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| 研究生： |
湯姆 Tom Theodore Damien van Schoonderwalt |
|---|---|
| 論文名稱： |
跨媒體入口網站 : 將觀眾轉化為玩家 The Transmedia Gateway: Turning Viewers Into Players |
| 指導教授： |
林日璇
Jih Hsuan Lin |
| 口試委員: |
蔡葵希
Christine Linda Cook 楊孟潔 Jacie Yang |
| 學位類別： |
碩士
Master |
| 系所名稱： |
傳播學院 - 國際傳播英語碩士學位學程(IMICS) International Master's Program in International Communication Studies(IMICS) |
| 論文出版年： | 2026 |
| 畢業學年度： | 115 |
| 語文別： | 英文 |
| 論文頁數： | 68 |
| 中文關鍵詞： | 跨媒體門戶框架 、電玩遊戲改編 、生態系統協同 、觀眾代理 、《異塵 餘生》 、《惡靈古堡》 |
| 外文關鍵詞： | Transmedia Gateway Framework, Video Game Adaptations, Ecosystemic Alignment, Audience Proxy, Fallout, Resident Evil |
| 相關次數： | 點閱：8 下載：0 |
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本論文介紹了跨媒體門戶框架(Transmedia Gateway Framework),用以探討電玩遊戲電視改編作品如何作為轉換漏斗,將消極的串流觀眾轉化為遊戲創新生態系統中的積極玩家。本研究採用比較個案研究法,評估了亞馬遜 Prime Video 的《異塵餘生》(2024)與 Netflix 的真人版《惡靈古堡》(2022)截然不同的實證結果。該框架分析了兩個關鍵維度:
● 敘事設計:包含視聽迴聲策略(Echo Strategy)以及引導未入門觀眾的代理主導式教學路徑(Pedagogical Path)。
● 生態系統協同:借鏡克利馬斯與恰康(Klimas and Czakon, 2022)的共創生態系統理論來評估企業間的合作。
實證結果表明,《異塵餘生》透過將製作根植於同步的企業共創,並精心設計直接映射遊戲教學與角色成長機制的主角,實現了活躍玩家數量歷史性的四到六倍激增。相比之下,《惡靈古堡》則是一個失敗的門戶;其戰略失調、嚴重的背景設定抹除以及斷裂的觀眾代理,導致觀眾迅速流失,且完全未能將玩家匯聚至遊戲生態系统中。
最終,本研究證明成功的跨媒體延伸需要企業參與者摒棄孤立的產品設計,擁抱統一的生態系統導向,從而證明敘事完整性與結構性網路協同在功能上是密不可分的。
This thesis introduces the Transmedia Gateway Framework to examine how video game television adaptations function as conversion funnels that transition passive streaming viewers into active players within a gaming innovation ecosystem. Using a comparative case study approach, this research evaluates the divergent empirical outcomes of Amazon Prime Video’s Fallout (2024) and Netflix’s live-action Resident Evil (2022).
The framework analyzes two critical dimensions:
● Narrative Design: Encompassing an audio-visual Echo Strategy and a proxy-driven Pedagogical Path to onboard uninitiated viewers.
● Ecosystemic Alignment: Drawing on Klimas and Czakon’s (2022) co-innovation ecosystem theory to evaluate inter-firm collaboration.
The empirical findings demonstrate that Fallout achieved a historic four-to-six-fold surge in active players by anchoring its production in synchronized corporate co-innovation and engineering a protagonist that directly mirrored the game’s tutorial and character progression mechanics. In contrast, Resident Evil represents a failed gateway; its strategic misalignment, severe lore erasure, and fractured audience proxy resulted in rapid viewer decline and zero player convergence into the gaming ecosystem.
Ultimately, this study demonstrates that successful transmedia extension requires corporate actors to reject isolated product design and embrace a unified ecosystemic orientation, proving that narrative integrity and structural network alignment are functionally inseparable.
Abstract.......... 3
Table of Contents.......... 6
Introduction.......... 9
Background and Context.......... 9
Research Question.......... 10
Relevance and Importance of the Research.......... 10
Problem Statement.................. 12
The Video Game Industry...........12
The Video Game Movie Curse........ 13
The Modern Transmedia Fracture........... 14
Literature Review....... 17
The Economics of Gaming Ecosystems............ 17
Strategic Market Expansion: Innovation and the “Chasm”............ 20
Transmedia Media Mix Strategies and the Televisual Pivot.......... 23
The Mechanics of Conversion........ 26
Conceptual Framework: The Transmedia Gateway Model........ 29
Research Design and Methods.......... 31
Research Design........31
Methods and Sources........ 31
Secondary Data Selection Criteria...... 32
Practical Considerations......... 33
Ethical and Intellectual Considerations......... 34
Case Studies and Analysis........ 35
Introduction......... 35
The Televisual Pivot and Narrative Deficit....... 35
Amazon’s Fallout............ 36
Netflix’s Resident Evil.......... 38
Visual and Audio Resonance and the Echo Strategy: Aesthetic Immersion vs. Identity Erasure.................. 41
Fallout’s Echo Strategy.......... 42
Resident Evil’s Echo Strategy.......... 44
Audience Proxies and Pedagogical Gateways: Mainstream Pragmatists vs. Core Early Adopters?.......... 47
Fallout’s Pedagogical Path.......... 47
Resident Evil’s Pedagogical Path.......... 48
Audience Proxy Synthesis........... 50
Transmedia Ecosystems and Migration Outcomes........... 51
Fallout’s Empirical Audience Migration........... 51
Resident Evil’s Empirical Conversion Failure.......... 52
Ecosystem Alignment and Strategic Decoupling......... 54
Discussion.......... 56
Theoretical Implications for Transmedia and Media Mix Scholarship............ 56
Deconstruction the Pedagogical Path: Solving the Player Barrier............. 57
Player Motivation Typologies and the Spectrum of Conversion.... 58
Limitations of Scope and Secondary Analysis.......... 60
Conclusion.........61
The Blueprint of a Functional Funnel........... 61
The Mechanics of Gateway Rejection....... 62
Final Theoretical Takeaway.......... 62
References ............. 64
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