploration: A numerical study. Behavior research methods, 48, 621-639. Vredenberg, B. (2017). Signposting, Mise-en-Scene, and Environmental Storytelling: Understanding signposting as part of the embedded narrative in environmental storytelling Wei, H. (2010). Embedded narrative in game design. Proceedings of the International Academic Conference on the Future of Game Design and Technology, Wilson, A. D., & Golonka, S. (2013). Embodied cognition is not what you think it is. Frontiers in psychology, 4, 58. Wolf, M. J. (2014). Building imaginary worlds: The theory and history of subcreation. Routledge. 部落格文章 西川善司. (2017, November 12).［CEDEC 2017］「ゼルダの伝説BotW」の完璧なゲーム世界は，任天堂の開発スタイルが変わったからこそ生まれた（英譯：Legend of Sarda BotW's perfect game world is the result of Nintendo's change of style）。4Gamer.net. https://www.4gamer.net/games/341/G034168/20170901120/ Don Carson. (2000, March 1). Environmental Storytelling: Creating Immersive 3D Worlds Using Lessons Learned from the Theme Park Industry[Blog post]. https://www.gamedeveloper.com/design/environmental-storytelling-creating-immersive-3d-worlds-using-lessons-learned-from-the-theme-park-industry Nerurkar. (2009, August 25). No More Wrong Turns. [Blog post]. https://www.gamedeveloper.com/design/no-more-wrong-turns 作品引用 Annapurna Interactive. (2017).What Remains of Edith Finch(Windows10 ed. ). Giant Sparrow. 2K Games. (2007). BioShock(Windows XP ed. ). Irrational Games, 2K Australia, 2K Marin. Annapurna Interactive. (2012). Journey(Windows7 ed. ). thatgamecompany. 505 Games. (2022). Death Stranding(Windows10 ed. ). KOJIMA PRODUCTIONS. Nintendo. (2017).The Legend of Zelda: Breath of the Wild(Nintendo Switch, Wii U).Nintendo EPD Fireproof Games. (2014).The Room VR: A Dark Matter(Windows10 ed. ).Fireproof Games Bethesda Softworks. (2016). The Elder Scrolls V: Skyrim(Windows10 ed. ). Bethesda Game Studios. Ubisoft. (2018). Assassin's Creed Odyssey(Windows10, PS4 ed. ). Ubisoft Quebec, Ubisoft Montreal, Ubisoft Bucharest, Ubisoft Singapore, Ubisoft Montpellier, Ubisoft Kiev & Ubisoft Shanghai. Bethesda Softworks. (2018). The Elder Scrolls V: Skyrim VR(Windows7/8.1/10 ed. ). Bethesda Game Studios. Sony Interactive Entertainment LLC . (2018) God of War(PS4). SIE Santa Monica Studio. Valve. (2020). Half-Life: Alyx(Windows10 ed. ). Valve. Fullbright. (2013). Gone Home(Windows7 ed. ). Fullbright. PlayStation PC LLC. (2016). Everybody's Gone to the Rapture(PS4, Windows10 ed. ). The Chinese Room. Youtube影片 Ubisoft 官方中文頻道。（2018年12月23日）：〈《刺客教條：奧德賽》以玩家為核心的開放世界設計 〉［影片］YouTube。https://www.youtube.com/watch?v=Y7dJxbaeMxo Game Maker's Toolkit. (2020, March 12). How Level Design Can Tell a Story. [Video]YouTube. https://www.youtube.com/watch?v=RwlnCn2EB9o&t=714s. GDC . (2021, March 23). Hitman Levels as Social Spaces: The Social Anthropology of Level Design. [Video]YouTube. https://www.youtube.com/watch?v=SpRJuinc9AM&t=951s GDC . (2022, June 17). Stop Getting Lost: Make Cognitive Maps, Not Levels. [Video]YouTube. https://www.youtube.com/watch?v=Q1Tczf8vxCM GDC Vault. (2013).Emotional Journey: BioWare's Methods to Bring Narrative into Levels.[Video]GDC Vault. https://www.gdcvault.com/play/1017761/Emotional-Journey-BioWare-s-Methods GDC . (2018, October 18). Level Design Workshop: Blockmesh and Lighting Tips.[Video]YouTube. https://www.youtube.com/watch?v=09r1B9cVEQY 描述 碩士
國立政治大學
數位內容碩士學位學程
109462004資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109462004 資料類型 thesis dc.contributor.advisor 李蔡彥<br>林玲遠 zh_TW dc.contributor.advisor Li, Tsai-Yen<br>Lin, Ling-Yuan en_US dc.contributor.author (Authors) 黃淳妤 zh_TW dc.contributor.author (Authors) Huang, Chun-Yu en_US dc.creator (作者) 黃淳妤 zh_TW dc.creator (作者) Huang, Chun-Yu en_US dc.date (日期) 2024 en_US dc.date.accessioned 1-Mar-2024 14:13:21 (UTC+8) - dc.date.available 1-Mar-2024 14:13:21 (UTC+8) - dc.date.issued (上傳時間) 1-Mar-2024 14:13:21 (UTC+8) - dc.identifier (Other Identifiers) G0109462004 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/150264 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 數位內容碩士學位學程 zh_TW dc.description (描述) 109462004 zh_TW dc.description.abstract (摘要) 環境敘事（Environmental Storytelling）是以環境驅動遊戲故事進行的敘事手法，許多遊戲透過讓玩家探索並與環境互動的方式表現環境敘事。然而，一些研究認為環境敘事僅能作為輔助遊戲敘事的手段，但本論文認為環境敘事的潛力是被低估的，而其不足的地方，在於環境敘事的設計沒辦法傳遞足夠多的訊息量。所以本論文認為如果提升環境敘事內容的乘載力，就能讓環境更好地傳遞遊戲故事。 因此本創作提出可能的提升環境敘事的構想：以模擬真實身體互動的VR，激發玩家的具身認知（Embodied Cognition）引出特定想像或感受，並在此基礎上，使用概念譬喻（Metaohpors）轉化遊戲故事，嘗試疊加多種概念譬喻於玩家的行動或可互動的環境物件上，使敘事內容更加豐富、強烈。 為了驗證這個創作概念，本論文提出以該創作概念發想的兩種敘事策略：以玩家行動作為敘事的中介點、控制外在環境變化來引導玩家行為，並製作應用敘事策略的虛擬實境遊戲《塵居之家》，玩家需要擦除環境中物件上的灰塵、髒汙來獲取更多訊息來尋找遊戲目標物。而為了確認設計成果，徵求五位體驗者參與遊戲體驗，藉由遊戲故事內容問卷、IPQ量表、半結構式訪談法以及觀察體驗者在《塵居之家》的遊玩狀況，了解敘事策略的效果。 最後本創作發現提出的敘事策略手法，被體驗者視為有效的設計方式。體驗者都能了解遊戲基本故事，並能大致了解故事細節與同理角色情感，同時敘事策略也更容易地觸發體驗者聯想自己的經驗以及與角色情感共鳴，使他們獲得的敘事內容更加豐富。 zh_TW dc.description.abstract (摘要) Environmental Storytelling, a narrative technique driven by the environment, is commonly used in gaming to engage players through exploration and interaction. While regarded by some studies as a supplementary storytelling tool, its potential is underestimated due to limitations in information conveyance. Therefore, the thesis suggests to elevate the narrative capacity of environmental storytelling to enhance the environment's ability to convey the game's story effectively. To achieve this, the paper proposes a concept to boost the narrative capacity of environmental storytelling: utilizing VR to simulate realistic bodily interactions, invoking players' embodied cognition to elicit specific imaginations or sensations. Building on this, conceptual metaphors are employed to transform the game story, attempting to overlay various conceptual metaphors onto player actions or interactive environmental objects, enriching and intensifying the narrative content. To validate the proposed creative concept, the thesis introduces two narrative strategies: utilizing player actions as a storytelling focal point and controlling external environmental changes to guide player behavior and feeling. These strategies are applied in the VR game "Dust-Clad Home" in which players clean objects to gather information and find the game's target objects. The game sought five participants to play "Dust-Clad Home" to confirm the design outcomes. This evaluation involved game content questionnaires, the IPQ scale, semi-structured interviews, and the observation of participants' interactions within "Dust-Clad Home" all aimed at understanding the effect of the narrative strategies. In conclusion, the narrative strategies were deemed effective by participants. They successfully grasped the core storyline, understood the details, and felt a strong connection with the character's emotions. The strategies also easily prompted participants to relate their own experiences, enhancing the overall richness of the narrative content. en_US dc.description.tableofcontents 第一章 緒論1 第一節 遊戲中的環境敘事 1 第二節 玩家與環境的互動 4 第三節 VR的出現 8 第四節 創作動機與目的 9 第五節 創作方法與流程 11 第二章 文獻探討 13 第一節 環境敘事的概念 13 第二節 具身認知理論 14 第三節 概念譬喻理論 16 第四節 建立玩家與虛擬環境的互動敘事橋梁 18 一、當VR的感官趨近現實 18 二、探索VR中的敘事手法 21 第五節 建立環境敘事空間 23 一、世界創建：想像世界的敘事容器 24 二、關卡設計：喚起玩家經驗的氛圍舞台 25 三、環境故事：嵌入環境線索驅動敘事 27 第六節 引導玩家與環境產生聯繫 28 一、環境引導的定義與作用 29 二、引導啟發玩家動機 30 三、環境引導的暗示性驅動力 33 第七節 案例分析 34 第八節 總結 40 第三章 創作計畫 42 第一節 創作概念與假設 42 第二節 設計方法 43 一、VR中的空間與互動 44 二、結合具身理論與概念譬喻的環境敘事策略與情境演示 45 第三節 評估方法 48 一、參與者 48 二、體驗流程 48 三、體驗結果資料統整與分析 51 第四章 遊戲內容與互動設計 52 第一節 故事設計 52 一、創作思路 52 二、故事情節 54 第二節 場景設計 55 一、火車 56 二、電梯與玄關大門 58 三、客廳 59 四、祖母臥房 60 五、廚房 62 六、父親臥室 63 七、廁所 64 八、儲藏室與家族墓地 65 第三節 互動流程設計 67 一、遊戲起始 68 二、遊戲過程 68 三、結局 70 第四節 實作技術 71 一、開發技術與特殊視聽覺效果 71 二、虛擬場景與聲音素材 73 第五章 遊戲製作成果 74 第一節 採用的技術回饋 74 第二節 問卷結果 75 一、遊戲故事內容理解問卷 75 二、IPQ量表問卷 77 第三節 訪談回饋 82 一、環境引導 82 二、玩家與環境的互動設計 85 三、遊戲環境設計 88 第四節 小結 90 第六章 討論與結論 92 第一節 回顧創作 92 一、評估敘事策略效果與在虛擬實境中的適應性 92 二、環境敘事策略的設計細節 94 三、創作延伸性與限制 96 第二節 結論 98 參考文獻 100 文獻引用 100 部落格文章 101 作品引用 102 Youtube影片 102 附錄 104 附錄一、體驗介紹詞 104 附錄二、體驗內容評估問卷 106 附錄三、IPQ量表問卷 108 附錄四、體驗內容訪綱 110 附錄五、遊戲設計細節 112 zh_TW dc.format.extent 2864669 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109462004 en_US dc.subject (關鍵詞) 環境敘事 zh_TW dc.subject (關鍵詞) 虛擬實境 zh_TW dc.subject (關鍵詞) 具身認知 zh_TW dc.subject (關鍵詞) 概念譬喻 zh_TW dc.subject (關鍵詞) Environmental Storytelling en_US dc.subject (關鍵詞) Virtual Reality en_US dc.subject (關鍵詞) Embodied Cognition en_US dc.subject (關鍵詞) Conceptual Metaphors en_US dc.title (題名) 以譬喻性手法傳遞多層次的環境敘事設計: 以《塵居之家》創作為例 zh_TW dc.title (題名) Conveying multi-dimensional environmental narrative through metaphorical techniques for VR game Dust-Clad Home en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 文獻引用 Azmandian, M., Grechkin, T., Bolas, M., & Suma, E. (2016). The redirected walking toolkit: a unified development platform for exploring large virtual environments. 2016 IEEE 2nd Workshop on Everyday Virtual Reality (WEVR), Beilock, S. (2015). How the body knows its mind: The surprising power of the physical environment to influence how you think and feel. Simon and Schuster. Bevensee, S. H., Dahlsgaard Boisen, K. A., Olsen, M. P., Schoenau-Fog, H., & Bruni, L. E. (2012). Project aporia–an exploration of narrative understanding of environmental storytelling in an open world scenario. Interactive Storytelling: 5th International Conference, ICIDS 2012, San Sebastián, Spain, November 12-15, 2012. Proceedings 5, Breuleux, Y., de Coninck, B., & Therrien, S. (2019). The World Building Framework for Immersive Storytelling Projects. SHS Web of Conferences, Fisher, J. A., Garg, A., Singh, K. P., & Wang, W. (2017). Designing intentional impossible spaces in virtual reality narratives: A case study. 2017 IEEE Virtual Reality (VR), González-Franco, M., Peck, T. C., Rodríguez-Fornells, A., & Slater, M. (2014). A threat to a virtual hand elicits motor cortex activation. Experimental brain research, 232, 875-887. Hemberg, M., & Josefsson, L. (2021). Architecture as Narrative in First Person Level Design: A Reading of Mirror’s Edge Catalyst. In. Hvass, J., Larsen, O., Vendelbo, K., Nilsson, N., Nordahl, R., & Serafin, S. (2017). Visual realism and presence in a virtual reality game. 2017 3DTV Conference: The True Vision-Capture, Transmission and Display of 3D Video (3DTV-CON), Jenkins, H. (2004). Game design as narrative architecture. Computer, 44(3), 118-130. Kilteni, K., Groten, R., & Slater, M. (2012). The sense of embodiment in virtual reality. Presence: Teleoperators and Virtual Environments, 21(4), 373-387. Lakoff, G., & Johnson, M. (2008). Metaphors we live by. University of Chicago press. Lynch, K. (1984). Reconsidering the image of the city. Springer. Matamala-Gomez, M., Donegan, T., Bottiroli, S., Sandrini, G., Sanchez-Vives, M. V., & Tassorelli, C. (2019). Immersive virtual reality and virtual embodiment for pain relief. Frontiers in human neuroscience, 13, 279. Pietroszek, K. (2018). Virtual Hand Metaphor in Virtual Reality. In Encyclopedia of Computer Graphics and Games (pp. 1-3). https://doi.org/10.1007/978-3-319-08234-9_178-1 Schneegans, S., & Schöner, G. (2008). Dynamic field theory as a framework for understanding embodied cognition. Handbook of Cognitive Science, 241-271. Sim, Y. T., & Mitchell, A. (2017). Wordless games: gameplay as narrative technique. Interactive Storytelling: 10th International Conference on Interactive Digital Storytelling, ICIDS 2017 Funchal, Madeira, Portugal, November 14–17, 2017, Proceedings 10, Smith, H., & Worch, M. (2010). What happened here? Environmental storytelling. Game Developers Conference, Suter, B., Bauer, R., & Kocher, M. (2021). Narrative Mechanics. Viswanathan, V., Lees, M., & Sloot, P. M. (2016). The influence of memory on indoor environment exploration: A numerical study. Behavior research methods, 48, 621-639. Vredenberg, B. (2017). Signposting, Mise-en-Scene, and Environmental Storytelling: Understanding signposting as part of the embedded narrative in environmental storytelling Wei, H. (2010). Embedded narrative in game design. Proceedings of the International Academic Conference on the Future of Game Design and Technology, Wilson, A. D., & Golonka, S. (2013). Embodied cognition is not what you think it is. Frontiers in psychology, 4, 58. Wolf, M. J. (2014). Building imaginary worlds: The theory and history of subcreation. Routledge. 部落格文章 西川善司. 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