臺灣博碩士論文加值系統

電玩遊戲中的螢幕視角空間，定義出玩家如何觀看遊戲空間，同時也將玩家自現實中的世界，移轉進入虛擬的遊戲空間，為一重要的中間樞紐；不僅是直接塑造外觀的視覺手法，也決定玩家與遊戲空間互動的模式及角色身份，更進一步影響遊戲的進行，然而，在過去的相關論述當中，卻經常被簡略帶過，尚未有深入的探討，而遊戲空間與螢幕視角之間的關係，也經常被混為一談。因此，本研究將深入探討遊戲中的螢幕視角空間設計，試圖為遊戲研究注入新的思維方向。

本研究彙整相關文獻資料後，展開三個階段的分析與研究：首先，針對遊戲的螢幕視角空間部分，透過文本分析的方式，為其定義出基本的設計語彙與分析的架構，以用於後續的內容分析。而第二階段主要探討螢幕視角空間的設計取向，以382款年度熱門排行榜上的遊戲，進行量化與質化的內容分析，探討螢幕視角空間與遊戲空間、類型和機制、以及不同遊戲平台之關聯性。第三階段則著重在螢幕視角空間的功能性面向，有鑑於電影空間與遊戲空間兩者的緊密相似性與關聯性，本研究採用比較分析的方式，將電影運鏡手法中的功能性取景，與遊戲的螢幕視角空間設計進行比較。

本研究的分析結果，能對遊戲關卡中的路線設計，提供較為自然又精準的引導，提升遊戲的視覺層次；對內容和故事層面，也能有更深層、更具張力的描繪與表現手法；並指出設計的常態與可創性，不僅為日後的遊戲設計提供重要的參考，更可作為電影拍攝及相關研究的參考依據。隨著遊戲電影化的趨勢，遊戲與電影之間的改編越趨頻繁，本研究也從螢幕視角空間設計的角度，提出可應用的參考建議。

The screen-mediated eye space defines not only the appearance of a game but also the ways in which players engage during gameplay in the virtual gaming worlds. However, from the past literature and research, the notion of the screen-mediated eye space has rarely been looked at closely or clearly, nor does it have a common language and understanding. Bearing this in mind, this research study aims to investigate the design of screen-mediated eye space in video games and attempts to provide insights into the game analysis.

Our study design includes three stages of analysis. In the first stage, to examine the screen-mediated eye space in depth and define the basic concepts and relations in the ontology by using textual analysis. This approach served as the analytical framework for the next stage. In the second stage, we conducted a quantitative and qualitative content analysis of 382 popular, ranked video games. We focused on the relations between the screen-mediated eye space and other game design elements, such as the physical game space, genres, core mechanics, and game platforms. Finally, the third stage concerned the functionality aspect. In view of the fact that game space and cinematic space have a close resemblance, we used a comparative approach to study the functional framing in both media.

The results of this research provide useful insights on how to better present the visual guidance and the narrative emotions in gameplay with the design of screen-mediated eye space. Moreover, this work has pointed out the design patterns and the possibilities that can serve as important references for not only game design but also filmmaking and related research. With the growing trends of film and video game adaptations, we also laid out some suggestions in a more practical sense.

摘要 i
Abstract ii
誌謝 ii
目錄 iii
表目錄 vi
圖目錄 vii
第一章 緒論 1
1.1 研究背景與動機 1
1.2 研究目的 4
1.3 研究架構 5
1.4 研究範圍與限制 6
第二章 文獻探討 7
2.1 遊戲設計 7
2.1.1 設計流程與元素 8
2.1.2 機制與類型 9
2.1.3 設計模式 13
2.2 遊戲空間 14
2.2.1 遊戲空間與電影空間 16
2.2.2 遊戲空間與視角 17
2.3 遊戲玩家 19
2.3.1 玩家角色 19
2.3.2 操控所在 21
2.4 電影鏡頭取景 21
2.4.1 概念與原則 21
2.4.2 取景功能性 23
2.5 小結 26
第三章 研究設計 28
3.1 研究流程 28
3.2 研究方法 29
3.2.1 文本分析法 29
3.2.2 內容分析法 30
3.2.3 比較分析法 31
3.3 內容分析研究設計 32
3.3.1 研究樣本 32
3.3.2 分析單位的界定 33
3.3.3 類目建構與說明 34
3.3.4 資料處理與分析工具 39
3.3.5 信效度考驗 40
第四章 研究結果分析與討論 42
4.1 螢幕視角空間之結構探究 42
4.1.1 分析架構 42
4.1.2 內部結構 43
4.1.3 與玩家的連結 49
4.1.4 與遊戲空間的連結 54
4.1.5 小結 60
4.2 螢幕視角空間之設計取向分析 61
4.2.1 整體現況統計分析 61
4.2.2 與遊戲物理空間設計面向 68
4.2.3 與遊戲類型機制面向 77
4.2.4 不同遊戲平台之比較 86
4.2.5 結果歸納與整理 93
4.2.6 小結 96
4.3 螢幕視角空間之功能性探究 97
4.3.1 建構功能 98
4.3.2 聚焦功能 100
4.3.3 侷限功能 102
4.3.4 方向功能 104
4.3.5 表現功能 105
4.3.6 巧合功能 108
4.3.7 觀點功能 109
4.3.8 並置功能 113
4.3.9 比較結果與討論 117
4.3.10 功能性應用建議 120
第五章 結論與未來建議 122
5.1 研究結果彙整 122
5.2 研究貢獻 123
5.2.1 理論上的貢獻 123
5.2.2 應用上的貢獻 124
5.3 後續研究建議 124
參考文獻與資料 126
附錄一、內容分析類目編碼表 140
附錄二、內容分析編碼統計數據 142

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三、遊戲作品
AB, M. (2010). Minecraft. PC: Mojang AB.
Alligator, T. F. (2015). Hacknet. PC: Surprise Attack Games.
AM2, S. (2015). 3D Out Run. 3DS: Sega.
Ancient. (1991). Sonic the Hedgehog. Sega Genesis: Sega.
Artistocrats, T. (2015). Order of Battle: Pacific. PC: Slitherine Ltd.
Artoon. (2006). Yoshi's Island DS. Nintendo DS: Nintendo.
Aspyr. (2015). Fahrenheit: Indigo Prophecy Remastered. Cross-platform: Aspyr.
Barlow, S. (2015). Her Story.
Camouflaj, Games, L., & Media, D. (2013). République. Cross-platform: GungHo Online Entertainment.
Capcom. (1988). Ghouls 'n Ghosts. Arcade: Capcom.
Capcom. (2017). Resident Evil 7: Biohazard. Cross-platform: Capcom.
Corporation, P. (2012). Fez. Cross-platform: Trapdoor.
Crytek. (2013). Crysis 3. Cross: Electronic Arts Inc.
Design, D. (1991). Lemmings Cross-platform: Psygnosis.
Dream, Q. (2010). Heavy Rain. PlayStation: Sony Computer Entertainment.
EAD, N. (2006). Wii Sports. Wii: Nintendo.
EAD, N. (2007). The Legend of Zelda: Phantom Hourglass. Nintendo DS: Nintendo.
Entertainment, B. (1994). Warcraft. PC: Blizzard Entertainment.
Entertainment, B. (1998). Starcraft. PC: Blizzard Entertainment.
Entertainment, B. (2004). World of Warcraft. PC: Blizzard Entertainment.
Entertainment, D. (2015). Life is Strange. Cross-platform: Square Enix.
Entertainment, K. C. (1999). Silent Hill. PlayStation: Konami.
FromSoftware. (2000). The Adventures of Cookie & Cream. PlayStation: FromSoftware.
Games, T. S. (2015). Shadowmatic. iOS: Triada Studio Games.
Games, Y. C. (2014). Shovel Knight. Cross-platform: Yacht Club Games.
Kaihatsu, S. (1990). Raiden. Arcade: Seibu Kaihatsu.
King. (2012). Candy Crush Saga. Cross-platform: King.
Konami. (1998). Dance Dance Revolution. Arcade: Konami.
Laboratory, H. (2009). Picross 3D. Nintendo DS: Nintendo.
Loveshack. (2014). FRAMED. iOS, Android: Loveshack Entertainment.
Midway, B. (1987). Xenophobe Arcade: Bally Midway.
Mobile, R. (2009). Angry Birds. iOS: Chillingo.
Namco. (1980). Pac-Man. Arcade: Namco.
Nintendo. (1984a). Excitebike. Arcade: Nintendo.
Nintendo. (1984b). Pinball. Arcade: Nintendo.
Nintendo. (1985). Super Mario Bros. NES: Nintendo.
North, R. (2013). Grand Theft Auto V. Cross-platform: Rockstar Games.
Pajitnov, A. (1984). Tetris. Arcade:
Pty., P. (2015). Land Sliders. iOS: Prettygreat Pty.
Quintet. (1990). ActRaiser. Arcade: Enix.
Rare. (1991). Battletoads. Arcade: Tradewest.
Rare. (2010). Kinect Sports. Xbox 360: Microsoft Game Studios.
Software, B. (1989). Prince of Persia. Arcade: Brøderbund Software.
Software, F. S. (1984). Spy vs. Spy. Arcade: Beyond Software.
Studio, A. G. (2015). Horizon Chase. Android, iOS: Aquiris Game Studio.
studio, U. (2014). Monument Valley. iOS, Android: Ustwo studio.
Studios, E. (2015). Driveclub: Bikes. PlayStation 4: Sony Computer Entertainment.
Studios, R. (2012). Max Payne 3. Cross-platform: Rockstar Games.
Studios, R. (2015). Batman: Arkham Knight. Cross-platfrom: Warner Bros. Interactive Entertainment.
Studios, T. (2015). Forza Motorsport 6. Xbox One: Microsoft Studios.
Studios, Z. (2014). Daylight. PlayStation 4, Windows: Atlus.
Systems, I. (2007). Super Paper Mario. Wii: Nintendo.
Telltale. (2012). The Walking Dead. Cross-platform: Telltale.
thatgamecompany. (2012). Journey. PlayStation: Sony Computer Entertainment.
Yarouze, G., & Studio, S. J. (2008). EchoChrome. PlayStation: Sony Computer Entertainment.
ZeptoLab. (2010). Cut the Rope. Cross-platform: Chillingo.

四、電影作品
Anderson, W. (2014). The Grand Budapest Hotel. In W. Anderson, S. Rudin, S. Rales, & J. Dawson (Eds.), (Vol. Adventure, Comedy, Drama ). USA: Fox Searchlight Pictures.
Gans, C. (2006). Silent Hill. In S. Hadida & D. Carmody (Eds.), (Vol. Adventure, Horror, Mystery). Canada: Davis Films.
Gordon, M. (1959). Pillow Talk. In R. Hunter & M. Melcher (Eds.), (Vol. Comedy, Romance ). USA: Universal-International.
Jackson, P. (2003). The Lord of the Rings: The Return of the King. In P. Jackson, B. M. Osborne, & F. Walsh (Eds.), (Vol. Adventure, Drama, Fantasy ). USA: New Line Cinema.
Jewison, N. (1968). Thomas Crown Affair. In N. Jewison (Ed.), (Vol. Crime, Drama, Romance ). USA: United Artists.
McDonald, B. (2007). The Tracey Fragments. In S. Timmins (Ed.), (Vol. Drama). Canada: Odeon Films.
Myrick, D., & Sánchez, E. (1999). The Blair Witch Project. In R. Cowie & G. Hale (Eds.), (Vol. Horror, Mystery ). USA: Artisan Entertainment.
Naishuller, I. (2016). Hardcore Henry. In T. Bekmambetov, I. V. Smith, I. Naishuller, & E. Kononenko (Eds.), (Vol. Action, Adventure, Sci-Fi ). USA: STX Entertainment.
Nichols, M. (1967). The Graduate. In L. Turman (Ed.), (Vol. Comedy, Drama). USA: AVCO Embassy Pictures.
Tarantino, Q. (1994). Pulp Fiction. In L. Bender (Ed.), (Vol. Crime, Drama ). USA: Miramax Films.
Tati, J. (1967). Playtime. In B. Maurice & R. Silvera (Eds.), (Vol. Comedy). France: Les Films de Mon Oncle.
Trier, L. v. (2003). Dogville. In V. Windeløv (Ed.), (Vol. Crime, Drama). Netherlands: A-Film Distribution.