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.

隨著行動通訊貼圖的興盛與普及，其商業價值更被多數企業相中以作為軟性的品牌置入行銷溝通方式。透過與品牌相關的貼圖設計，將品牌訊息巧妙融合於貼圖中並吸引使用者成為品牌好友以下載使用，讓使用者彼此之間傳散達到短時間內累積龐大粉絲數之效益，更可能將使用者對品牌貼圖之好感度轉嫁到品牌上。因此，如何創造有效的品牌貼圖設計成為企業亟欲了解的課題。 根據過去研究之探究，可發現目前對於品牌貼圖行銷之效果衡量尚未具有量化的數據分析作為實際執行之參考依據，因此本研究將品牌免費貼圖行銷模式視為新型態之置入性行銷方式，整合品牌貼圖設計要素與虛擬代言人、置入性行銷文獻，擬訂一整合品牌貼圖設計之分類架構，以虛擬代言人產品相關性（高vs.低）、品牌露出顯著程度（高vs.低）、品牌置入貼圖情境整合程度（高vs.低）作為自變項，以2x2x2的三因子設計，在共八種不同的品牌貼圖置入設計下，以實驗法進行，並透過問卷調查使用者對其置入效果，以認知、情感、行為意圖效果作為依變數的測量。 研究結果顯示，虛擬代言人產品相關性為品牌貼圖置入設計之最關鍵影響要素，高度相關時其置入效果皆顯著，顯現品牌免費貼圖角色設計為首要優先考量，此時當品牌顯著露出時，更能提昇強化虛擬代言人產品相關之置入效果。而品牌置入貼圖情境整合程度僅體現於貼圖之背景，較難以吸引使用者注意，雖不具顯著影響效果，但與其他因素交互作用下能對認知效果產生顯著影響。而所有置入型式及其交互作用皆對使用者之認知效果產生顯著影響。 / With the popularity of mobile stickers, many companies begin to pay attention to LINE stickers’ marketing influences and consider them as new means of marketing placement. Brand-related stickers design, usually cute and interesting, makes brands attract users to download and use stickers so that brands naturally slip into users’ private conversation space. In this way, millions of users not only become fans of the brand, but also are fond of stickers and the brand itself. To maximize the stickers marketing benefits, how to design useful brand-related stickers is the crucial part. In this research, the experimental design is used to investing the marketing evaluation affected by sticker’s animated spokes-character design (brand-related vs. brand-unrelated), brand exposure (prominent vs. subtle), and context integration (integrated vs. non-integrated). Then, 2x2x2 factorial design is conducted and 8 different scenarios are created online. Questionnaire is set to find the product placement effectiveness including cognition, emotion and behavior. The result indicates that brand-related character design is the crucial factor in sticker’s placement effectiveness. This reflected that stickers use animated spokes-character to attract user’s notice, feelings, and behaviors. Besides, brand-related character and high brand exposure has the best effect. And other factors all influence cognition effect.

「一張圖勝過千言萬語」，這句話在LINE貼圖的使用上更是如此。貼圖在使用者互動的過程中不知不覺被「玩」出新意，一連串的貼圖不再只是雙方為了得到共識而進行的溝通，反而從中得到樂趣。這種「圖戰」的互動方式彰顯人類的遊戲（play）本質，以及長期在溝通中被人們所忽略的「遊戲」性質。 究竟貼圖圖戰為何讓圖戰玩家如此著迷？圖戰是如何鑲嵌在玩家的日常生活中？為何他們願意花費大量時間、金錢進行貼圖消費？本研究納入遊戲人（homo ludens）及de certeau的行人言談行動，研究者以LINE圖戰玩家為研究對象，採用深度訪談法、文本分析以及基本問卷來探究圖戰玩家如何玩貼圖，以及其圖戰的遊戲樣貌。 本研究的研究發現有三點，第一，圖戰玩家在圖戰的過程，完全就是「Just for fun」，LINE的使用情形與圖戰規則流動多變，對話框的切換以及不同情境都會有所改變，不同群組的圖戰風格也截然不同。第二，儘管多數玩家都喜歡諷刺、戲謔型的貼圖，但在貼圖使用、消費面貌上還是展現殊異特性。第三，圖戰的展演屬於一種關係性展演。LINE社群是奠基於現實世界的人際關係，，互動對象會影響貼圖的使用以及圖戰的樣貌，使用者透過互動形構出自我，已經不單單是反身性或是自戀的問題。

由於許多企業對於LINE在號召年輕族群的能力寄與厚望，為了釐清目前企業對於評估LINE與操作LINE的策略是否合乎年輕族群的需求，本研究將聚焦於討論最早採用LINE的企業期待透過LINE進行品牌年輕化的歷程，以企業的實戰經驗切入，剖析早期採用LINE的企業進行品牌年輕化歷程與操作策略，同時透過釐清年輕族群對於使用LINE的經驗與需求兩相對照，試圖釐清目前企業使用LINE進行品牌年輕化的做法是否正確？是否有迷思存在的可能性？若因迷思存在而造成經營策略上的偏差，企業未來該如何修正與優化？ 由於意會本質上是人們對事務的主觀認知，並且是一個持續性的流程，是一種複雜且動態的觀念，因此將採用深度訪談法針對企業的相關部門成員進行歷程的研究。為呈現企業內部與外在社會環境相關的完整脈絡，本研究也會輔以消費者訪談、文獻資料法與二手資料法作為資訊搜集與驗證成效的方式。研究結果發現，個案對於透過LINE推動品牌年輕化的歷程上，確實存有許多囿於過往經驗或組織文化所形成的主觀認知，導致其對於新科技的理解與其目標族群的需求有所落差。研究結果也顯示，LINE確實能為企業接觸到年輕族群，但需要提供他們所需要的服務和資訊，才能爭取他們對品牌的認同和好感，同時與年輕族群的互動形式，相較於過往的單向式傳播，也必須因應LINE的科技特質有所調整。 / As many enterprises place great expectations in LINE’s ability to call out the youth, in order to find out whether the enterprises’ strategies in assessment and operation on LINE meeting the demand of the youth, this research looks into the experience of the first runner enterprises that promote brand rejuvenation with LINE. By introducing the real-world experience of the enterprise, this research analyzes the journey and operation strategies of rejuvenating brands by using LINE in early years. Meanwhile, by comparing the experiences and demand of using LINE among the youth, this research aims at whether the methods of rejuvenating brands by using LINE are satisfying. Does the myth really exist? If the myth does exist and bring diversified business strategies, how can the enterprises revise and improve their strategies in the future? Since sense making is people’s subjective perception of affairs by nature and it is both a persistent process and a complicated and dynamic concept, this research focuses on the experience from members of relevant departments of the enterprise by in-depth interview. To present the context of the internal and external environment of the enterprise, this research also utilizes consumer interview, documents, and literature as the main data sourses and effectiveness verification. The research results show that cases do have many subject perceptions generated from previous confined experience or organizational culture in the course of LINE’s promotion of brand rejuvenation, which gives rise to difference between the understanding of new technology and the demand of target groups. The research results also show that LINE really enables the enterprise to access to the young people, but provision of their necessary service and information is required to get their recognition and good impression of the brand. Meanwhile, the means of interaction with the youth must be adjusted according to LINE’s technological nature comparing with previous single-direction dissemination.

以往，插畫家很難有機會得以嶄露頭角，然而近年，不少素人插畫家成立了 臉書粉絲團，並透過Line Creators Market等平台逐漸打開知名度，一個原本默默無聞的原創角色可能突然在幾個月間迅速竄紅。社群媒體給了插畫家一個新的舞台，而這些從網路發跡的插畫家藉由角色創作，不僅創造了粉絲、累積了知名度，並逐步開創周邊經濟效益，將台灣角色經濟帶入新的世代。 自媒體的出現，改變了圖文創作者既有商業模式的發展樣貌，當我們回頭 審視，會不由自主地想問：這一切究竟是如何發生的？社群媒體管道對這些內容創作者產生了什麼影響及變化？其變現方式為何？現在的盈利模式能否持續？有鑑於此，本研究試圖從「商業模式」的觀點，藉由Osterwalder&Pigneur提出之商業模式圖（Business Model Canvas）架構，將研究對象設定為「經營自媒體擁有粉絲資產，藉由圖像內容創作朝向IP化（Intellectual Property）發展並具備變現能力之『FB世代』網路插畫家。」並從以下三大方向進行探問：（1）網路插畫家如何選擇社群媒體平台？其在社群平台的經營策略為何？對於收益流又會產生甚麼樣的影響？如何串聯線上及線下通路整合操作？（2）網路插畫家主要之商業模式為何？通路管道與其他商業模式九宮格元素如何互相配套？（3）網路插畫家有哪些未來發展計畫？又有哪些發展契機與挑戰？ 本研究透過多個案研究法，綜合深度訪談法和參與觀察法進行資料蒐集和分析，以探討 FB 世代網路插畫家之通路管道經營變現策略及商業模式架構。研究 結果發現：（1）網路插畫家依據經營型態比重，可歸納為「FB內容創作型網路插畫家」、「Line貼圖創作型網路插畫家」及「品牌授權化網路插畫家」等三種經營型態；（2）網路插畫家崛起於Facebook或Line 貼圖之線上單一通路平台，以粉絲為經營核心，形塑著從線上到線下、B2C到B2B的變現收益管道；（3）其價值主張為能引起粉絲共鳴的梗，並在大數據時代藉由分眾化行銷經營著顧客關係；（4）自媒體時代實現接近零成本的網路創業夢想，當進入商業化發展階段需進行最適化關鍵資源與關鍵合作夥伴合作評估。 / In the past years, illustrators had little opportunity to be seen. But in recent years, more and more illustrators joined the competition and posted their artworks on Facebook Fan Pages, or became well known through the Line Creators Market, an original character may suddenly turn famous in just a few months. Social media provides a new stage to the illustrators. With the creation of new characters, they gain more fans, build up their fame, gradually bring up the sales for the related products, and bring the Taiwan character merchandising into the new generation. The emergence of we media changed the development of business model for graphic creators. When we look back, we cannot help but ask "How did all these happen? What impact and change do social media channels have on these graphic creators? How did they liquidize it? Will the current profit model continue?" In view of this, this study attempts to research from the view of "business model", along with Osterwalder&Pigneur's Business Model Canvas structure, and sets the research object as the illustrators of "FB generation" who operate we media with the asset of fans, make graphic designs that turn into IP (Intellectual Property) and have cashability". The following three main questions will be brought up: (1) How do illustrators choose their social media platform? What is the business strategy for their social media platform? What is the impact on the revenue stream? How do illustrators integrate online and offline channel operations? (2) What is the main business model for internet illustrators? How do the Business Model Canvas elements of the channel pipelines and other business models match each other? (3) What are the future development plans for internet illustrators? What are the development opportunities and challenges? In this study, the data collection and analysis are carried out by means of multiple case studies, comprehensive and deep interviews, and participant observation to explore the channel management strategy and business model structure of FB generation illustrators. The results show that: (1) The internet illustrators can be grouped as "FB content creation illustrators", "Line sticker creation illustrators" and "brand authorized illustrators" according to the proportion of business type; (2) Internet illustrators emerge from a single online platform, such as Facebook or Line, and use the fans as the business core to shape the liquidizing channels from online to offline and B2C to B2B;(3) The value of the idea is the punchline that resonates with the fans and to operate customer relationship by segment marketing in this big data era;(4) We media makes the dream of starting a business at almost zero cost come true. But when it enters the commercializing development stage, it needs to evaluate the optimization of the key resources and the key partners.