台灣動畫產業，長期以來屬於代工的角色，如今面臨產業移轉而要往自製原創動畫發展時，明顯的面臨了很大的障礙，至目前一直沒有顯著的作品發表。就算是當初在網路上紅極一時的阿貴與幹譙龍，始終無法突破網路的限制，創造出更好的獲利機制。而2004年12月終於有第一部台灣原創之電視卡通動畫－魔豆傳奇，在台視上映，這部動畫影集是由創業三年多的電視豆公司發展出來的，不禁讓自己思考電視豆到底是如何完成這部卡通影集的，到底說了怎樣的故事，才能贏得了觀眾與日本製作公司的青睞？而且與日本合作開發的過程，更是讓我感到好奇的。如果說原創是電視豆成功的秘訣，那同樣獲得數位內容國際動畫雛形獎的其他作品，為何無法創造與電視豆類似的經驗與市場價值？而且多數獲獎廠商都比電視豆握有更多的資源。這些現象是很值得深入探討的。 綜合對商業模式與創意商業化等文獻之回顧以及對個案的了解，本研究引用Chesbrough(2002)對創意會影響商業模式之看法，分析Afuah(2003)所提出之「產業因素」、「定位」、「資源」、「活動」與「成本」等商業模式五構面，與其組成要素之變化，並結合Jolly(1997)所提出之技術商業化過程中的橋樑之概念，也就是由「動員興趣與支持」、「移轉證明所需之資源」、「動員市場構型」與「動員互補性資源」等，將商業模式之變化調整轉化成原創商業化之過程。 經過研究個案比較比較分析，本研究發現： 動畫原創內容從創意到商業化之過程可分為「想像」、「孵育」、「修正」與「持續」等四個次分段。 1.原創內容商業化過程中的次分段與橋樑，會因為產業因素與定位之影響，促使各次分段有不同之發展內涵，以及不同之關鍵外部資源之進入與銜接次分段。 2.原創內容商業化過程成功與否，除了有銜接之橋樑外，還要能有內部商業模式之配合。 3.每一次分段的演化循環中，原創內容會驅動商業模式變化，使其能動員橋樑，並利用外來資源強化商業模式本身，且進一步可加值原創內容。 動畫原創內容從創意到商業化之過程會受到商業模式不同構面與其組成要素之影響。 4.影響想像次分段的關鍵成功因素為產業關鍵驅動力、提供之價值與市場區隔。 5.影響孵育次分段的關鍵成功因素為合作力、總體產業環境、提供之價值、個人能力與動畫開發類型。 6.影響修正次分段的關鍵成功因素為組織能力、個人能力與動畫作品和開發類型。 7.影響持續次分段的關鍵成功因素為合作力與無形資產。 原創內容演化之關鍵 8.新創動畫公司可以由肖像或故事兩個角度來發展原創內容，兩者之商業模式雖有很大之差異，但商業化成功之基本條件為具有可商業化之肖像。 9.原創內容不僅要將市場導向之設計策略融入內容與作品創造中，還必須以創意行銷增加原創內容商業化成功之潛力。 10.在想像次分段中，會有外部創意進入讓原創內容進一步演化，或者內部創意移出發展成新的應用。在孵育與修正兩個次分段，是以業界專家之創意移入為主。進入到持續次分段時，作品續集會漸漸轉由內部創意主導，週邊商品則需要相關開發商之創意加入，針對新市場而發展。 較適合新創動畫公司之商業模式特質 11.要擴大獲利能力，必須突破市場之限制。跨入國際市場可以參考分區經營或者全球統合經營兩種國際合作經營模式。 12.在執行商業模式時，較適合採取雙領導人制度。也就是有ㄧ負責管理或籌資之領導人，與另一位管理創意之領導人。另外，組織較適合小規模發展。 / For the past decades, Taiwan' s animation industry focused on playing the role of OEM. Because of that, most of animation companies face a lot of obstacles during converting their positions into the origin al animation, suah as a-Kuei & KoungGiyo Dragon which could not overcome the on-line limitation to create substanti al profit models. Until December in 2004, there was the first original cartoon from Taiwanese company, TVbean, which is an emerging company for less than 3 years. I was wondering how they could attract audiences and Japanese produing company and surpass other comp anies which have an abundance of resources in a short time. Due to the copious processes of developments for the animation movie and the TV cartoon, there are many key success factors which need to be discovered. Moreover, the digital technologies facilitate animation industry to become more diversified than as before. Based on this kind of industry enviroment, animation works should not be saw merely as products. In the other words, we should concern about the effects of cultures and information transmission and transfer them into e xplicit knowledge which can help Taiwanese animation companies to develop. In this thesis, I will describe and analyse completely the process from idea to commercialization for TVbean' s first original animation. Also, I will compare TVbean with other foreign animation companies, VOOZ & Pixar, to draw the evolution process for commercialization and the relationship between business model and c ontents. According to the concepts of Business Model (Afuah 2004) and Open Innovation (Chesbrough 2003), I analysed the research cases by 5 elements, which are industry factors, position, resource, activity and cost, of Business Model and tried to find out the bridges which could connect different subprocesses by the changes of Business Model. After modifying the process of technology commercialization (Jolly 1997), I specified that how innovations make original content evolve into various business during each subprocess. Through studying the comparative analysis of the cases, the discoveries and conclustions of this thesis are described as follows: The commercialization process of original animation content comprises four subprocesses called ‘Imagining’, ‘Incubating’, ‘Modifying’ and ‘Mustaining’. 1.The subprocesses of the original content commercialization process will be influenced by industry factors and position which could push different developments of contents and attract various resources in each subprocess. 2.If we would like to make the original content commercialization successful, we will need a suitable internal business model to cooperate with the connected bridges. 3.During the evolution of each subprocess circulation, the original content will drive the business model change , enable it to mobilize the bridges, and utilize outside resources to strengthen business model itself. Besides, the original content could be added value by the improved business model. The commercialization process of original animation content will be influenced by different constitutions and elements of business model. 4.The key successful factors of ‘Imagining’ subprocess will be influenced by the industrial key deivers, value and market segments. 5.The key successful factors of ‘Incubating’ subprocess will be influenced by the cooperation, macro industry environment, value, individual capability and the cooperation models of animation. 6.The key successful factors of ‘Modifying’ subprocess will be influenced by the organization ability , individual capability and the cooperation models of animation. 7.The key successful factors of ‘Sustainng’ subprocess will be influenced by the cooperation and intangible assets. The key factors of original content evolutions 8.The new star-up animation companies could develop the original content by two directions, characters and stories. Although the business models of these two directions have very great differences, the basic successful factor of commercializtion is creating the character which could be commercialized. 9.It is very important to apply market oriented design strategies to the creating of content and works in order to enhance the potential for commercialization. 10.Open innovation will occur In ‘imagining’, ‘incubating’ and ‘modifying’ subprocesses, but the development of the sequal to the original works will transfer to closed innovation. Moreover, peripheral products need relevant developer join for new market developments. The characteristics of business model which are suitable for new star-up animation companies. 11.It need to break the restriction of the market to expand profit potential. How to get into global market could base on two types of management, separate areas business and global integrated business. 12.While implementing the business model , it is suitable to adopt dual leader system. Because of that, one leader is responsible for managing or raising funds, and the other one is in charge of managing innovations. In addition, the development of the organization is suitable for a small scale.

GEISAI自2001年開始，以每年兩次的頻率於日本舉行，至今已逾十年，2009年起原裝移植台灣，於台北市中心華山1914文創園區盛大開辦。GEISAI中文翻譯為「藝祭」，命名取自美術大學學園祭，由日本當代藝術家村上隆所領導的Kaikai Kiki公司所主辦，為一個讓各式各樣的藝術家齊聚一堂一同展覽的藝術活動。它不僅是「挖掘夢想出道藝術家的場所」，同時也是個「像跳蚤市場一樣輕鬆展示買賣藝術作品的場所」和「跟已開創的美術界接軌的新起點」。 時至今日，GEISAI儼然已成為台灣藝術家每年的一個重要活動。GEISAI最吸引人的莫過於其「無先前審查制度」，以及「黃金評審團」，提供藝術家、藝術相關人士與一般藝術迷相遇的場所，不僅給予對藝術有熱情者展演舞台，也造就了許多藝術新秀。 本研究得出幾點結論如下： 1. GEISAI的核心價值主張十年來皆本著「如何建立東方新型態的藝術市場」的態度去執行，從未改變。台日GEISAI由於國家習慣、資金組成不同，而有相對應的舉行方式。 2. 活動若能長久經營，必須堅持一核心的價值主張。明確的價值主張除能使活動更為聚焦外，也能持續吸引未被滿足的潛在消費者加入。 3. 具強烈信任感、合作無間的執行團隊為活動長期經營的要件之一。 4. 對實質付出大於無形收穫的活動而言，理想的堅持是持續經營的原動力。 / Since 2001, GEISAI has been held bi-annually in Japan for over 10 years. It took place at Huashan1914 Creative Park in Taiwan since 2009. The name GEISAI is derived from the Japanese word for "art festival." Such festivals would typically take place within a university or art school. It held by Kaikaikiki Co., Ltd belongs to Takashi Murakami. GEISAI presents a new art-collecting concept, allowing artists to exhibit their own works directly. It is a place where new artists can make their mark, where art work can be easily traded, and where the new and old can connect. Nowadays, GEISAI became an important activity of artists every year. The most attractions of GEISAI are "Non-Entry-Requirement" and "All-Star panel of judges". GEISAI provides a place where many artists gather to exhibit their works. It also provides artists and fans a place to meet face-to-face. More importantly, GEISAI provides new artists show-off opportunities and creates many new stars of art. The conclusions of this research can be summarized as below: 1. The core value proposition of GEISAI is based on "how to establish new ear art market" for 10 years. GEISAI&GEISAI Taiwan held in different way due to their national habit and capital composition. 2. Activity has to insist on its core value for the sustainable development. Specific value can not only focus on the activity but also attract unsatisfied potential customers continually. 3. A team with strong faith and cooperation is one of the key factors of sustainable development. 4. As an activity which its tangible devotion is more over than intangible income, the insist of ideal is the motivation of sustainable development.

新興市場正快速的累積經濟實力。新興市場成為企業下一波的重要成長動能，但其具備貧富差距大、所得不穩、生活差、基礎建設落後、對產品服務不熟悉…等特點，舊商業模式窒礙難行。企業為掌握新興市場全新挑戰，回應企業社會責任超越的要求，企業必須著眼這些獨特的利害關係人，從商業模式的創新來創造利潤及包括社會利益的共享價值，創造共贏局面。本研究運用聯合國開發計劃署(United Nation Development Programme, UNDP)的個案庫來檢視World Economic Forum(2009)提出的新興市場新商業模式的觀點，並經由個案的探討歸納新商業模式組成的本質的改變還有管理的意涵。 新商業模式設計觀點包含「可負擔的使用權」、「槓桿運用社會隱藏資產」、「建構公共財之間的橋梁」、「在地化規模與規模化經濟的平衡」、與「影響力治理」。新的觀點使舊商業模式的組成產生質變。從「強化生活機能價值」出發，新商業模式必須1)提供貼近當地水準的價格；2)替當地量身打造產生獨特的產品及服務；3)自給自足。以「教育的行銷與溝通」企業得1)運用正式控制以外的企業實質影響力建立信任；2)運用關鍵人物建立口碑；3)傳達商業模式利益，來將企業從價值的提供者轉換成價值的連結者並且建立信任，透過「重塑跨邊界的立體價值鏈」企業必須1)連結當地生產活動；2)善用當地的固有配銷體系；3)跨越基礎建設限制。建立「創意式的合作關係」來提供信任、永續、自給自足的商業模式。新商業模式開展需要「釋放組織束縛」的支援，企業勢必1)展現高階管理階層承諾；2)建構彈性可調整模組化的團隊；3)建立清楚的目標價值及短期戰果。 企業必須跨越組織的迷思與規模的迷思，並接受新興市場的消費者獨特的需求(低價、高品質)、運用影響力而非正式的控制體系、從價值的提供者轉換為價值的連結者。才能夠有效的接觸到下一個百億商機。

遊戲是人們在成長過程中必經的一環，每個人對於遊戲皆有不同的體驗與感想，過去，遊戲產業曾經歷一次重大的變革，當網際網路在台灣大量普及後消費者除了傳統玩具及遊戲以外，多出了更多從事休閒的選擇，例如線上遊戲、網頁遊戲、網路影音串流、音樂欣賞等，加上社群軟體如Facebook等大規模成長，社群遊戲、及移動遊戲大量佈局，改變消費者的科技使用習慣。然而，現今消費者透過電腦或平板等作為新興的休閒娛樂與教育平台，雖然提供豐富的內容、聲光效果及高度互動性，但卻受到螢幕與感測技術的限制，只能得到「扁平」的遊戲體驗，於是乎，近代休閒娛樂的發展迎來了新的一波變革，就是「將人們從線上遊戲世界帶回現實世界」，基於這個理念，許多的新創團隊朝實境遊戲發展，密室逃脫工作室如雨後春筍般出現，其他類型的實境遊戲工作室也一一運轉，各家廠商找出創新的模式提供娛樂商品，新興休閒娛樂商機也就因應而生。 本研究著重於歸納各類實境遊戲業者提供遊戲體驗之方式，以及新興實境遊戲產業之商業模式，第一階段利用 Osterwalder and Pigneur（2010）所提出之商業模式分析圖，利用九大構成要素為基礎，向兩家標竿企業做深入訪談，並將兩家商業模式做分析整理；第二階段，未能安排訪談的企業則以報章雜誌的訪談專欄結果、及網路二手資料進行歸納。第三階段立基於上述分析得到的結果，找出實境遊戲之特性，並以矩陣方式呈現實境遊戲市場之可發展方向。 本研究結論的部分包含： （一）探討笨蛋工作室之商業模式，其成功因素及可改良方向。 （二）探討城市尋寶Riddle City之商業模式，其成功因素及可改良方向。 （三）總結實境遊戲沈浸式矩陣模型之結果，觀察結果有利於實境遊戲產業新進廠商未來發展方向、或是提供既有業者經營模式變革之建議。期望這份研究能協助實境遊戲的發展。 / Gaming is a necessary experience while growing up. Everyone has different expectations and experiences with games. In the past, there was a huge revolution in the gaming industry. Initially people could only choose traditional toys and games. However, with borderless online communication becoming more widespread, people now have greater entertainment choices such as online games, mobile games, live video stream, and music. Additionally, with the development of social media platforms such as Facebook, consumers have changed their technology using habits and information seeking methods. Nowadays consumers view laptops and tablets as an emerging platform for entertainment and education. They provide abundant contents, sight and sound effects, and high interaction. However, it is restricted by technology and bounded by monitor and motion sensors. Consumers can only immerse in a flat two dimensional gaming experiences. As a result, there has been another revolution, "Bringing people back from the online world to reality." Based on this thought, many reality game studios have sprung up in Taiwan bringing with them room escapes, attraction riddles, virtual reality games and augmented reality games. Firms are trying to find new business models to offer new forms of entertainments. This research emphasizes on generalizing a conclusion from all kinds of reality games, and observing their business models. During the first stage, we chose two famous reality game studios to interview and applied the nine elements of Osterwalder and Pigneur's business model(2010) into interview guideline. We then concluded and analyzed their business models. In the second stage, we chose another 7 cases to help us see the whole picture of reality game market and inducted these 7 cases by second hand informations. At the third stage, we summarized all the research to develop a reality game immersion experience model. So there are three main conclusions of this research: 1. Business model of Stupid Particle Studio. provided analysis results and management advice. 2. Business model of Riddle City Studio. provided analysis results and management advice. 3. Insights from the reality game immersion experience model. These insights can help firms to find their current position in the reality game market and find the possible development direction in the future.

近年來，在資通訊快速發展與公民意識崛起的環境下，開放資料開始成為各國關注的議題之一。運用開放資料致力於資訊透明、達至公眾參與與協同合作的三個目標，不但將政府資訊透明化、節省資訊流通成本，同時能夠藉由開放資料提供民眾更便捷的生活，並運用於經濟發展。 本研究運用公私協作模型，探討台灣在開放資料的發展過程中，政府、企業與公民間的互動關係，並藉此檢驗三方之間是否平衡運作。研究過程，透過相關文獻的檢閱分析三方的協作分析過程，並以運用開放資料進行商業開發的「公車通」、「KNY台灣天氣」、「觀天氣」與「天氣風險管理開發」作為本研究的個案，補足公私協作上的企業方的實務觀點。並先以企業的角度探討企業成功運用開放資料進行商業開放的關鍵因素，及現階段運用開放資料進行商業開發的發展情況。再將這企業個案放置於公私協作架構中，探討政府、企業與公民三方之間的互動關係。 本研究發現，先進者優勢、因開發者背景所取得之資源，以及對於政府開放資料的依賴程度為企業成功運用開放資料進行商業開發的關鍵因素。另外，政府、企業與公民在公私協作上，並非單向而為雙向的互動關係，且「政府」為公私民協作是否能夠平衡運作的關鍵角色。並經由此研究分析給予建議：1.企業若降低對政府開放資料的依賴程度，並運用組織人才及其關鍵資源，將能夠增加商業模式的差異性。2.政府不應干涉企業與民間於運用開放資料進行商業發展的市場。3.政府須提出完備的獎勵機制，亦或黑客公務員的加入，突破政府的穀倉效應。 / With the rise of civic consciousness, and the rapid development of information and communication technologies, open data become the important issue around the world. The purpose of the study uses the Public-Private-People-Partnership theory to investigate the interactional relationship within government, enterprises and citizen in the process of promoting open data in Taiwan. In addition, using the business model to investigate the key factors in developing business with open data successfully from the perspective of enterprises. The research adopts case study and in-depth interviews as the research tools to investigate. Furthermore, this research finds out that first-mover advantage, the resources enterprises have and the degree of dependence on open government data are the key factors in business development. In addition, the interactions within government, enterprises and citizen are not only unidirectional but bidirectional. And the operation of government will be the key factor to the balance in Public-Private-People-Partnership model. This study suggests that (a) If enterprise reduce the dependence on the open government data and use resources properly, it will increase the difference in its business model. (b) The government in Taiwan should not interfere the market in the business development with open data. (c) The government in Taiwan should set the performance incentives completely, and let more hacker civil servants join into public sector to break through silo effect.

網際網路的發展加上行動裝置的普及，導致人們觀看影音媒體的方式逐漸數位化，資策會2015年報告指出，72%台灣民眾每週至少觀看一次線上影音平台。4G時代的來臨，使得網路直播成為一種新應用，世界各地也逐漸興起一股網路直播平台的風潮，多數的直播平台雖然擁有很高的用戶流量，卻沒辦法成功的把這些用戶流量轉化為金流，高額的頻寬成本造成直播平台連年虧損。然而，Twitch卻能脫穎而出，以專攻遊戲直播市場，2015年營收高達13.6億美元，更被亞馬遜以9.7億美元將其收購。究竟直播平台應該如何獲利？如何驅動營收的成長？為本研究欲探討之問題。 本研究挑選專攻遊戲直播市場的Twitch 為個案，運用多邊市場結構的概念分析Twitch的獲利模式；運用社群遞增動態循環四構面-內容、忠誠、輪廓和交易活動，分析Twitch如何驅動營收成長。 本研究發現，Twitch多元的獲利模式依賴其平台所連接之多邊市場，並且對不同的市場採取不同的獲利模式。Twitch多元的獲利模式歸納為：訂閱、廣告和交易模式。另外，直播平台想要驅動營收的成長，則需專注於核心領域、提升平台內容質量和平台成員之忠誠度，才能夠有效驅動平台多元的營收成長。 / The way of people watching media are changing to digitalization. According to Taiwan Institution for Information Industry’s report in 2015, 72 percent of population in Taiwan watch media through online video platform at least one time in a week. Also, the fourth generation of mobile telecommunications technology (4G) makes the application of online streaming popular, which leads more and more online streaming platforms came out all over the world. In fact, many online streaming platforms are losing money year after year, due to the huge cost of the Internet Bandwidth and without a successful profit model to transform the high volume of users into revenue. However, Twitch, which focus on game live streaming market, are very successful nowadays. Twitch claims 43% of market share in the gaming content industry and earned $3.8 billion in 2015. Also, Twitch was bought by Amazon for $970 million in 2014. Therefore, this research chooses Twitch as a research target, and focus on analysis of Twitch’s profit model and how Twitch increases its revenue through theoretical method This research finds that Twitch’s successful profit model is due to its multi-markets. Twitch uses different profit strategies on different markets. Twitch’s multiple profit models can be categorized into Subscription, Advertising, and Transaction Models. In addition, Twitch increases its revenue by focusing on core market, increasing the quality of platform contents and the loyalty of platform users.

文化是延續性的,文化創意產業所需的創意,絕對不是從未出現 過的「斷層式創新」,而是一種反思式的「服務創新」,所謂的服務創 新,強調以顧客為中心,透過完整的顧客服務系統,以顧客新的消費 經驗塑造為核心,創造滿足顧客的新價值。不論是文化園區或是創意 園區,在經營管理上皆是希望藉由產業群聚的效應,進而提升產業的 發展與增加經濟效益。事實也證明,諸多在經營管理上的關鍵影響因 素,皆會因為經營管理者的作為而產生不同的發展結果。仿效英國推 動創意產業政策,利用老舊工業遺址再利用,發展成創意產業園區的 模式,臺灣在 2002 年推動文化創意產業發展計畫中,將五個臺灣菸 酒公賣局舊廠址及倉庫規劃為文化創意產業園區,並以政府自營及委 外的方式進行管理營運。在不同的設置目標定位及不同的經營管理組 織運作下,各園區的發展狀況也產生截然不同的結果。本研究以多重 個案研究解析文創園區經營的服務創新及商業模式構成要素,檢視文 創園區是否符合設置規劃的期望,達成提升創意產業的價值創造,進 而增加綜效。 / Culture is continuous. Creativities required by cultural and creative industries are not unprecedented "fault-type innovation," but a kind of reflective "service innovation." The service innovation emphasizes customer orientation. Through a complete customer service system, take shaping new consumer experience as the core and create a new value satisfying customers. Both management of cultural park and creative park aims at improving industrial development and increasing economic efficiency through the effect of industrial clustering. Facts have also proved that many key impacts on management tended to generate different developments due to managers’ practices. Learn from the British creative industry policy, reuse industrial heritage, and develop the model of a creative industrial park. Taiwan promoted cultural and creative industry development plan in 2002. Five industrial heritages of Taiwan Tobacco and Liquor Corporation were planned as cultural and creative industrial parks, and they were state-owned or outsourced for management. Under various target positioning, the development of each park led to different results. By studying multiple cases, the study analyzes key factors of cultural and creative parks’ management, such as services, innovation, and business model. It reviews whether cultural and creative parks meet the planned expectation, and value to creative industries, and improve the overall benefit.

P2P個人網路借貸(Peer-to-Peer Lending)平台，即為媒合個人對個人借貸的網路平台；有閒置資金者，可透過網路平台，挑選自己願意資助的對象，將資金借給資金需求者，以獲得報酬；資金需求者，則可利用此網路平台，尋找願意提供資金者，以滿足借款需求。其中，借款利率由P2P借貸平台業者依據其計算方式評估訂定；因此，對投資人來說，P2P借貸平台成為另類的理財管道；對借款者來說，則成為新興的融資方式。2016年可說是台灣P2P網路借貸元年，LnB信用市集、鄉民貸等P2P借貸平台相繼成立，設計差異化的營運模式，提供台灣大眾新型態的借貸與投資服務。 本研究以個案式的實務分析及驗證，運用平台策略的相關理論為基礎，並以商業模式之要素作為分析架構，探討個案公司LnB信用市集、鄉民貸及FundPark創辦人創建平台時的動機與目標，如何增進平台參與者互動，替用戶解決問題，並共同創造價值。因此，本研究之研究問題總結如下： (一)台灣P2P借貸平台發展之可能性。 (二)個案公司P2P借貸平台營運模式於台灣發展遇到的問題及比較。 / The Peer-to-Peer lending platform (P2P lending platform will be used as the abbreviation in the following section) the practice of lending money to individuals through online services that match lenders with borrowers. Investors holding idle capital can choose the target on the website to lend money and gain higher returns; while the borrowers’ funding needs can be satisfied by the mechanism of the P2P lending platform. Thus, the P2P lending platform has transformed the traditional idea that finance has to be handled through financial institutions. The P2P lending industry in Taiwan have been developed since 2016, the first and second P2P lending companies: Lend & Borrow(LnB信用市集) , Lend(鄉民貸) were founded during 2015 and 2016, which were devoted to offering reasonable interest rates for lenders and borrowers. Based on the concept of platform strategy and the factors of business model, this study investigates the object and the motivation of the founders when they founded the P2P lending companies, and discusses how they increased the interaction of the players in the platform ecosystem, with the case study of P2P lending companies--Lend & Borrow(LnB信用市集) , Lend(鄉民貸) and FundPark. Therefore, the research questions of this study are as follows: 1.The practicability of the P2P lending platform in Taiwan. 2.The comparison of the business model, and the obstacles that the P2P lending companies faced in Taiwan.

聽音樂是每個人不可或缺的習慣，四五年級生應該記得以前學生時代，每逢假日就往西門町跑，因為不管錢多錢少都可以在哪裡找到你要的音樂，不管是原版還是A版B版，都不會讓你失望，當然還有代客錄音等等。在那個時期Sony Walkman就像這幾年的iPod，名牌、優越、潮流、個人，也是年輕人最期望的禮物。當時很多人找的是國外的搖滾樂團音樂，聽的是台灣民歌，看的是餐廳駐唱的民歌演唱，而國外藝人的演唱會是遙不可及的事。經過這麼多年，聽到像「天堂之階」（Stairway to Heaven/Led Zeppelin IV 1971）或「加州旅店」（Hotel California/Eagles 1977）這樣的老歌內心還是一樣的感動，但曾幾何時，足不出門，只要有網路，只要想得到都聽的到，音樂也一樣的感動。 現在人手一機，到處都能聽音樂，縱然經濟衰退加上金融風暴，全球消費因此而恐慌，但是手機與隨身聽廠商，尤其蘋果更是異軍突起，毫不受景氣影響。 根據調查或從周遭的朋友觀察，應該不難發現，買CD的人變的非常少，但是如果再進一步問一下，很多人花更高的代價看演唱會或Live House現場表演，然而唱片業產值卻每況愈下。 最近看了幾個線上音樂經營者，發現像KKBOX其on demand的模式，在台灣已呈現飽和狀態，因此迫使他往其他硬體如Smart Phone以及海外發展，因此讓我好奇，在網路上除了on demand還有其他模式是可能有商機的嗎？如果有，應該是怎麼樣的型態？ 過去曾經涉獵過遊戲產業，遊戲歷經盜版到線上免費，產業越做越大，因此將兩個產業對比一下，發現如果唱片產業能夠接受創新模式，也許下一個機會就在電信，因為經過本研究，發覺電信可提供互補的機會。因此經由設計的產品實驗，並作一些調查與電訪，試著提供數位音樂經營的新模式與電信發展的關係。甚至建議電信應該跟唱片全面合作。 / In the good old time, almost the students of north Taiwan went to the Hsimenting of Taipei city. Everyone would find his/her loved music no matter local or foreign. There was a service that you could ask the record shop to record your dedicated songs into cassette tapes. In that time the SONY Walkman is the most favorite gift for the youth. In that period, it was impossible that the foreign rock bands held a concert in Taiwan. For Taiwanese, only they could do was going to a live house to enjoy local music. Even now whenever the radio comes out with the songs such as “Stairway to Heaven by Deep Purple” or “Hotel California by Eagles”, we are very excited as same as the good old time. And now the scene is no longer but you can easy to find your favorite from the internet wherever or whenever you are. Recently, I looked back to Taiwanese digital music service and learnt that there is only one business model in Taiwan. That is ‘on demand’ model, such as “KKBox” and “ezPeer”. Since they lunched these services, it has been four to five years already and went to peak. There is few growth of their subscription base. So I wonder is there any new model for digital music market in Taiwan? If yes, what it would like be? Based on my work experience in Electronic Arts for decades (a famous gaming company based in Red Wood City in USA of California), I try to compare the two industries between computer gaming and digital music. I found that in Taiwan Computer Games was not defeated by the illegal copy, but they come stronger and bigger than the digital music. Why not transfer the successful model? In this research, it shows that the next chance of digital music can be related to Telecom. And it suggests that both Telecom and Music can be co-worked for more closely.

本研究探討建構發展桌遊社群平台之營運模式及其關鍵成功因素，以形成執行策略與行動計畫。 本研究採文獻探討、深度參與、資料分析、探索性個案式研究，先以「SWOT矩陣分析」，來分析探討個案現況；再以「商業模式九宮格」以及「新創事業之精實商業模式十一格」兩者，來探討個案分析；之後，再以SWOT之分析結果，針對兩種宮格分析結果每一宮格之內容項目，再進行探討分析；也就是在兩種宮格分析後，每一格，再用SWOT去探討分析，由此呈現出更深入具體之執行策略與行動計畫。最後再輔以創新擴散模型來推論計算，各階段社群平台推廣之臨界數量與營運目標。終能更完整建構桌遊社群平台之營運模式，形成關鍵策略、競爭策略、行動策略等流程圖，並表列出各種行動方案之執行建議。 當手談趣在台灣成為會員數或開店數排名第一的桌遊社群平台之後，或可研究進入中國或全球之桌遊市場，探討中國或全球市場之桌遊社群平台營運模式；亦可考慮進入台灣、或中國、或全球之其他產業市場，進一步研究探討，台灣、中國、或全球市場其他產業之社群平台營運模式。 / This research tried to develop and complete the business model of table game online community platform also find out the key success factors of it, thus, we can form the executive strategy and action plans. This research used SWOT matrix to analyze the case situation, then used Business Model Canvas and Lean Canvas to examine the case analysis. Afterwards, we used the SWOT matrix to examine and analyze the Business Model Canvas and Lean Canvas by each canvas element again. Then, we used Innovation Diffusion Theory to calculate the critical mass and determine the quantitative objective of every stage. We can study on China or global market of table game online community platform or other industries via this research process after Sotanfun platform reaches success of the first or second stage of its quantitative objectives.