台灣3D電腦動畫廠商目前以承接國外大廠動畫製作訂單為主要業務。但隨著3D動畫軟硬體設備成本的降低，人力成本低廉之開發中國家3D動畫廠商開始崛起，威脅到台灣3D動畫廠商的代工地位。解決此困境的策略有二：一是朝向內容原創價值活動方向發展，另一則是加強本身的代工競爭能力。 受限於市場及經驗不足等因素，台灣廠商欲發展原創能力還有很長遠的路要走，因此本研究著重於如何加強代工競爭能力。台灣許多產業都發展出優秀的代工模式廠商，而3D動畫產業則尚處於幼稚期，廠商接單後多半獨力完成所有製作工作。因此本研究以在代工模式上表現優異之台積電及廣達電腦為比較對象，並以國內最大3D動畫廠商西基動畫為個案研究對象，分析探討適合3D動畫廠商之「代工廠商供應模式」。 本研究先歸納整理四個「垂直整合或委外生產決策」考慮因素構面，亦即成本構面、產品構面、技術構面以及供應商(產業)構面，利用此四個因素構面分析台積電、廣達之現有供應體系模式，然後比較西基與台積電、廣達在這四個構面上不同的條件及特色，最後分析出適合西基之代工廠商供應體系模式。 / Receiving outsourcing project orders from foreign major companies is the primary business of the 3D Animation firms in Taiwan currently. However, since the cost of the infrastructure for animation production has reduced, it is easier for developing countries to enter this industry, where labor cost is lower. Accordingly, Taiwan’s position in the value chain of the animation industry is threatened. Two solutions have been proposed in order to solve this problem. First, animation firms in Taiwan should extend to the high value-added content developing activities. Second, Taiwanese animation firms should improve their capability and retain their competence. This research focuses on how to improve the capability of animation firms in Taiwan, since it is still immature for them to transform into content developers, owing to the lack of experience and limitation of market size. Animation industry in Taiwan is in its infancy: most of the animation firms finish project orders independently. On the contrary, many industries in Taiwan, such as the computer industry, have developed excellent OEM/ODM models. Therefore, this research adopts case study method, taking CGCG Interactive as target, and compares it with the models of TSMC and Quanta Computer to figure out a suitable OEM supplier’s model in 3D animation industry. This research first concludes that there are four dimensions concerning the decision making process on selecting vertical integration or outsourcing strategies. These dimensions are cost, product, technology, and supplier (industry). Then these dimensions are used to analyze the supply model of TSMC and Quanta Computer so as to propose an appropriate supply model CGCG Interactive.

2009年底，台灣蘋果日報推出【動新聞】，因為其以3D動畫的方式詳述性侵、暴力等社會新聞，引發輿論批評，而且國家傳播通訊委員（NCC）也明白指出，電視新聞使用3D動畫非真實呈現，換句話說，民間與官方都一致認為電視新聞使用3D動畫恐怕有損新聞的專業性。有鑑於新聞媒體最重要的價值就是「新聞可信度」，因此，本研究遂將一般閱聽眾視研究對象，採取實驗法進行社會新聞使用3D動畫有無，進行新聞可信度差異研究。 　　受測者總計52人，依社會新聞次分類分別為突發新聞、犯罪新聞，又依3D動畫有無，共計分為4組，採t檢定檢驗發現，3D動畫有無不會影響新聞可信度，而且突發、犯罪新聞的新聞可信度也無差異；又採二因子變異數檢定發現，新聞可信度不會因為「社會新聞次類型」、「3D動畫有無」或其交互作用產生差異。此外，二因子變異數的檢驗發現，閱聽眾對於3D動畫的既有態度不會影響新聞可信度評估，最後，人口學變項也不會影響新聞可信度評估。 　　即便本研究初步證實社會新聞使用3D動畫有無，在新聞可信度上並無差異，但相較於沒有使用3D動畫的，有使用的反而獲得較高的平均數。 / At the end of 2009, Taiwan Next Media introduced Animated News, which induced considerable public criticism due to its use of 3D animation to portray social news containing acts of sexual assault and violence. Furthermore, the National Communications Commission (NCC) has clearly pointed out that the 3D animation used in TV news is not a real representation. In other words, both the public and government believe to a large degree that 3D animation used in TV news may harm journalistic professionalism. In view of the fact that the most important value of news media is "news credibility," the study employs experimental methods to determine the difference in the credibility of news in the eyes of research subjects consisting of ordinary viewers that results when social news adopts 3D animation. The total of 52 respondents were divided into four groups viewing news in the two subcategories of breaking news and crime news either with or without 3D animation. Inspection employing the t-test revealed that the presence of 3D animation does not affect the credibility of news, and no effect was observed in the case of either breaking news or crime news. Two-way ANOVA further discovered that the credibility of news does not vary due to "social news subcategory," "presence of 3D animation," or their interaction. In addition, two-way ANOVA also revealed that viewers' existing attitude toward 3D animation does not influence their assessment of the credibility of news. This study not only found that the use of 3D animation and social news does not affect the credibility of the news, but also discovered that compared with news not employing 3D animation, news using animation in fact received relatively high average credibility scores.

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.