解「密」？解「謎」？博物館新觀眾參與實境解謎遊戲之研究

博物館隨世代變化，以人為核心發展，透過與人們之間的溝通對話，轉變其樣態符應、生存於社會，彼此的溝通皆處在一種解密的過程中，經由博物館的詮釋、展示、教育（學習）等方式，提供觀眾們可理解的格式嘗試對話。而近年蔚為流行的博物館實境解謎遊戲，作為其一媒介來吸引、拓展與大眾的連結，運用其中解謎的特質來闡述呈現各博物館解密的內涵。新觀眾們受博物館實境解謎遊戲聚攏而來，以遊戲的方式認識博物館，於過程加深彼此之瞭解與溝通，此途徑如何能符合與新觀眾們的對話，應探討其所需與所求、感受與想法、互動的過程為何。實境解謎遊戲於臺灣之博物館發展具些許成果且不斷轉變翻新，然而，當前博物館中對於實境解謎遊戲相關研究仍為之少數。本研究以國立臺灣博物館的實境解謎遊戲「諾亞計畫」與國立歷史博物館實境解謎遊戲「人生不卡關」為個案，徵求體驗實境解謎遊戲後之新觀眾們（共八位），藉由參與觀察、深度訪談的方式來蒐集資料並歸納分析。研究發現，博物館透過實境解謎遊戲中的謎題來傳達訊息，其中溝通之內容亦藉由典藏物件來表述，此雖獲得新觀眾們較多的正向反饋，但其保有對於典藏物件本真性的渴求，期望仍可親臨、接觸。而實境解謎遊戲實則能視為一種展示的方式，並作為新觀眾們社交需求的動能，成為另一種拓展觸及於新觀眾們的媒介，然而，開拓為其重要但穩固亦為重要，轉換實境解謎遊戲謎題的配置模式，增添與其更多互動性，較能增益回訪之意願。實境解謎遊戲基本結構中，內容主題具生活感易與新觀眾有所連結且引起迴響，在遊戲之過程中，如若歷時過長會帶來博物館疲勞的現象，而1至1.5小時為較佳之時間長度。希冀未來於博物館之實境解謎遊戲的發展脈絡下，不論館方、遊戲公司方等集體合作時，能夠有依循的做出發展、調適、優化，讓彼此找尋合適的溝通詮釋及感受體驗。

關鍵字

博物館解密；實境解謎遊戲；新觀眾

並列摘要

The museum changes and develops with the generations. Through communication with the public, it transforms its form and exist in society. The communication is a decoding process. By the way of museums’ interpretation, exhibition, and education (learning) to provide audience with understandable format. Reality puzzle game has become a popular activity in museums in recent year, as the way of attracting and expanding audience connection. To let them understand the museum decoding contents with reality puzzle game. New audience were gathering by museum’s reality puzzle game, knowing the museum through it, and deepen mutual understanding and communication in the process. This approach how to fit into conversation with new audience, and to discuss what is the process of their actual needs, wants, feelings, thoughts, and interactions. During the development of the museum reality puzzle game in Taiwan, many achievements have been achieved and developed. However, there is still few related research in museum reality puzzle game studies so far. Applying the reality puzzle game "Noah's Project" of the National Taiwan Museum and the reality puzzle game "Life Unstuck" by the National Museum of History as cases study, this research invites eight new audience who have experienced the reality puzzle game. Participant observations and in-depth interviews are applied as methods of data collection. The study found that the museum conveys information through the puzzles in the reality puzzle game. The content of the communication is also expressed through the museum collections. Although it has received a lot of positive feedback from new audience, them retain a desire for the authenticity of the collections and hope to still visit and contact it. In fact, reality puzzle game can be regarded as a way of presentation as the social needs of new audience, it has become another medium for expanding and reaching them. However, development is important but also stable. Configuration reality puzzle game’s mode, adding more interactivity to it, which can increase the willingness to return museum. It’s hoped that in the future reality puzzle game in museums, when collectively cooperating, there will be research to follow to make development, adjustment, and optimization. Finding suitable communication, interpretation, and experience for each other.

並列關鍵字

museum decoding ； reality puzzle game ； new audience

參考文獻

張崇山（1993）。博物館的展示規劃。博物館學季刊，7（3），55-64。

郭義復（1999）。科學博物館展示的變革。博物館學季刊，13（3），97-103。

謝文和（2000）。博物館與學校的教育夥伴關係。博物館學季刊，14（2），15-21。

Miller, G. A. (1956). The magical number seven, plus or minus two: Some limits on our capacity for processing information. Psychological Review, 63(2), 81-97. https://doi.org/10.1037/h0043158

一、中文文獻

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