插畫家筆下的虛擬角色正在發揮巨大的影響力深入大眾的日常。隨著社群媒體平台的普及，台灣角色品牌開創與國外主流市場不同的一條路，為因應此發展浪潮，文創經紀人、相關廠商和角色行銷順勢興起。另一方面，在學術討論中，價值共創理論雖發展多年，但在行銷領域中，關注所有利害關係人價值共創的研究仍非主流。此外，雖過去文獻指出，服務主導邏輯理論與今日利害關係人導向品牌時代的論述有匯流趨勢，然而結合利害關係人、品牌體驗流程以及價值共創的研究卻不多，更缺乏應用在文創產業的研究。
本研究旨在從價值共創理論的觀點，探討「台灣圖文插畫家如何與利害關係人進行價值共創？」並以插畫家創作背景、角色品牌、IP 變現能力等三大標準作為個案挑選原則，最終篩選出「某人日常」和「小黃間」作為研究個案，藉由深度訪談法、網路民族誌、非參與式觀察法，深入探討圖文插畫家與經紀人、廠商、粉絲之間的互動和關係。
本研究分析國內角色產業特性以及所面臨的威脅與機會，並就產業的發展脈絡，提出角色品牌須具備三點基礎能力及四點經營策略。且進一步分析產業中參與者追求的價值，及分析現有價值共創模式，最後提出新的研究架構，從更全面角度詮釋角色產業的共創模式。此外，本研究亦指出價值共創流程中圖文插畫家與文化中介者在創意與市場的角力，亦即經紀人定位的難處及扮演協調者的重要性、社群平台的機制及歸屬性氛圍對粉絲在價值共創中的影響，以及利害關係人對於品牌的作用。本研究建議未來價值共創之文獻，可專注於文創產業不同場域中參與者所重視的價值以及共創模式，並提供以利害關係人為標的研究之參考依據。

Fictional characters and their stories created by illustrators have been making an impact on people’s daily life. With the popularity of social networking sites (SNS) or platforms, Taiwanese illustrators find their path different from the global mainstream market. With the increasing demand of the economy of characters, agents, related business, and the application of character marketing have emerged. Additionally, the concept of value co-creation has developed over the decades. However, the research based on the value co-creation from the multi-stakeholder approach in the field of marketing remains underexplored. While previous research has the trend to combine discussions on service-dominant logic and branding, there is relative limited research on stakeholders, brand relationship experience as well as value co-creation, in particular in cultural and creative industries.
This paper aims to explore “how Taiwanese SNS-based illustrators co-create value with their stakeholders centering on developing brands?” With the criteria of the illustrators’ background, the brand character itself and IP liquidity, “nobody’s daily” and “little yellow studio” were selected as cases. Through in-depth interviews, netnography, and non-participant observation, this study investigates deeply into the interaction among illustrators, agents, corporations, and fans.
Based on the context, this paper proposes that a brand character needed to possess three basic capabilities and adopted four business strategies. Furthermore, actors’ value and their process of value co-creation are revealed. In the end, a proposed framework interprets the stakeholder value co-creation in the character industry comprehensively. The result also points out several issues: the conflict of creativity and market between illustrators and cultural intermediaries; namely, agents’ dilemma and the importance of playing an orchestrator, the influence of platform mechanism and a sense of belonging on fans, and the effect of multi-stakeholder on the brand character. This suggests that future research could focus on values actors concerned and the application of stakeholder value co-creation in cultural and creative industries.

一、中文文獻
小黃間 little yellow studio (2012 年 11 月 10 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.368269313212344/465922990113642/?type=3&theater
小黃間 little yellow studio (2016 月 8 月 3 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.368269313212344/1159133044125963/?type=3&theater
小黃間 little yellow studio (2017 年 4 月 12 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.368269313212344/1397342080305057/?type=3&theater
小黃間 little yellow studio (2017 年 12 月 25 日) 。[附圖] [動態更新]。Facebook。取自： https://www.facebook.com/LittleYellowStudio/photos/a.368263136546295/1638361949536401/?type=3&theater
小黃間 little yellow studio (2018 年 9 月 28 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.643622502343689/1960405240665402/?type=3&theater
小黃間 little yellow studio (n.d.)。首頁 [Facebook粉絲專頁]。Facebook。2020 年6 月 4 日，取自：https://www.facebook.com/LittleYellowStudio/
小黃間 little yellow studio (2020 年 4 月 6 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.368263136546295/2947036628668920/?type=3&theater
小黃間 little yellow studio (2020 年 4 月 17 日)。學著思考、學著獨立 面對這世界，我們需要 [附圖] [動態更新]。Facebook。取自： https://www.facebook.com/LittleYellowStudio/photos/a.368263136546295/2950203378352245/?type=3&theater
小黃間製販所 (2020 年 4 月 4 日)。| 營業時間調整 | 因疫情影響，小黃間製販所 [附圖] [動態更新]。Facebook。取自： https://www.facebook.com/yallowstore/photos/a.164788720755091/666968120537146/?type=3&theater
小黃間little yellow studio (2017 年 9 月 12 日) [附圖] [動態更新]。Facebook。取自： https://www.facebook.com/LittleYellowStudio/photos/a.1377798585592740/1544654742240456/?type=3&theater
小黃間little yellow studio (2019 年 11 月 22 日)。＼你的三票🗳至關重要／改變世界的方式不是 [附圖] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/photos/a.368263136546295/2631325900239996/?type=3&theater
小黃間little yellow studio (2020 年 4 月 14 日)。該拒於門外的是病毒，而不是口罩的顏色 [附影片] [動態更新]。Facebook。取自：https://www.facebook.com/LittleYellowStudio/videos/250694835980771/?__tn__=-R
小黃間製販所[@yallowyallow] (n.d.)。[限時動態] [Instagram 頁面]。Instagram。2020 年 5 月 25 日，取自：https://www.instagram.com/yallowyallow/?hl=zh-tw
文化部 (2017a)。臺灣原創圖像授權深耕亞洲。2019 年 12 月 22 日，取自：https://www.moc.gov.tw/information_250_59308.html
文化部 (2017b)。臺灣圖像授權尖兵勇闖世界 拿下4.6億訂單。2019 年 12 月 22 日，取自：https://www.moc.gov.tw/information_250_68553.html
毛毛蟲文創 (2020)。你好，我是文創經紀人！喵～台灣文創經紀工作的12堂必修課。台北市: 遠流出版事業股份有限公司。
卓瑋哲 (2018)。圖文天后 彎彎邁入15週年。喀報，301。2019 年 10 月20 日，取自：https://castnet.nctu.edu.tw/index.php/castnet/article/13201?issueID=705
林金定、嚴嘉楓、陳美花 (2005)。質性研究方法: 訪談模式與實施步驟分析。身心障礙研究季刊，3(2)，122-136。
林嘉韋、張媛婷 (2017)。全球授權商機大 台灣本土創意累積優勢。新唐人亞太。2020 年 1 月 31 日，取自： http://www.ntdtv.com.tw/b5/20170814/video/203167.html?全球授權商機大%20台灣本土創意累積優勢
林震軒 (2016)。LINE貼圖平台雙邊市場之網路效應分析。（碩士）。國立政治大學，科技管理與智慧財產研究所, 台北市。
某人日常 (2014 年 7 月 24 日)。[附圖] [動態更新]。Facebook。取自： https://www.facebook.com/nobodysdaily/photos/a.680717985341560/687656644647694/?type=3&theater
某人日常 (2014 年 7 月 10 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/nobodysdaily/photos/a.680717985341560/680717992008226/?type=3&theater
某人日常 (2014 年 10 月 15 日)。[附圖] [動態更新]。Facebook。取自： https://www.facebook.com/nobodysdaily/photos/a.680717985341560/732149696865055/?type=3&theater
某人日常 (2015 年 8 月 24 日)。[附圖] [動態更新]。Facebook。取自： https://www.facebook.com/nobodysdaily/photos/a.680717985341560/897015603711796/?type=3&theater
某人日常 (2016 年 10 月 30日 )。[附圖] [動態更新]。Facebook。取自： https://www.facebook.com/nobodysdaily/photos/a.680717985341560/1164454483634572/?type=3&theater
某人日常 (2019 年 3 月 12 日)。在哪裡跌倒，在哪裡躺好。#根本我的座右銘[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/nobodysdaily/photos/a.680719605341398/2135400106540000/?type=3&theater
某人日常 (2020 年 1 月 10 日)。3票定生死 [附圖] [動態更新]。Facebook。取自： https://www.facebook.com/nobodysdaily/photos/a.680719605341398/2696275790452426/?type=3&theater
某人日常 [@nobodysdaily] (2020 年 1 月 23 日)。雙重攻擊⚠️全面戒備 #過年 #某人日常 #武漢 [圖片]。取自：https://www.instagram.com/p/B7qG_-Dn6ul/
某人日常 (2020 年 2 月 5 日)。[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/nobodysdaily/photos/p.2747822615297743/2747822615297743/?type=1&theater
某人日常 (2020 年 4 月 13 日)。有空挑顏色？#女生都戴藍色了#男生也可以
[附圖] [動態更新]。Facebook。取自：https://www.facebook.com/nobodysdaily/photos/p.2747822615297743/2747822615297743/?type=1&theater
某人日常 (n.d.)。首頁 [Facebook粉絲專頁]。Facebook。2020 年 6 月 4 日，取自：https://www.facebook.com/LittleYellowStudio/
某人日常 [@nobodysdaily] (n.d.)。首頁 [Instagram 頁面]。Instagram。2020 年 4 月 4 日，取自：https://www.instagram.com/nobodysdaily/?hl=zh-tw
張凱童 (2019 年 4 月 1 日)。【觀點X張凱童】你好，我是一名文創經紀人。華山1914。2019 年 10 月20 日，取自：https://www.huashan1914.com/w/huashan1914/creative_19041617284515822
插畫觀測室 (2018 年 6 月 27 日)。【 插畫觀測室｜會客室 】跟插畫家WeiWei聊聊插畫經紀（上）[影片]。Youtube。取自：https://youtu.be/p1NwM_ChiGQ
新北好市生活學 (2020)。2020 年 5 月 16 日，取自： https://goodmarketslife.com.tw/activity?fbclid=IwAR324XBF2moXA0Iv0W7Lx9NJKPliatQoy4LUbeQEm3sA_tmQSNqMhSFeF00
楊雅民 (2006)。便利商店 贈品割喉戰又起。自由時報電子報。2019 年 10 月20 日，取自：https://news.ltn.com.tw/news/life/paper/64175
楊燕枝、吳思華 (2005)。文化創意產業的價值創造形塑之初探。行銷評論(3), 313-338。
蔡依林 Jolin Tsai (2019)。蔡依林 Jolin Tsai《消極掰 Life Sucks》Official Music Video [影片]。Youtube。取自：https://youtu.be/w_JBF4CJ-9M
蕭瑞麟 (2017)。《不用數字的研究：質性研究的思辨脈絡》。台北：五南學術原創系列。
貓貓蟲-咖波 (2020 年 4 月 13 日)。2020咖波周邊許願投票開始！可以自己新 [票選活動] [社團貼文]。Facebook。取自：https://www.facebook.com/groups/1403706506415061/permalink/2848669001918797/
貓貓蟲-咖波 (2020 年 4 月 15 日)。咖波周邊許願投票結果出爐! 這次多了幾個高 [附圖] [社團貼文]。Facebook。取自：https://www.facebook.com/groups/1403706506415061/permalink/2852699551515742/
賴筱凡、鄧寧 (2013)。角色經濟。今周刊，878期。2019 年 12 月 2 日，取自：https://www.businesstoday.com.tw/article/category/80392/post/201310170022/角色經濟
聯合數位文創IP授權 (2017)。台灣原創角色 前進上海國際授權展。2019 年 12 月 2 日，取自：https://ulicensing.udnfunlife.com/news.php
聯合數位文創IP授權 (2018)。台灣原創角色首次組團新南向 共拓新商機。2019 年 12 月 2 日，取自：https://ulicensing.udnfunlife.com/news.php
Laurier 蕾妮亞台灣 (n.d.)。首頁 [Facebook粉絲專頁]。Facebook。2020 年 4 月19 日，取自：https://www.facebook.com/LaurierTW/
LINE 原創市集 (2019)。2019 LINE原創市集國際論壇 系列分享#1 台灣貼圖暨創作者事業總監—呂苔君。LINE 原創市集 官方部落格。2019 年 10 月20 日，取自：http://creator-mag.line.me/tw/archives/81023579.html
littleyellowstudio｜小黃間 [@littleyellowstudio] (2019 年 4 月 5 日)。【 禮物 Gift 】一直都在努力討好別人的你，別忘 [圖片]。Instagram。取自：https://www.instagram.com/p/Bv3_rAQgcO_/
littleyellowstudio｜小黃間 [@littleyellowstudio] (n.d.)。首頁 [Instagram 頁面]。Instagram。2020 年 5 月 30 日，取自：https://www.instagram.com/littleyellowstudio/?hl=zh-tw

二、英文文獻
Aaker, J. L. (1997). Dimensions of brand personality. Journal of marketing research, 34(3), 347-356.
Ambler, T. (1992). Need-to-know marketing: An accessible AZ guide: Century Business.
Bendapudi, N., & Leone, R. P. (2003). Psychological implications of customer participation in co-production. Journal of Marketing, 67(1), 14-28.
Bennett, P. D. (1995). AMA dictionary of marketing terms. Lincolnwood, IL: NTC Publishing Group.
Bernard, H. R. (2017). Research methods in anthropology: Qualitative and quantitative approaches: Rowman & Littlefield.
Boorsma, M. (2006). A strategic logic for arts marketing: Integrating customer value and artistic objectives. International Journal of Cultural Policy, 12(1), 73-92.
Boyce, C., & Neale, P. (2006). Conducting in-depth interviews: A guide for designing and conducting in-depth interviews for evaluation input.
Brodie, R. J., Glynn, M. S., & Little, V. (2006). The service brand and the service-dominant logic: missing fundamental premise or the need for stronger theory? Marketing Theory, 6(3), 363-379.
Callcott, M. F., & Lee, W.-N. (1994). A content analysis of animation and animated spokes-characters in television commercials. Journal of Advertising, 23(4), 1-12.
Callcott, M. F., & Phillips, B. J. (1996). Observations: Elves make good cookies: Creating likable spokes-character advertising. Journal of Advertising Research, 36(5), 73-73.
Chang, Y.-C. (2020). Creating Value through the Performing Arts Festival: The Multi-Stakeholder Approach. Journal of Macromarketing, 1-16.
Elliott, R., & Yannopoulou, N. (2007). The nature of trust in brands: a psychosocial model. European Journal of Marketing, 41(9/10), 988-998.
Epley, N., Waytz, A., & Cacioppo, J. T. (2007). On seeing human: a three-factor theory of anthropomorphism. Psychological review, 114(4), 864.
Folse, J. A. G., Netemeyer, R. G., & Burton, S. (2012). Spokescharacters. Journal of Advertising, 41(1), 17-32.
Fournier, S. (1998). Consumers and Their Brands: Developing Relationship Theory in Consumer Research. Journal of Consumer Research, 24(4), 343–373.
Freeman, R. E. (1984). Strategic Management: A Stakeholder Approach. Boston: Pitman.
Galvagno, M., & Dalli, D. (2014). Theory of value co-creation: a systematic literature review. Managing Service Quality, 24(6), 643-683.
Garriga, E. (2009). Cooperation in stakeholder networks: firms’‘Tertius Iungens’ role. Journal of Business Ethics, 90(4), 623-637.
Gold, R. L. (1957). Roles in sociological field observations. Soc. F., 36, 217.
Green, J. (2004). FILM; Building a Better Mouse. The New York Times. Retrieved October 20, 2019 from https://www.nytimes.com/2004/04/18/arts/film-building-a-better-mouse.html
Guion, L. A., Diehl, D. C., & McDonald, D. (2001). Conducting an in-depth interview: University of Florida Cooperative Extension Service, Institute of Food and ….
Gyrd-Jones, R. I., & Kornum, N. (2013). Managing the co-created brand: Value and cultural complementarity in online and offline multi‐stakeholder ecosystems. Journal of Business Research, 66(9), 1484-1493.
Handley, L. (2017, April 18). Feel the force: ‘Star Wars’, ‘Finding Dory’ and Minnie Mouse make Disney a $57 billion franchise machine. CNBC. Retrieved from https://www.cnbc.com/2017/04/18/star-wars-helps-make-disney-57-billion-in-licensed-products.html
Hearn, G., Roodhouse, S., & Blakey, J. (2007). From value chain to value creating ecology: Implications for creative industries development policy. International Journal of Cultural Policy, 13(4), 419-436.
Hernández, Á. (2018). The Anime Industry, Networks of Participation, and Environments for the Management of Content in Japan. Paper presented at the Arts.
Hillebrand, B., Driessen, P. H., & Koll, O. (2015). Stakeholder marketing: theoretical foundations and required capabilities. Journal of the academy of marketing science, 43(4), 411-428.
Hosany, S., Prayag, G., Martin, D., & Lee, W.-Y. (2013). Theory and strategies of anthropomorphic brand characters from Peter Rabbit, Mickey Mouse, and Ronald McDonald, to Hello Kitty. Journal of Marketing Management, 29(1-2), 48-68.
Iglesias, O., Ind, N., & Alfaro, M. (2017). The organic view of the brand: A brand value co-creation model. In Advances in corporate branding (pp. 148-174): Springer.
Isomura, K., Suzuki, K., & Tochimoto, K. (2015). The evolution of characters business models in Japan: Duffy, Hello Kitty, and Kumamon. Strategic Direction.
Kotler, P., & Armstrong, G. (2010). Principles of marketing: Pearson education.
Kozinets, R. V. (2010). Netnography: The marketer’s secret weapon. white paper, 1-13.
LICENSE GLOBAL. (2018). A View from the East: Japan. License Global. Retrieved December 20, 2019 from https://www.licenseglobal.com/magazine-article/view-east-japan
Licensing Internaional. (2017). LIMA Study: Global Retail Sales of Licensed Goods and Services Hit US$262.9 Billion in 2016. Retrieved from https://licensinginternational.org/news/lima-study-global-retail-sales-of-licensed-goods-and-services-hit-us262-9-billion-in-2016/
Licensing Internaional. (2018). U.S. Remains Largest Global Licensing Market by Far, But Category-by-Category Look Paints a More Complex Picture. Retrieved from https://licensinginternational.org/news/u-s-remains-largest-global-licensing-market-by-far-but-category-by-category-look-paints-a-more-complex-picture/
Lusch, R. F., & Nambisan, S. (2015). Service innovation: A service-dominant logic perspective. MIS quarterly, 39(1).
Lusch, R. F., & Webster Jr, F. E. (2011). A stakeholder-unifying, cocreation philosophy for marketing. Journal of Macromarketing, 31(2), 129-134.
Licensing Expo. (2018). License Global Magazine Reveals 2018 Top 150 Global Licensors. PR Newswire. Retrieved October 20, 2019 from https://www.prnewswire.com/news-releases/license-global-magazine-reveals-2018-top-150-global-licensors-300628946.html
Mack, N. (2005). Qualitative research methods: A data collector’s field guide.
Merz, M. A., He, Y., & Vargo, S. L. (2009). The evolving brand logic: a service-dominant logic perspective. Journal of the academy of marketing science, 37(3), 328-344.
Muniz, A. M., & O'guinn, T. C. (2001). Brand community. Journal of Consumer Research, 27(4), 412-432.
Negus, K. (2002). The work of cultural intermediaries and the enduring distance between production and consumption. Cultural studies, 16(4), 501-515.
Noble, H., & Smith, J. (2015). Issues of validity and reliability in qualitative research. Evidence-based nursing, 18(2), 34-35.
Patton, M. Q. (1999). Enhancing the quality and credibility of qualitative analysis. Health services research, 34(5 Pt 2), 1189.
Payne, A., Storbacka, K., Frow, P., & Knox, S. (2009). Co-creating brands: Diagnosing and designing the relationship experience. Journal of Business Research, 62(3), 379-389.
Pera, R., Occhiocupo, N., & Clarke, J. (2016). Motives and resources for value co-creation in a multi-stakeholder ecosystem: A managerial perspective. Journal of Business Research, 69(10), 4033-4041.
Porter, M. E. (2011). Competitive advantage of nations: creating and sustaining superior performance: simon and schuster.
Potts, J., Cunningham, S., Hartley, J., & Ormerod, P. (2008). Social network markets: a new definition of the creative industries. Journal of cultural economics, 32(3), 167-185.
Prahalad, C. K., & Ramaswamy, V. (2000). Co-opting customer competence. Harvard business review, 78(1), 79-90.
Preece, C., Kerrigan, F., & O’Reilly, D. (2016). Framing the work: The composition of value in the visual arts. European Journal of Marketing.
Puzakova, M., Kwak, H., & Rocereto, J. (2009). Pushing the envelope of brand and personality: Antecedents and moderators of anthropomorphized brands. ACR North American Advances.
Ramirez, R. (1999). Value co‐production: intellectual origins and implications for practice and research. Strategic management journal, 20(1), 49-65.
Ranjan, K. R., & Read, S. (2016). Value co-creation: concept and measurement. Journal of the academy of marketing science, 44(3), 290-315.
Roloff, J. (2008). Learning from multi-stakeholder networks: Issue-focussed stakeholder management. Journal of Business Ethics, 82(1), 233-250.
Schmitt, B. H., & Rogers, D. L. (2008). Handbook on Brand and Experience Management: Edward Elgar.
Steinberg, M. (2010). A vinyl platform for dissent: Designer toys and character merchandising. journal of visual culture, 9(2), 209-228.
Susan Fournier, L. L. (2009). Getting Brand Communities Right. Harvard Business Review, April 2009. Retrieved from: https://hbr.org/2009/04/getting-brand-communities-right
Svensson, G., & Grönroos, C. (2008). Service logic revisited: who creates value? And who co‐creates? European Business Review.
Takyi, E. (2015). The challenge of involvement and detachment in participant observation. The Qualitative Report, 20(6), 864.
Vargo, S. L., & Lusch, R. F. (2004). Evolving to a New Dominant Logic for Marketing. Journal of Marketing, 68, 1-17.
Vargo, S. L., & Lusch, R. F. (2016). Institutions and axioms: an extension and update of service-dominant logic. Journal of the academy of marketing science, 44(1), 5-23.
Vargo, S. L., & Lusch, R. F. (2017). Service-dominant logic 2025. International Journal of Research in Marketing, 34(1), 46-67.
Walker, D., & Dubitsky, T. M. (1994). Why liking matters. Journal of Advertising Research, 34(3), 9-19.
Wasko, J., Phillips, M., & Purdie, C. (1993). Hollywood meets Madison Avenue: The commercialization of US films. Media, Culture & Society, 15(2), 271-293.
World Intellectual Property Organization. (1994). CHARACTER MERCHANDISING.