本文分析近年盛行的電子遊戲實況活動。從分心、不專注於電玩的現象開始，本文以「如何玩」這個提問來引導論證「嬉玩」與「遊戲」這組概念在分析上的效力，藉此，本文論證了電玩實況活動中的心智狀態與活動是游移在電玩活動與嬉鬧互動，在嚴肅遊戲與嬉戲玩耍之間游移，這樣的分神狀態之中也產生了有樂趣、具有實效的遊戲性。 從技術架構的觀點來看，以即時串流的技術為基礎，電玩實況活動結合了即時傳輸與即時互動。使用者所獲致的遊戲聆賞經驗以及互動是即時且與他人同步，便也構成了網路媒介之下的共時經驗，實況中以電玩活動為對象的起鬨也便具共在的實感。本文從聊天室起鬨、技術戲耍挪用等現象中論證了基於遊戲性旨趣的共謀嬉玩。嘲諷、干擾的對抗性是為了製造分神的條件，從中產生張力並獲致遊戲性，而包括實況主在內的所有參與者，皆是在這樣的分神狀態中嬉玩，維繫歡騰的共感情緒。 電子遊戲具有將遊戲性限定在其中的封閉性質，也因此對於電玩的遊戲經驗多有私密、個人的想像，即時串流的電玩實況活動便是打開了這樣的封閉性質。透過網路媒介將人匯聚在遊戲活動周圍，不僅共享了電玩活動本身的樂趣，也在即時串流之下共時的互動跟聆賞經驗中以遊戲為對象群聚嬉戲。這樣的網路活動之所以盛行，顯示了人對遊戲性的需求不僅是來自遊戲中，也來自與他人玩在一起的連結共感，電玩實況便是實現了這樣的需求。 / Taking the prevailing "video game live streaming" activities as research object, this thesis takes "play" and "game" as a set of core concepts, and begins the exploration into their conceptual effect. Setting out the arguments with "How to Play" question, this thesis concludes that the mentality and activities in video game live streaming are in an "in-between" condition. Between video game activity and playful disturbance, seriousness and playfulness, there are gameplay with actual effect. Taking the technical conditions into consideration, video game live streaming consists of live media transportation and live interaction. Users' experiences synchronize with each other, thus contribute to the "togetherness" mediated through the Internet, and also the carnivalistic interactions and disturbance in the live channel. From the fuss and disturbance in the chatroom to the appropriation of streaming "plugins", this thesis argues that these actions conducted by streamer and users contribute to the "distractive" scenario, and the conducts are all based on "the interest of play". Different from serious and immersive mentality which is deemed as the fundamental of playing and gaming, the gameplay in live stream is based on distraction, which is the core condition that brings tension and thus playfulness. All the users in video game live streaming, the streamer included, are connected and forged into a synchronized togetherness by this kind of distractive, carnivalistic playfulness. Digital video games have tributes of enclosure, which require concentration, seriousness and absorption. Video game live streaming opens up this kind of enclosure, and brings people in and around the video game activities. In the live channel, users experience the joy and fun of the game itself together in a synchronized way, and also act on the interest of play, creating distraction and disturbance that bring to playful experiences, and that explains why this kind of Internet activity prevails. This thesis shows that the need of gameplay comes not only from game activities themselves, but also from the desire to "play together". In a digital age, video game live streaming is just the fulfillment of this kind of desire.

本文以近年來日益普及的實況直播為主題，從研究者自身的遊戲實況使用經驗出發，希望從宏觀的角度去理解：實況直播此一新興媒介技術是如何被人們所使用、其傳播的內容與形式又有何特性及意義。 　　基於上述問題意識，本文主要引介三個理論概念：Huizinga的遊戲人、Bakhtin的狂歡化以及McLuhan媒介即訊息的概念，試圖藉由前二者的理論來分析實況直播作為一群眾參與媒介互動場域的特性，並進一步延伸McLuhan的媒介觀點，以探看實況媒介技術在當代的實存意涵。 　　由於現今實況類型與平台相當多元，本文選擇以研究者本身最為熟悉的遊戲實況平台Twitch.tv為分析場域，並同時使用網路民族誌與深度訪談法二種方法來進行資料蒐集。本研究發現，聊天室或訂閱贊助的回應功能強化了觀眾作為「參與者」的地位，而實況也成為一個眾人共同參與、玩耍(Play)的暫時性媒介場域。本研究也指出，聊天室時常出現的洗頻現象其實是一種群眾的集體起鬨過程，而群眾的言談行動之間也充滿日常生活所不容見的、狂歡化的性質與氛圍，人們並藉此解放日常生活的限制與壓力。 　　此種隨時隨地且即時發生的「媒介狂歡」其實代表著，透過參與實況媒介，人們得以隨意地在集體連結與個體自由之間來回，這不僅是如同黃厚銘與林意仁（2013）所描繪的「流動的群聚」，更是呼應了McLuhan所預言的「再部落化」的意涵，人們宛如重返部落時代的集體參與、互動的即時現場，而此種變革更可能重塑人類的感官經驗、社交生活乃至存有本質。 / Inspired from researcher’s experience of using live streaming media, this study aimed to understand the usage of this new media technique, what characteristics it shows and what significance it implies. Based on the goals above, three main theories were referenced, including Johan Huizinga’s “Homo Ludens”, Mikhail Bakhtin’s “Carnival” and Marshall McLuhan’s concepts about media technology. Researcher analyzed the characteristic of live streaming media as an interactive field based on the first two theories mentioned, and further discussed the meanings and influences of live streaming media with McLuhan’s theory of media viewpoint. This study chose twitch.tv to be the field of analysis because researcher is familiar with it the most and took Netnography and In-Depth Interview as research methods. The result of this study indicated that the reply functions on streaming platform allow audience to participate, making the streaming media as a temporary interactive field where audiences can interact and play with others. Moreover, when a live streaming is on, the unceasing comment spamming phenomenon by users in chat room can be explained as the crowd at a Carnival, which is unusual and inappropriate in daily life. Therefore, users can release the pressure in their everyday lives. Such Carnival form of live streaming media indicated that people are free to move back and forth between collective connection and personal space, which is not only similar to the concept of “mob-lity” proposed by Huang & Lin(2013), but also embodied McLuhan’s idea of “re-tribalize”. The participation and interaction among streaming media users may reconstruct the sensation and nature of the human beings.