近年來GPS導航軟體正蓬勃發展，但市面上的導航軟體大多只能帶領使用者到達旅遊景點，無法更進一步提供旅遊資訊與行程建議。因此，本研究結合行動裝置與「3D擴增實境」（3D Augmented Reality），試圖規劃一套新型的導覽模式。我們以淡水為例，結合當地古蹟景點與歷史典故，使導覽系統能提供豐富的數位內容。在設計的過程中，本研究建構出「新科技敘事模式」，在「故事」、「影音效果」、與「互動機制」之間取得平衡，讓使用者體驗到故事、感官刺激、和旅遊合而為一的導覽經驗。此外，在「3D擴增實境」上，本研究建構了不同精細度的3D模型，並且在行動裝置上測試其效能。結果發現，「局部精化」的新形態建模概念，能夠兼顧美觀與運算效能。最後，本研究針對行動裝置硬體效能的負荷進行了權重測試，並獲得GPU（Render）＞CPU（PR）的結論。 / In the past few years we have witnessed the rapid growth in the sales of GPS related products on the market. Nonetheless, most navigation software solely provides route planning rather than travel information or tour guidance. This research aims to combine mobile devices and 3D augmented reality (AR) to create a novel form of navigational experience. Taking the famous tourist spot Tamsui as an illustration, materials adapted local monuments and historical allusions are re-arranged creatively to provide substantial digital contents with helpful navigation information. During the design process, this research creates different modes of narration, enabling users to undergo a brand new navigation experience through the blending of various media sources, including story, video and interaction. Additionally, this research constructs 3D models of different levels of detail and examines their efficiency on mobile devices. The experimental results indicate that 3D model built with partial fineness provides a balance between artistic fidelity and computational efficiency. Also, the results from the experiment suggest that the loading of the GPU (responsible for rendering the model) is greater than that of the CPU (responsible for pattern recognition).

數位時代，媒體的敘事語言產生許多變異與革新，諸多理論、觀念與想像不斷萌發，同時具體的實驗和作品也不斷在數位媒體的發展下產生。本研究嘗試在理論與實務之間，求取一個對話與測試的實踐空間，一方面進行數位敘事的理論整理與思考，一方面則將這些理論想像具體化，建構出一個實際的數位敘事實驗作品。 本研究分為兩個部分，第一個部分是「關於數位敘事的幾種理論與思考」，包括了數位敘事的理論整理，如互動非線性敘事、後設敘事、互文性與資料庫、解放性書寫、真實與虛擬、銀幕空間、共時性敘事與有機敘事文本等等，並經由一些電玩遊戲和電影文本的觀察，提出了互動非線性敘事需要的可能是如「近文本性」的「無關緊要的敘事結構」、解構敘事元素並重新加以拼貼的「自製電影」式的後設敘事玩法、真實虛擬風格成為數位敘事主要類型文本，以及數位敘事中建構互動故事世界與空間之重要性等等的設想與思考。 第二部分則為具體的「觸景生情」網站作品（http://www.denniskuo.com/）與闡述其製作理念與過程的工作報告。「觸景生情」網站應用了Benjamin的斷裂式回憶與Bachelard的家屋想像於網路空間中，呈現一個家屋與之中的物件，點選每一個物件便會出現其代表的一段回憶，閱讀形式上成為不具前後順序的非線性結構。視覺形式上使用多媒體整合並且如同一個「線上漫畫」，以停格靜止方式提供讀者選擇進而呈現故事。主文本之外並有許多近文本的設計，如網路小遊戲、元電影資料庫介面設計、閱讀動線設計、網路攝影機使用以及對話空間平台等等。除了數位敘事上的實驗之外，最後還包括了以Web2.0為概念所設計出的網路商務模式，網站在主文本之外，有一個介面可以讓讀者上傳自己的影像、聲音或文字素材等等，經由「客制化」或「精緻化」兩種模式的選擇模式，讀者可以建立一個屬於自己的「網路動態明信片」，將想說的話透過網路或下載以多媒體方式向他人訴說。 「觸景生情」的內容在傳統媒體的範疇與定義裡是一個簡單的故事，但在數位網路化世界裡，可以藉由網際網路的特性產生許多趣味變化、閱讀方法、甚至延伸的網路商務應用，思考並呈現了數位時代敘事語言的豐富樣貌。

近年來互動數位敘事(Interactive Digital Storytelling, IDS)的發展日漸被重視，有部分研究針對互動數位敘事開發故事腳本編輯工具，雖然這些編輯工具考慮了沒有互動數位敘事腳本編劇經驗的作者，但仍缺乏創作豐富度、工具易用性及共同創作功能。本研究目標為建立互動數位敘事之智慧型共同創作平台( Intelligent Collaborative Authoring Platform, iCAP )，透過將故事元素視覺化，故事內容設定參數化等，加上智慧型檢驗運算，讓故事編劇們能夠透過此平台編修互動故事腳本，並在舞台環境中呈現新的故事內容。我們以現有的互動數位敘事系統The Theater[1]為舞台呈現，透過iCAP整合其故事腳本及環境建置設定。我們建立了簡單易懂的操作介面、規劃故事腳本可修改範圍的限制、將故事動畫腳本設定參數化、建立的故事腳本的共同創作機制以及輔助創作的智慧型提示與結果運算，並設計一系列的任務式實驗以及評估問卷來評估系統，透過實驗結果驗證了本研究的智慧型共同創作平台的價值，能讓不同的腳本編劇在此平台上方便、快速的工作，而使得互動數位敘事之腳本編輯變得較簡易，修正演出效果時將更加有效率，故事內容也更豐富。 / Interactive Digital Storytelling (IDS) has become more popular these days. Some of the pre-vious researches about IDS have considered the design of story editor. Although they have designed the authoring tools for authors who may not have the editing experience of IDS sto-ries, they usually lack the features of enabling rich contents, easy-to-use, and collaboration among multiple users for IDS story editing. Our system, named iCAP, is an Intelligent Col-laborative Authoring Platform for IDS, using "The Theater" as the IDS animation platform. The iCAP system contains a graphical user interface for making the story editing process eas-ier and the storyline more readable. The iCAP system includes the collaborative features such as the settings of access rights, the parameterization of the scenario settings, the authoring logs of the collaborative process, and the intelligent error detecting tool that is used to detect the errors occurring in a story structure. We have conducted an experiment to verify the usa-bility and the collaborative features of iCAP. In addition, we have obtained feedbacks from the users about the advantages and disadvantages of iCAP and verified the value of the plat-form for IDS.

互動敘事為敘事創作開啟了許多新的可能性，不論是在各種多媒體敘事創作平台上或是提供更擬真、更深刻的說故事體驗，是傳統敘事所無法提供的。透過日新月異的傳播工具，要在各種平台上創作出這類多媒體互動敘事，對於各種敘事創作者來說是一項相當大的挑戰，也引發了許多相關議題的探討：要如何開發出好用的創作工具，不但是可以降低創作技術門檻，同時也提升創造力。如何設計出一個創作模型是能夠讓故事建構者（包含原創作者、中介創作者、體驗者等本系統目標使用者）對於故事內容、結構以及像長度、複雜度、主軸、文類等故事特性有更多的控制權。 為了探討這議題，本研究提出一個多媒體敘事創作以及互動敘事腳本產生的框架，結合 3D 戲劇平台建立一個具有創作環境，以故事建構者設定的條件與敘事理論為基礎的故事篩選與腳本產生機制，及3D虛擬模擬環境的互動敘事系統。在創作與故事產生方面，故事建構者可以針對各種條件的篩選（像是故事主軸、長度、敘事架構、時間順序等等）由同一組故事片段產生各種敘事上的可能性。本研究設計一個演算法，有效重組既有的故事片段以產生符合作者所有條件設定的互動敘事腳本。 這種機制的另一個特色就是所產生的互動敘事腳本與敘事平台是獨立的，不受到特定平台的技術門檻、創作格式所侷限。為展現此腳本產生系統在各種敘事表現形式上的彈性，在本研究的系統實作中，可以同時產生故事的文字形式並在3D敘事系統 The Theater 上以即時的動畫、攝影機規劃與簡易互動呈現結果。最後，此研究設計一個質化前導實驗，以了解使用者面對具互動、動畫與個人化的敘事內容時，會有甚麼看法與反應。 此次研究的貢獻為設計一個建構在3D虛擬環境上的互動敘事創作的架構，並提供適當的故事腳本產生機制，讓創作者的故事片段擁有重複利用價值。此外，透過故事內容的篩選過程，我們能提供故事建構者在故事結構與內容上有高度的控制，讓產生出來的敘事腳本符合故事建構者所設定的條件、具有良好的敘事理論基礎，並即時在3D虛擬環境中以角色動畫演出。以這次建立互動敘事平台的經驗以及於使用者測試中所得到的回饋，本研究也對於敘事創作介面與輔助工具提供一些設計原則，並提出一些互動敘事系統未來可再延展的議題。 / Interactive storytelling opens a world of possibilities for narrative creation on multimedia platforms, allowing a more compelling and immersive experience compared to traditional narratives. With the emergence of new storytelling technologies, the authoring of such narratives in complex virtual environments becomes an issue critical in the domain of multimedia storytelling platforms: How can we reduce the authoring effort as well as enhance creativity for interactive narratives? How can we design a flexible framework to allow creators of the story (including authors and experiencers at various stages of the interactive story) to have control over the story content and structure based on characteristics such as length, complexity, plot line, and genre? In order to address these issues, we propose the design of an interactive storytelling platform with models for authoring, story generating based on narrative theory and constraints set by story creators, and simulation in virtual environments. In the platform the creators of the story can specify characteristics (such as plot, length, narrative structure, time sequence, and etc.) on story fragments in order to generate variations of interactive stories. An algorithm we devise will filter and recombine story fragments from these characteristics, generating a high-level interactive script that satisfies all authorial and structural constraints. This mechanism provides sufficient abstraction from the technical implementation in that it is platform independent, and can be highly expressive in various forms of discourse. To implement the results of the story generation and demonstrate the abstraction from the virtual environment, we simulate the generated interactive narrative both in text form and in the 3D animation environment of The Theater. The Theater platform is complete with autonomous character animation, simple interaction methods, and automatic camera planning. Finally, we carry out a qualitative pilot study to understand how users would perceive and react to the animated, interactive, and personalized narrative content. Through this implementation, our contributions are to design a flexible framework for authoring interactive narratives for 3D environments, and also provide story generating tools that allow easy reuse and recombining of existing story fragments. Moreover, the filtering and selection process provides high-level control over the story content and structure, thus enforcing the authorial control as well as ensuring the generated stories have a basis in narrative theory. From the experience of implementing this platform and feedback obtained from the user experiment, we hope to suggest design principles for authoring tools and interfaces of interactive narratives.

在資訊科技的蓬勃發展的現代世界，消費者不但握有比過去更多的資訊主導權，得以選擇性地接收的訊息，網路特有的即時回饋機制更提供了一個互動的管道，讓消費者與品牌站在一個更平等的立場溝通。而在強調互動特質之餘，說故事仍然是行銷人將品牌與消費者的生活經驗相互連結的利器。因此，如何成功地結合「互動」與「敘事」是廣告成功的關鍵，也是最大的挑戰。本研究選擇紐西蘭品牌Hell Pizza推出的「Deliver Me to Hell」系列廣告為個案，先採Roland Barthes敘事分析法，從廣告製作的角度出發，瞭解現今的互動敘事廣告之情節設計原理與符號運作過程。再以深度訪談法，從消費者的角度出發，瞭解現今的互動敘事廣告之訊息內容與表現方式如何影響消費者對於品牌的觀感。並根據分析與訪談結果，提供廣告從業人員使用互動敘事廣告進行行銷活動的參考依據。 分析結果顯示，「D1eliver Me to Hell」的符號運作原則是以殭屍冒險主題連結產品特色、品牌精神與流行殭屍文化，創造出一個符合品牌名稱「地獄」般的故事情境。而廣告中的血腥暴力氣氛、殭屍電影情節、黑色幽默對白、龐客音樂等符號聯合指涉的就是驚悚、前衛且富有叛逆性的品牌形象。另根據訪談結果的統整，品牌使用互動敘事廣告進行行銷活動時，訊息內容必須彰顯強烈的主題性與故事性，並且輔以適當的感官刺激；情節安排必須簡單明瞭，但富有創意或與眾不同，最好能以節奏暢快的遊戲方式行進。實務人員製作廣告之前應該先瞭解品牌的調性與消費者的偏好，如此一來，互動敘事廣告方能達成增進品牌知名度、記憶度與認同感的說服效果，間接提昇消費意願。 / In today’s advertising industry, the degree of interactivity and storytelling skills in commercials are keys to success. On one hand, interactivity enables the two-way communication between consumers and brands. Through online interaction, consumers have more resources of information in hand and they are able to choose ones that fit their needs. On the other, storytelling helps advertisements arouse consumers’ responses to the brands. It is the most effective way to connect brands with consumers’ life experiences by creating scenario in advertisements. Therefore, the biggest challenge for practitioners is to combine interactivity with advertising narrative. The New Zealand Hell Pizza’s online advertisement “Deliver Me to Hell” is selected for this case study of interactive advertising narratives. The first part of the study applies Roland Barthes’s narrative theory to analyze the semiotic principles in the interactive advertising narrative from practitioners’ perspective. The second part conducts in-depth interviews to observe how the content and form of the interactive advertising narratives influence the brand attitude of consumers. According to the content analysis, “Deliver Me to Hell” uses zombie to connect product features and the brand spirits. Bloody and violent scenes, zombie movie plot, black humor conversations and punk music used in the advertisement refer to a horror, rebellious and avant-garde image that suited the brand’s name “Hell.” The result of in-depth interview indicates that the successful interactive advertising narratives must have an obvious theme delivered by storytelling with proper sensory stimulations. The story plots need to be well-constructed, simple but creative. Moreover, adver-game with smooth storylines is the ideal form of interactive advertising narratives. It is necessary for practitioners to understand the tone and style of brands and consumers’ preferences, in order to design interactive advertising narratives that contributed to degree of brand prominence, consumer’s awareness and buying intention.

我們的生活中充滿著選擇，尤其在數位科技與網路媒介的影響下，目前更是選擇超載的時代。利用網路進行互動時，當選擇越是超載，我們越是活在麻痺之中。因此，本創作的主旨在於突顯選擇之重要性，意圖喚起「選擇意識」。本創作之形式與內容皆來自對網路媒介特性之觀察，包括網路超連結的結構方式、即時通訊之動圖運用，以及網路圖像之可愛動物偏好，主題則基於最能反映選擇之重要性的人際關係議題，以此進行故事創作。 本創作分為兩大部分，第一部分模擬即時通訊和社群影像日記的介面，透過動圖與體驗者之互動選擇進行敘事。第二部分乃漫畫形式，在互動選擇之後，會有連環漫畫呈現，漫畫紀錄著各種選擇歷程，以此呼應命運是由自身選擇所決定，其不可回溯之特性也強調選擇之後的「命運」。本創作期望體驗者透過漫畫和互動動畫的結合，在觀察兩個媒介之異同時，從中獲得共感和趣味。 / Life has many options, as digital technology and network media rapidly booming, we are living in a world full of choice-making. We usually use Internet to interact with others, but we rarely notice which choice we make. Therefore, this creation and study aims to emphasize the importance of choice-making, and attempts to enhance people’s awareness of that. The form and content of this creation and study are made from observing the features of Internet, including hyperlinks in Internet, animated stickers in instant messaging and adorable images of animal in websites. Based on the importance of choice-making, the theme of this creation and study is interpersonal relationships, and named “Cat and Dog”. There are two parts of “Cat and Dog”. In the first part, the players experience the story with the website which imitates the interface of instant messaging and blogging site, they will see the animated stickers and have to choose the options between two conversations. In the second part, after completing the interactive narrative of the part, the players will get a PDF file containing several pages of comics which records all the choices made by the players. The immobile, static, fixed pages highlight that destiny is decided by our choices. In addition, through the contrast between comics and animated stickers, the players may have fun in observing the similarity and difference between the two media.

在互動敘事(Interactive Storytelling)的應用中，適當的攝影機規劃能幫助我們呈現虛擬世界中所發生的故事。在本研究中，我們設計了一個可以讓使用者設計互動敘事的應用平台－IMStory。針對故事創作，我們提供了一個故事腳本的描述語言及其剖析器，當使用者撰寫好互動故事之後，系統便能夠根據故事情境內容及與使用者互動的結果產生出符合情境的自動攝影機規劃系統。在此系統中，我們建立了一個能夠讓攝影機理解故事腳本的關係模型，建立虛擬攝影機組態與「故事情境」間的對應關係，即時找出更能表達當時情境的拍攝方式與架設位置。最後，我們設計了一個場景劇本進行實驗，在實驗中，我們的系統能夠即時因應場景中角色物件的位置作出即時的攝影機規劃，並且能夠配合互動環境中改變的情境參數而使用適合的攝影模組，產生出符合攝影學法則且賦有敘事能力的鏡頭。透過我們的方法，希望能提供一個更加有敘事能力的互動敘事平台。 / In an 3D interactive storytelling system, virtual camera is the key for us to understand what happens in the virtual world. In this thesis, we have designed an intelligent camera planning system for interactive storytelling, in which story plots are influenced by the user’s actions. Since the story flow cannot be determined in advance, it is essential to utilize real-time camera control to express the story for given spatial relationships between characters and objects. A script language and its parser were designed for our storytelling system (IMStory) to describe events in the story as well as the contexts associated with the events to model the properties of a story for camera control. We have developed a camera planning system by mapping contexts parameters into appropriate camera control parameters. We have implemented the 3D interactive storytelling system and demonstrated its capabilities with several examples. The camera planning system is shown to perform in real time, and the generated shots are more expressive in establishing the relation between camera configurations and story context.

近年來由於電腦軟硬體及人機介面介面技術的發展，互動數位敘事(Interactive Digital Storytelling, IDS)的應用也逐漸被重視，特別是在新型態電腦遊戲的設計，而這個趨勢也為即時虛擬攝影機的規劃帶來新的機會與挑戰。本研究旨在透過互動數位敘事腳本內容的分析，建置客製化攝影機運鏡實驗平台，即時自動產生符合情境情節、人物情緒的拍攝方式，並參考電影拍攝手法，結合攝影學的專業知識加入不同拍攝風格，讓同一段影片可以有不同的風格效果。我們希望能夠讓現有的互動敘事系統The Theater [1]中的運鏡技術有跡可循，不再只是以人工的方式憑藉直覺來設定攝影機的位置，而能使得虛擬攝影機的操控變得簡易，修正拍攝效果時將更加簡便，成功快速掌握運鏡的每一個細節。我們在The Theater的實驗平台之上，讓敘事者可以根據故事情境客製化虛擬攝影機的拍攝手法，並由電腦自動產生合宜的攝影機拍攝位置，快速完成攝影機規劃。我們以實例透過實驗的方式驗證此系統的有效性。 / The recent advances in computing technologies and human-computer interactions have attracted much attention in the development of interactive digital storytelling (IDS), especially in the application of novel computer game design. This trend does not only bring new opportunities but also new technological challenges to virtual camera planning. Our research in this work aims at building an experimental platform for customized virtual camera planning through the analysis of screen play in an in-teractive story. By adopting the domain knowledge of camera controls in existing films, we hope to design a computer-assisted system that allows an author to easily experiment with different styles of virtual cameras in a same story. We proposed to design an experimental platform based on “The Theater” IDS, which currently uses a pre-authored way to specify the camera position. In the proposed system, we allow an author to quickly customize virtual camera taking according to the context of a story fragment and let the computer generate appropriate camera configurations automati-cally. We use an example story to verify the effectiveness of the system through ex-periments.