隨著資訊科技的蓬勃發展，為生活與休閒娛樂帶來許多變革與創新，以真人實境闖關遊戲來說，單純應用實體道具的互動體驗已經無法滿足參加者。因此，遊戲設計者逐漸開始研發各種裝置，以尋求更新奇有趣的效果，使得這類體驗性質的實境遊戲蘊含大量的實驗與創新元素。 本研究首先歸納現有實境遊戲案例的重點特徵，將之概念化並進行編碼，在文獻回顧的部分，進一步探討沉浸體驗的定義、特色與價值。接著規劃並實作一個「結合互動裝置的實境遊戲」，在遊戲中加入數位技術、互動裝置及感測器，提供參加者別於日常生活的感受，讓他們完成遊戲後，就像親身經歷過一場有趣的冒險。 本創作共招募二十七位參加者進行遊戲體驗，透過問卷與訪談蒐集反饋。在創作的過程中發現，有意義的互動發生在故事內容、實體物件及互動觸發三者緊密扣合的當下，而加入數位整合實體的互動裝置，帶來相當程度的沉浸與投入效果，雖然在若干細節方面，仍有改進的空間，但我們相信此創作提供了互動科技應用的新方向，作為後續研究可參考的實際案例，進一步發展更多元的實境遊戲體驗。 / With recent advances in digital technology, more and more innovations in entertainment are occurring. In reality games, the installation of simple physical devices is no longer able to satisfy the participants. To make the games more interesting and playful, game designers are developing novel content and interaction by incorporating latest technological elements. In this thesis, we summarize the key concepts in the design of existing reality games and organize these cases into different codes, which are later employed to guide the design of our reality game. In the literature review, we select flow theory as the primary related work. We clarify the definition, features and value of this theory, as well as its connection to our design philosophy. We then plan and implement the ‘Revenge of the BEAR’ project: a reality game that incorporates digital technology, interactive devices and sensors. This reality game aims to provide the participants with astounding experiences distant from their daily life. Upon completion of the missions outlined in the game, the player will feel that they have just engaged in an interesting adventure. Twenty-seven participants were recruited to take part in this reality game. Through questionnaires and interviews, we obtain constructive feedbacks that help us understand the attractions and limitations of this game. The results indicate that meaningful interaction occurs while the story, the interactive objects and the trigger are cohesively linked. Besides, new digital technologies help to improve immersive experiences. Although there are some design details that remain to be attended to, we believe that this study provides a new direction for the applications of interactive technology in the design of future reality games.

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.