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因此「IP」意味着原創作品可以透過授權被改編，或 “IP” thus connotes potentials for an original work to be adapted
into various formats through licensing or other monetisation
透過其他盈利方式發揮潛力，這實質上就是版權的商
methods, which essentially means commercialising or exploiting
業化。如今該術語已擴大範圍，涵蓋從動畫到設計等
copyright. Nowadays, the term has expanded to describe an
創意內容類別。
overarching category of creative content that ranges from animation
to design.
譬如，近年來我們可以看到韓國IP 開發所獲得的突破
性成功，許多 webtoon（網絡漫畫）被改編成熱門電 In recent years, for example, we have seen an explosive success of IP
影和電視，例如《與神同行》（2017）、《甜蜜家園》 developments from South Korea, where many webtoon contents
（2020）和《地獄公使》（2021）。網絡漫畫作者為影 (digital comics) have been adapted into smash-hit films and TV
視界提供無數內容，影視界亦通過吸引國際觀眾來幫 shows, such as Along with the Gods (2017), Sweet Home (2020), and
助網絡漫畫獲得更大關注。 Hellbound (2021). As webtoon artists supply countless contents to the
screen sector, the screen sector also helps webtoons gain traction by
同樣在台灣，近年許多影視作品都是跨媒介改編而 appealing to a larger, and oftentimes international, audience.
成，例如《返校》（2019）、《誰是被害者》（2020）和
Similarly, in Taiwan, many recent film and TV hits were cross-
《天橋上的魔術師》（2021），這三部作品就是由遊戲
medium adaptations, such as Detention (2019), The Victim’s Game
和小說改編而成。
(2020), and The Magician on the Skywalk (2021), which were adapted
from a video game and novels respectively.
以一個作品去衍生更多新的 IP，能讓內容製作的輸出
一直保持豐富和旺盛，同時也是打造一個具商業前景 Leveraging a single work to birth multiple new IPs has ensured
that the production pipeline is rich with content. It is also a crucial
行業的關鍵。
step to forge a coherent and lucrative industry.
台灣政府在開發IP 方面已抓緊機會。以下的個案研究
The Taiwanese government has tapped into the wealth of
分析了文化內容策進院於 2020 年推出的內容開發專
opportunities in developing IP. The case study below illustrates
案計畫，旨在促進台灣文創產業的 IP 內容開發。
schemes under the pilot Creative Content Development Programme
(CCDP) rolled out by TAICCA in 2020, designed to promote and
champion IP development across Taiwan’s CCI.
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