近年来，沉浸式、社交属性、叙事性成为线下爆款消费体验的关键词，如果将它们运用到文旅项目中会是一番怎样的体验？当下的文旅场景还可以如何营造参与？沉浸式娱乐让人专注于当前的目标情境下感到愉悦和满足，进而忘却真实世界的情境。它在一定程度上成为了文旅景区产品的新标识，吸引众多游客前往。Immersive and narrative experience with socialfunctions is an essential element in popular offlineconsumer activities in recent years. What willhappen if we apply these attributes into culture andtourism programs? What can we do to further engagethe visitors in culture and tourism scenes?Immersive recreations make one focus on the currentscene with pleasure and satisfaction, and forget thescene in the real world. In some sense, they becomea new logo that attracts the visitors to thecultural and tourism destinations.

场地的定位便是一个“主题型沉浸式自然剧场”。该剧场提供了全新的实景游戏体验。景观要如何规划动线，设置情境，让空间设计与游戏紧密结合，保证给到玩家以上体验的同时，还能兼具场地本身的功能属性。带着这些思考，我们尝试理清解题思路。The site is positioned as an “immersive theme naturaltheatre”, which provides brand new real gameexperience. The designers need to figure out theflow paths of visitors, create varied game scenes,and take the game elements into consideration whenmaking space design, thereby ensuring the gamingexperience and serving all the functions of thesite.

当我们在玩游戏的时候，享受的是沉浸其中的全情代入，一种暂时忘却外部世界的抽离。因此，游戏本身的情节设计，场景动线规划，互动体验设置，人物角色设定等，都决定了玩家是观赏者还是体验者、参与者、制造者，是主角还是配角。When we play games, we enjoy the complete immersionin it and the temporary departure from the realworld. The design of game plots, tourist flow paths,interactive installations and varied roles decidesthe role of the players: visitors, experiencers,participants or creators.

不同于观看表演、灯光秀等常见被动式文旅项目。该项目在游戏设计时，尝试带来一次全面改变底层文旅体验逻辑的创新实践。在景观和游戏介入之前，场地有一处圆环形酒店建筑体已完成，远远看去，建筑物犹如外太空飞船降落在山顶。因此，游戏以建筑物为起源，将其比喻为“环舟”，命名为“环舟奇迹”。Unlike the passive culture and tourism programs likeperformances and light shows, this project attemptsto fundamentally change the underlying logic ofcultural and tourist experience. Before theintroduction of landscapes and games, a ring-shapedhotel that looks like a spaceship landing atop themountain has been completed. Inspired by thisbuilding, the game is named as the SpaceshipMiracle.

《环舟奇迹》故事剧情由艺识流 ArtmosphereShowlab创作，内容梗概为：2022年，“时空环舟”来到南川大观。它改变了这里的能量场，促成时空平行、时间暂停等奇异现象，激发了本地花木潜藏的原气能量，由此出现各种植物精灵。玩家们化身为“原气师”，他们的任务便是寻找精灵，收集能量。所有玩家的收集结果直接影响着环舟的状态。观宇宙之大，归原点之家，环舟和这个世界的命运，就掌握在每位原气师的手中。Created by Artmosphere Showlab, the Spaceship Miracletells the story that the Spaceship changes localenergy field, brings about abnormal phenomena likeparallel universe and time freeze, inspires thePrimordial Qi in local plants, and fosters variousplant elves after its arrival in the Daguan Town,Nanchuan in 2022. As Primordial Qi masters, theplayers need to find the elves and collect energies,which have direct impact on the state of theSpaceship. The destiny of the Spaceship and theworld depends on these Primordial Qi masters.

游戏以科技交互与艺术创意手段，首创实现游客主动参与型的强互动实景游戏。魔幻的剧情和角色营造了一种超现实的体验，景观设计也围绕“寻找精灵”的故事线展开。我们尝试在空间中分离出尽可能丰富的空间主题，让玩家可以完全沉浸在游戏中，实现景观和游戏情境的彼此融合。With technological interactions and artisticcreations, the game pioneers to attract the activeparticipation of the tourists by presenting stronglyinteractive scenes. The magical plots and rolesbring about surrealist experience. The landscapesare designed based on the storyline of “looking forthe elves” as well. We try to present as many themesas possible in the space, so that the players wouldget completely immersed in the games. The landscapesand the gaming scenes would be organicallyintegrated.

结合场地原有的地形地貌，以及南川原有的“生态大观园”旅游文化基础，我们以植物、氛围、情境为线索，创造了12处不同主题的空间。在每一个小主题区域，植入不同的自然场景、人景互动、灯光及艺术装置、文化元素等，让玩家们每跳脱出一个区域，都是截然不同的空间体验，12个主题空间将“寻找精灵”之旅完美串联。Based on the original landform of the site and therich biological resources in the Daguan Town, wecreated 12 themed spaces, with plants, atmosphereand scenes as the clues. Different natural scenes,interactive installations, lighting and artisticinstallations, and cultural elements are introducedto every themed space. The themes of these spacesconnect the trip of “looking for the elves” togetherperfectly.

以几个场景为例。在“遗落森林”主题区里，景观塑造了灰暗且毫无生机的空间氛围。一条长凳静伫于广场中央，镶嵌在地面上的破碎玻璃，反射着这神秘的空间与残败的森林，让人想要探寻。与它垂直的方向，是村落的聚集区域。青砖垒砌，天地都是镜面，在砖墙的一侧，仿佛被天光划开了一道裂缝。飞舞的精灵们在密林间穿梭，地面玻璃上也反射着它们浮动跳跃的身影。玩家的寻找过程是有挑战性且极需耐心的，但因为景观所赋予的沉浸式场景，它成了一个极具探秘性与参与性的空间。In the themed space of Forgotten Forest, the space isdark and lifeless. A bench is found in the center ofthe space. The broken glass inset on the groundreflects this mysterious space and ruined forest,inspiring the desire of starting an adventure. Onthe other side of the space is a village. The skyand the ground are both built with mirror surfaces.From one side of the black brick wall, thesesurfaces look like a crack in the sky.Theelves fly in the dense forest. The glass on theground reflects their moving figures.

场景跳转到这片灿烂的花海。隐藏在这片花海中的，还有一座以玫瑰形态为设计灵感的迷宫。迷宫由五朵含苞待放的“花骨朵”组合而成，变幻莫测的色彩，不经意间出现的草堆，破碎的玻璃镜面，哈哈镜里的万千世界，强烈的沉浸式体验被赋予其中，每一个主题区域都是不同的“迷惑感”。It is a challenging task that requires particularpatience when looking for the elves. Thanks to theimmersive scenes, the space is highly exploratoryand engaging. Among the sea of lowers lies arose-shaped maze, which is composed of five flowerbuds. The changing colors, unexpected haystacks,broken glass mirrors and magic mirrors presentstrongly immersive experience. Every themed space is“puzzling” in its own way.

虚幻的氛围“扰乱”玩家的感知，蜿蜒曲折的道路加大了寻找精灵的难度。这个空间时刻在提醒玩家，虚无与现实也许只是一念之间。在各种梦幻场景之后，我们希望借广阔场地特有的力量感，塑造一处大地艺术的空间。The visionary atmosphere “perplexes” the players’perception. The winding roads make it even harder tofind the elves. The space keeps reminding theplayers that there could be only a thin line betweennothingness and reality. In addition to all thesedreamlike scenes, we wish to present a space themedon the ground art by leveraging the unique force ofthe site.

在粉黛和银杏的围合之中，一处狭长而鲜红的下沉空间，好似大地的“咽喉”，以具有冲击感的色彩和形态静静躺在草坪中央，激发着玩家寻找和探索的欲望。Inside the pink, dark green and apricot enclosures isa narrow, long and bright red sunken space, whichlooks like the “throat” of the ground. In shockingcolors and shapes, it lies in the center of thelawn, inspiring the players to make explorations andadventures.

主线浏览路径长度约1km，包含山谷、密林、花海等不同自然空间，串联起12个不同主题园区。12个主题乐园是12种截然不同的体验，每进入一个新的空间，就像穿越到另一处时空，虚虚实实，如梦如幻，层层升级闯关的体验令人沉迷。随着游戏剧情的发展，人们能感受到更为深刻的场地魅力。在这条蜿蜒曲折高低错落的路上，设计包含通过场景、影像、音乐、灯光、表演和科技特效来达成环绕效果，使体验者处于被环绕的环境之中，全方位、多角度调动参与者的注意力，成为一个具备互动感、叙事感和社交氛围的全域沉浸式主题空间。The main sightseeing path is about 1km long,connecting 12 themed natural spaces of valleys,dense forests and flower seas. The spaces underdifferent themes bring about distinctive experience.Every space is like a fascinating new world, whichlooks illusionary one minute and true the next. Asthe story progresses, the visitors find the siteeven more charming. Along this winding path, thereare varied scenes, images, music, lights,performances and tech-empowered special effects.Surrounded by all these lements, the visitors willbe fully immersed in the spaces in the interactive,narrative and social manner.

《环舟奇迹》编织了一场融汇自然教育、文化传承、科技艺术、大众娱乐的沉浸式体验。它是一次全面改变底层文旅体验逻辑的创新尝试，能够兼顾白天和夜间双重时段游玩的需要，并巧妙地将数字化虚拟技术与实地空间体验相结合，是一款常玩常新、具有可持续生命力的实景游戏。Spaceship Miracle serves a wide range of functions,including nature education, cultural inheritance,science and technology promotion, and publicrecreation. It fundamentally changes the underlyinglogic of culture and tourism experience, and meetsthe visiting needs both day and night. As aninnovative real game with lasting vigor, it combinesdigital technologies with the physical spaceexperience in an exquisite way.

参与该项目的设计师，大多都是90后甚至95后的年轻设计师，他们在设计中同样赋予了自己的想象与诉求，发挥他们天马行空的想象，创造了一处视、听、触、嗅等全感深度激发的沉浸式探索空间。Most designers engaged in this project are thepost-90s, including the post-95s. The design carriestheir wild imaginations and pursuits, and bringsabout an immersive exploratory space that engagesthe visual, auditory, tactile and olfactory senses.

项目名称：重庆“环舟奇迹”沉浸式户外游戏场景

业主单位：重庆市南川区永隆建设开发有限公司

景观面积：91720㎡

项目地址：重庆市南川区大观镇

景观设计：WTD纬图设计

设计团队：李卉 李彦萨 余治富 欧键 石桂霖 郭雪灿 童文静 刘艳 周芯宇 赵桐 刘翔宇 李理 简梦婕 王园园 谷雨 贺谧 张书桢 刘爱玲 宋照兵 姚淞骅 代彪

建筑设计：中国建筑设计研究院游戏

策划设计：艺识流 Artmosphere Showlab 大观原点

顾问：重庆奥雅可是文化发展有限公司

游戏运营：重庆南川大观乡颂商业有限公司旅游

投资方：重庆南川惠农文旅集团乡宿酒店及特色商业街区

景观规划：北京原筑景观规划有限公司

摄影：xf-photography