無聊如何變盲盒 高中職生的創意考驗

記者許恩齊、江依玲／採訪報導

Reported by En-Chi Hsu and I-Ling Chiang

背單字、讀古文、聽講座、打掃環境，都是高中生熟悉的「無聊」日常。但要把情緒感受做成能抽、能玩，甚至讓人願意再次完成任務的實體盲盒，參賽者首先得回答：「究竟什麼令人無聊？」第 23 屆智慧鐵人創意競賽決賽主軸任務中，各隊從生活經驗尋找答案，於 72 小時內把抽象感受轉化為可操作的產品。在共同尋找改變無聊的解方時，這群青年學子也必須於發想和創作過程中反覆追問：自己的設計為何成立，又如何先說服自己，再說服他人？

Memorizing vocabulary, studying classical literature, listening to lectures, and cleaning are all familiar forms of “boredom” for high school students. But to turn an abstract feeling into a physical blind box that people can draw from, play with, and even use as motivation to complete a task again, contestants first had to answer: “What exactly makes something boring?” In the Main Project of the 23rd Intelligent Ironman Creativity Contest finals, teams drew answers from their own experiences and had 72 hours to turn an abstract feeling into a usable product. As they worked together to find ways to transform boredom, these young contestants also had to keep asking themselves throughout the ideation and creation process: Why does our design work, and how can we convince ourselves before convincing others?

Turning Boredom into Blind Boxes: A Creative Challenge for Senior High and Vocational Students

評審進入教室後，依序觀看隊伍製作的實體盲盒、展示牆與情境布置。參賽者必須把抽象的「無聊」轉化為能實際操作的產品。圖為「炒幣中華隊之百倍槓桿已爆倉多慧我們失去的」小隊設計的「樹葉有專攻」裝置。（圖／許恩齊攝）
After entering the classroom, the judges viewed each team’s physical blind boxes, display wall, and themed setup in sequence. Contestants had to turn the abstract idea of “boredom” into a product people could actually use. Pictured is the Don't leaf me! installation created by the Team Chinese Taipei Of Crypto-Liquidated on 100x leverage Let's use the "Ironman" to win back what we lost. team. (Photo by En-Chi Hsu)

七種情境任選 六個盲盒原型考驗完整設計
Seven Scenarios, Six Blind-Box Prototypes: A Test of Complete Product Design

今年智慧鐵人創意競賽決賽主軸主題為：「無聊地獄」的盲盒特效藥。題目將參賽者設定成掌握多巴胺密碼的「腦控煉金術士」，請各隊從背單字、讀古文、上無聊課程、聽演講、聽訓話、打掃環境及落單七種情境中，選擇一至兩項作為產品設計起點。

This year’s final Main Project was “Blind Box Cure for ‘the Hell of Boredom.’” Contestants were cast as “Mind Control Alchemists” who had mastered the secrets of dopamine. Each team had to choose one or two of seven scenarios—memorizing vocabulary, studying classical literature, attending boring classes, listening to speeches or lectures, being lectured by parents or teachers, doing household chores, and being left out or alone—as the starting point for its product.

隊伍不能只把獎品藏進盒子裡，還必須製作六個實體原型。產品須具有抽取、可動結構或其他能產生不同結果的操作機制；使用後還要讓人心情平靜、注意力集中或觀察力變敏銳，提高使用者再次完成無聊任務的意願。

Teams could not simply hide prizes inside boxes; they also had to build six physical prototypes. Each product needed an interactive mechanism—such as a random draw, movable parts, or another method capable of producing different outcomes. It also had to help users become calmer, more focused, or more observant, increasing their willingness to complete the boring task again.

題目還要求盲盒裡至少有一項「負面效果」。這項效果不能幫助使用者，反而要讓原本的任務變得更無聊。隊伍因此得同時設計正面結果與負面結果，再透過機率安排，讓使用者期待下一次抽取。評分時，正、負結果還要被演成兩段反差明顯的使用情境。

The brief also required each blind box to include at least one “negative effect.” Rather than helping users, this outcome had to make the original task even more boring. Teams therefore had to design both positive and negative results, then use probability to make users look forward to the next draw. During evaluation, the two outcomes also had to be acted out as sharply contrasting user scenarios.

除了產品，題目也將展示方式納入評分。展示牆的長度不得超過兩公尺，評審有一分鐘閱讀；接著觀看由「CEO」主導、最長五分鐘的產品發表會，最後進行兩分鐘問答。這表示參賽者得在 72 小時的製作時間裡，完成盲盒、展示牆、說明資料、場景布置與表演劇本。

The presentation format was also part of the evaluation. The display wall could be no more than two meters long, and judges had one minute to read it. They then watched a product launch led by a “CEO” and lasting no more than five minutes, followed by a two-minute Q&A. This meant that within 72 hours, contestants had to complete the blind boxes, display wall, explanatory materials, themed set, and performance script.

隊伍須製作展示牆說明產品原理、操作方式、效果及發表會設計。圖中「前兩場沒報隊」小隊向評審介紹產品裝置。（圖／凌宇佳攝）
Teams had to create a display wall explaining the product’s principles, operation, effects, and launch-presentation design. Pictured is the No fight team team presenting its installation to the judges. (Photo by Yu-Chia Ling)

國內外青少年對「無聊」各有解讀 抽取盲盒更可跳脫現實
Domestic and International Students Interpret “Boredom” Differently as Blind Boxes Move Beyond Reality

從最終主軸任務呈現出的作品來看，國內小隊多半先從最熟悉的校園生活下手。背單字、讀古文與聽講座反覆出現，也有不少隊伍選擇打掃環境；而國際隊伍的切入點較為不同，除了學習與上課，也有隊伍選擇從落單出發，並以感官體驗的方式呈現。不同的成長與生活經驗，讓同一道題目被解讀成不同的方向。

The final Main Project entries showed that most Taiwanese teams began with the school experiences they knew best. Memorizing vocabulary, studying classical literature, and listening to lectures appeared repeatedly, while many teams also chose cleaning. International teams approached the subject somewhat differently: in addition to learning and classroom scenarios, some focused on being left out and presented the experience through the senses. Different backgrounds and life experiences led teams to interpret the same prompt in very different ways.

裝置形式方面，有多支隊伍借用扭蛋、小鋼珠與拉霸的抽選方式。使用者經過旋轉、投入或拉動後，才能得知隨機結果，與盲盒強調未知及期待的概念相近。另一些隊伍則不沿用既有設備，而是重新想像盲盒的外形，將其延伸為大型背包、VR頭戴式裝置、夢境場景、重鑄熔爐或抽屜。表面造型雖然不同，核心仍是讓使用者先完成任務，再等待一個可能帶來驚喜、也可能讓無聊加倍的結果。

In terms of form, many teams borrowed random-selection mechanisms from capsule-toy machines, pachinko, and slot machines. Users had to turn, insert, or pull something before discovering the randomized result, echoing the uncertainty and anticipation central to blind boxes. Other teams moved away from familiar machines and reimagined the blind box itself as an oversized backpack, a VR headset, a dreamscape, a reforging furnace, or a set of drawers. Despite their different appearances, all shared the same core idea: users first completed a task, then waited for an outcome that might bring a surprise—or make the boredom even worse.

在相同的題目限制下，各隊仍發展出差異很大的產品形式。日本「WASEDA」小隊把日本常見的扭蛋文化帶進單字學習；智利「Team Paine」把盲盒放大成全班共用的背包；馬來西亞「Milo Dinosaur Kaw Kaw」小隊則以體感裝置呈現「落單」情境。

Even under the same constraints, the teams developed widely different product formats. Japan’s WASEDA brought the country’s familiar gacha culture into vocabulary learning; Chile’s Team Paine enlarged a blind box into a backpack shared by an entire class; and Malaysia’s Milo Dinosaur Kaw Kaw used a motion-sensing installation to depict the experience of being left out.

日本「WASEDA」小隊向評審介紹將扭蛋機制結合單字學習的裝置「STUDY GA-CHA」。（圖／蔡尊堯攝）
Japan’s WASEDA team presents STUDY GA-CHA, an installation combining a gacha mechanism with vocabulary learning, to the judges. (Photo by Tsun-Yao Tsai)

先想清楚「什麼無聊」 再決定盲盒怎麼抽
Define What Is Boring Before Deciding How the Blind Box Works

規則看似明確，但真正開始發想後，不少隊伍先卡在「無聊」本身。它沒有固定外形，每個人的感受也不同。來自「一波大跳把分數拉到最高」小隊的張姈嬛，在設計「不簡單高中生」時說：「無聊是一個滿抽象的感覺，要把它變成一個具體的東西呈現出來，然後還可以讓你變得開心，所以剛開始在這個定義上卡了很久。」

The rules seemed clear, but once ideation began, many teams first became stuck on the idea of “boredom” itself. It has no fixed form, and everyone experiences it differently. Zhang Linghuan of Big Leap to Score Peak said while designing A Variety of Senior High Lives: “Boredom is quite an abstract feeling. We had to turn it into something concrete that could be presented and also make people happy, so at first we were stuck for a long time just trying to define it.”

討論遲遲沒有結果時，他們改變順序，先想出希望使用者進行的互動，再回頭決定盲盒內容。張姈嬛說：「我們不如先從想要做什麼互動形式開始，然後再去定義裡面的東西要怎麼做。」這才把原本抽象的「無聊」轉成可以操作的產品流程。

When the discussion stalled, the team changed the order of its process. Members first decided what kind of interaction they wanted users to have, then worked backward to determine the contents of the blind box. “We thought we might as well start with the kind of interaction we wanted to create, and then define what should go inside,” Zhang said. Only then did they turn the abstract idea of boredom into a workable product flow.

「smolili」小隊則希望以「夢入盲盒」改善讀歷史時的無聊感。他們認為，課本中的事件與現代高中生所處的時代、生活環境差異很大，學生即使讀過文字，仍很難想像自己身在其中。隊員黃家浤說：「上課學習的時候，不太能完全帶入它的情境，所以我們希望藉由這種裝置，讓你可以充分理解，然後體驗到它。」

The smolili team, meanwhile, hoped to use its dream-themed installation to ease the boredom of studying history. They believed the events described in textbooks are far removed from the era and environment of today’s high school students, making it difficult for readers to imagine themselves in those situations. Team member Jia-hong Huang said: “When we study in class, it is hard to fully place ourselves in those situations. We hope this device will help users understand them more completely and experience them firsthand.”

「smolili」小隊以歷史場景與夢境為概念搭建「夢入盲盒」，讓使用者抽取科目後走入對應場景。（圖／江依玲攝）
Drawing on historical scenes and dreams, the smolili team built its dream-themed installation, allowing users to draw a subject and then step into a corresponding scene. (Photo by I-Ling Chiang)

「夢入盲盒」最初採用六角形盲盒，打算讓使用者從六個方向抽取內容；後來才把「抽」與「體驗」拆開。使用者先在上課前抽出科目，再走入象徵夢境與現實交界的裝置，體驗與該科目相關的歷史場景。

The installation’s first version used a hexagonal blind box, with content drawn from six different sides. The team later separated the “draw” from the “experience.” Before class, users first drew a subject; they then entered an installation symbolizing the boundary between dreams and reality to experience a historical scene related to that subject.

作品在發想階段的數度調整，可以看出創意不只在於提出新奇點子，更在於釐清問題與解方之間的關係：設計者想改變的是什麼樣的「無聊」，使用者又能否感受到改變。

The project’s repeated changes during ideation show that creativity involves more than proposing an original idea. It also requires clarifying the relationship between a problem and its solution: What kind of “boredom” is the designer trying to change, and can users actually feel that change?

盲盒不能只是遊戲 任務與回饋必須互相扣合
A Blind Box Cannot Be Just a Game: Tasks and Rewards Must Work Together

如何把盲盒的未知感，和完成任務的動機連在一起，是各隊接著要處理的問題。若使用者只期待拿到獎品，卻沒有因此更願意聽課、背單字或打掃，產品就失去原本目的。

The next challenge was linking the uncertainty of a blind box with the motivation to finish a task. If users only looked forward to receiving a prize but did not become more willing to listen in class, memorize vocabulary, or clean, the product would lose its original purpose.

日本「WASEDA」小隊以「STUDY GA-CHA」改善背單字時的無聊感，借用日本高中生熟悉的扭蛋經驗。該隊表示，「不知道會抽到什麼」本身帶有遊戲感，因此將單字學習內容放進抽取結果。

Japan’s WASEDA team created STUDY GA-CHA to address the boredom of memorizing vocabulary, drawing on the gacha experience familiar to Japanese high school students. The team explained that not knowing what would come out already felt like a game, so it incorporated vocabulary-learning content into the randomized results.

智利「Team Paine」小隊則從隊員上課時難以專心的共同經驗出發，製作「BLIND-GO BOX」。他們沒有替每名學生各做一盒，而是把不同結果集中在同一個大型背包，讓全班輪流抽取。背包體積大，內部還裝有多個機關，是隊伍製作時最棘手的部分。

Chile’s Team Paine began with a problem shared by its members: difficulty concentrating in class. Instead of making a separate box for every student, the team placed multiple possible outcomes inside one oversized backpack called BLIND-GO BOX, allowing an entire class to take turns drawing from it. The backpack was large and contained multiple mechanisms, making it the most difficult part of the team’s build.

智利「Team Paine」小隊製作「BLIND-GO BOX」，其中的大型背包裝置集結多種抽選結果與操作機關，如何在有限空間裡安排結構並使其順利運作，成為隊伍製作時最棘手的部分。（圖／凌宇佳攝）
Chile’s Team Paine created BLIND-GO BOX, an oversized backpack containing multiple randomized outcomes and interactive mechanisms. Arranging the structures within limited space while keeping every part operational became the team’s toughest production challenge. (Photo by Yu-Chia Ling)

「六邊形戰士」小隊選擇「聽演講」與「背英文單字」，花費大量時間製作能真正轉動、掉出內容物的「煉多多扭蛋盲盒」。隊員蕭聖翰強調，他們不希望由人躲在後方偷偷丟出扭蛋，而是讓使用者轉動旋鈕後，機器真的能將扭蛋送出。

The Hexagon Warriors team chose “listening to lectures” and “memorizing English vocabulary,” spending much of its time building a working capsule-toy blind box called Learn More More Blind Box, whose mechanism could actually turn and dispense capsules. Team member Sheng-Han Hsiao stressed that they did not want someone hiding behind the machine and secretly dropping a capsule; they wanted the machine itself to release one when the user turned the knob.

「煉多多扭蛋盲盒」裡放的不是單純獎品，而是與當天演講內容相連的小任務，例如找出關鍵字、計算講者說了幾次指定詞語。隊員楊宇棠說：「每一個盲盒裡面打開，都會有一個類似小任務、小題目的方式，每一個任務會對應到當天演講課的內容。」抽取帶來未知感，任務則把使用者的注意力拉回講座內容。

The capsules inside Learn More More Blind Box contained more than simple prizes. Each held a small task tied to that day’s lecture, such as identifying a keyword or counting how many times the speaker used a specified word. Team member Yu-Tang Yang explained: “When you open each blind box, you get something like a small task or question, and every task corresponds to the content of that day’s lecture.” The draw created uncertainty, while the task redirected the user’s attention to the lecture.

「六邊形戰士」小隊製作「煉多多扭蛋盲盒」，將聽演講與背單字的小任務裝進扭蛋，讓盲盒效果與課堂內容直接連結。（圖／江依玲攝）
The Hexagon Warriors team created Learn More More Blind Box, placing small tasks related to lectures and vocabulary learning inside capsules so that the blind-box outcomes connected directly with classroom content. (Photo by I-Ling Chiang)

「可悲小圈圈」小隊製作「講座抽選機」，將校園講座改造成拉霸遊戲。使用者必須先投入一張類似學習單的憑證，才有資格抽取下一場講座主題。隊員陳畇叡表示，許多較艱澀的講座主題出現在校園時，學生卻可能睡覺或與同學聊天，因此他們讓參與者有機會抽到自己感興趣的題目，「你只要想參加，就一定要認真聽，然後也會有所回報。」

The Pathetic circle team turned school lectures into a slot-machine game with its Lecture JACKPOT. Users first had to insert a certificate resembling a completed worksheet before they were allowed to draw the topic of the next lecture. Team member Yum-Ruei Chen noted that when difficult lecture topics are presented at school, students may fall asleep or chat with classmates. The team therefore gave participants a chance to draw a subject that interested them: “If you want to take part, you have to listen carefully, and you will get something in return.”

「可悲小圈圈」小隊把校園講座改造成「講座抽選機」。使用者完成學習內容後，才有機會抽取下一次想聽的題目。（圖／江依玲攝）
The Pathetic circle team transformed school lectures into Lecture JACKPOT. Only after completing the learning activity did users earn a chance to draw the topic they wanted to hear next. (Photo by I-Ling Chiang)

選擇「打掃環境」的「如果我是奶龍你還會愛我嗎」小隊，把盲盒延伸成「VR 家事闖關」。戴上裝置後，掃落葉變成拿劍砍怪物，垃圾分類變成籃球投籃，擦玻璃時還能跟著節奏跳舞。隊員林于翔說，他們想起小時候會把掃具當成武器，於是把這種想像搬進產品，「把平常會被說是把無聊當有趣的東西，變成真正有趣的東西。」

Choosing “doing household chores,” the Would you still love me if I were Milky Dragon team expanded the blind-box concept into a VR household-chore challenge. After putting on the headset, sweeping leaves became sword fighting against monsters, sorting trash became shooting basketballs, and wiping windows became a rhythm-based dance. Team member Yu-Xiang Lin said they remembered pretending that cleaning tools were weapons when they were children, so they brought that imagination into the product: “We turned something people might describe as making fun out of boredom into something that is genuinely fun.”

VR 眼鏡原先只是六個盲盒選項之一；團隊後來發現，虛擬畫面能延伸出更多家事玩法，才將整套設計統一為眼鏡與卡匣系統。

The VR headset was originally only one of six blind-box options. The team later realized that virtual scenes could support many more household challenges, so it unified the entire design around a headset-and-cartridge system.

「如果我是奶龍你還會愛我嗎」小隊將掃落葉、垃圾分類與擦玻璃設計成「VR 家事闖關」。圖右為隊員實際進行垃圾分類，圖左則呈現使用者在 VR 中看到的投籃情境。（圖／凌宇佳攝）
The Would you still love me if I were Milky Dragon team turned sweeping leaves, sorting trash, and wiping windows into a VR household-chore challenge. At right, a team member sorts trash in the physical setting; at left is the basketball-shooting scene seen by the user in VR. (Photo by Yu-Chia Ling)

3D眼鏡看到暈 第一版機關接連出錯
3D Glasses Cause Dizziness as First-Generation Mechanisms Keep Failing

產品概念確定後，實作又帶來另一輪難題。「炒幣中華隊之百倍槓桿已爆倉多慧我們失去的」小隊在完成「樹葉有專功」前，原本想讓盲盒送出紅藍 3D 眼鏡，再由評審找出藏在隊員衣服上的數字。實際測試後，隊員詹定衡說：「那個真的太暈了，暈到吐。」這項設計最後被整個撤下。

Once the product concept was set, hands-on production brought another round of challenges. Before completing Don't leaf me!, the Team Chinese Taipei Of Crypto-Liquidated on 100x leverage Let's use the "Ironman" to win back what we lost. team initially planned for the blind box to dispense red-and-blue 3D glasses, which judges would use to find numbers hidden on team members’ clothing. After testing the idea, team member Ding-Heng Zhan said: “It really made us too dizzy—dizzy enough to throw up.” The idea was ultimately removed altogether.

該隊製作的「樹葉有專功」機關，也曾在測試時誤把葉片一次全部噴出，而非依照設計分層掉落。隊伍只得打開裝置，重新檢查內部是否鬆脫，再反覆拍攝與測試，直到機關能按照預定方式運作。

During testing, the team’s Don't leaf me! mechanism also mistakenly sprayed out all its leaves at once instead of releasing them in layers as designed. The team had to open the device, inspect the interior for loose parts, and repeatedly film and test it until the mechanism operated as intended.

「炒幣中華隊之百倍槓桿已爆倉多慧我們失去的」小隊為打掃情境製作「樹葉有專功」。使用者將樹葉掃入裝置後，便能隨機產生出金掃把、加長掃把或更多樹葉。裝置是否能順利掉出結果物，成為反覆測試的重點。（圖／江依玲攝）
The Team Chinese Taipei Of Crypto-Liquidated on 100x leverage Let's use the "Ironman" to win back what we lost. team created Don't leaf me! for a cleaning scenario. After users swept leaves into the device, it randomly dispensed a golden broom, an extended broom, or even more leaves. Ensuring that the outcomes emerged correctly became the focus of repeated testing. (Photo by I-Ling Chiang)

「火在洞裡」小隊替發布會製作的高空落葉特效，也把大量時間耗在除錯。隊員高興表示：「我們花最多時間在除錯的部分，應該是樹葉的掉落裝置。要讓它可以在一個高處，讓落葉可以掉下來，所以這是我們花最多時間在除錯跟試錯的地方。」

The high-altitude falling-leaf effect created by Fire in the Hole for its product launch also required extensive debugging. Team member Shing Kao said: “The part we spent the most time debugging was probably the leaf-drop device. We needed the leaves to fall from a high point, so that was where we spent the most time debugging and working through trial and error.”

大型布景同樣有不少難以預料的偏差。「smolili」小隊的「夢入盲盒」在架設時，只要外側拉線過緊，結構就會往一邊傾斜；原本考慮加裝頂蓋，卻又發現上、下結構難以同時維持規整形狀。「如果我是奶龍你還會愛我嗎」小隊的「VR 家事闖關」則碰到重心問題，籃筐結構一度向前傾，必須設法讓使用者操作裝置、產生衝擊時，整座作品仍能保持平衡。

Large-scale sets brought equally unpredictable deviations. When smolili assembled its dream-themed installation, pulling the outer cords too tightly caused the structure to tilt to one side. The team considered adding a roof, but found it difficult to keep both the upper and lower structures evenly shaped. The Would you still love me if I were Milky Dragon team also encountered balance problems with its VR household-chore challenge: the basketball hoop initially leaned forward, so the team had to keep the entire installation stable even when users operated the device and generated impact.

「六邊形戰士」小隊的「煉多多扭蛋盲盒」，難題藏在更小的地方。為了讓扭蛋順利滾落，他們將內容物設計成圓形；一體成形的卡榫則必須精準對位，稍有偏差就無法卡入。這些尺寸微調並不起眼，卻直接決定作品能不能在評審面前正常運作。

For the Hexagon Warriors team’s Learn More More Blind Box, the challenge lay in much smaller details. To help the capsules roll smoothly, the team made their contents circular. The one-piece latch also had to align precisely; even a slight error prevented it from locking into place. These small dimensional adjustments were easy to overlook, yet directly determined whether the project would operate correctly in front of the judges.

當設計進入實作階段，參賽者面對的已不只是點子是否新奇，還包括操作是否順暢、機關能否穩定運作，以及作品可否承受實際使用。這些在製作過程中浮現的問題，使各隊不斷測試與修正，讓原本停留在構想中的解方，逐步經得起現實條件的檢驗。

Once design moved into production, contestants had to consider more than whether an idea was original. They also had to ensure that operation was smooth, mechanisms worked reliably, and the product could withstand actual use. Problems that surfaced during production forced teams to test and revise repeatedly, gradually subjecting their proposed solutions to the realities of the physical world.

機關、視覺與劇本並行 72小時內拼出完整產品
Mechanisms, Visuals, and Scripts in Parallel: Building a Complete Product in 72 Hours

主軸任務同時要求產品與發表會，隊伍無法等機關全部完成後才開始製作展示牆、寫劇本。製作時通常是多項工作一起推進：擅長實作的隊員處理結構與機關，有人繪製展示牆圖案，其他人撰寫產品故事、展示文案與表演劇本。

Because the Main Project required both a product and a launch presentation, teams could not wait until every mechanism was finished before building the display wall or writing the script. Multiple tasks usually moved forward at once: members skilled in hands-on work handled structures and mechanisms, some drew illustrations for the display wall, and others wrote the product story, display copy, and performance script.

「南海小隊」隊員陳喆修表示，他們會先讓提出點子的人找兩、三名隊友討論，確認可行後就馬上開始實作；完成原本工作的人再到其他組支援。智利「Team Paine」小隊製作「BLIND-GO BOX」時，也把工作分成技術、美術與內容設計三部分，讓機關、視覺和故事都能同步推進。

Team member Jhe-Siou Chen of Southern Wave said that whenever someone proposed an idea, that person first discussed it with two or three teammates. Once they confirmed it was feasible, they began building immediately; members who finished their original assignments then moved to support other groups. Chile’s Team Paine similarly divided the work on BLIND-GO BOX into technical, visual, and content-design components, allowing the mechanisms, appearance, and story to advance in parallel.

大型作品完成後，隊員還要把使用者動線、抽取機制與情境表演接在一起。圖為馬來西亞「Milo Dinosaur Kaw Kaw」小隊展示他們設計的裝置「Altering Your Inner Demon」。（圖／蔡尊堯攝）
After completing their large-scale installations, teams still had to connect the user journey, randomized mechanism, and scenario-based performance. Pictured is Malaysia’s Milo Dinosaur Kaw Kaw team presenting its installation, Altering Your Inner Demon. (Photo by Tsun-Yao Tsai)

經歷 72 小時的腦力激盪與趕工後，評分時間逼近，原本分頭進行的機關、視覺與劇本，也必須逐步整合。儘管紙板接縫仍看得見，機關也可能在最後一次測試時突然鬆脫；但評分時間一到，每隊都得把桌上的六個裝置原型、牆上的說明和排練過的劇本，整合成一場完整的產品發表會。三天前還只是「上課很無聊」或「我不想打掃」的念頭，評分時已成為能實際操作的盲盒裝置。

After 72 hours of brainstorming and rushed construction, evaluation time drew near and the mechanisms, visuals, and scripts that had been developed separately had to be integrated. Cardboard seams might still be visible, and a mechanism could suddenly come loose during the final test. But once evaluation began, every team had to combine the six prototypes on the table, the explanations on the wall, and the rehearsed script into a complete product launch. Ideas that three days earlier were no more than “class is boring” or “I do not want to clean” had become blind-box installations that people could actually operate.

在演出時刻，呈現的不只是機關能否順利啟動，也是各隊能否讓評審相信：抽取後得到的未知結果，真的能改變人們面對無聊的方式。從定義「無聊」，到反覆測試每一處卡榫與機關，參賽者不只要把創意做出來，也必須證明自己的解方能夠成立，同時呼應 108 課綱強調的探究與實作精神。「如何使生活不再無聊」並沒有標準答案，但在觀察、分析與產出個人詮釋的過程中，重新審視習以為常的學生生活，從中發現問題、提出疑問、反思並設計解決方案，足以展現青年學子主動探索生活、勇於提出解方的能力。

At presentation time, what was at stake was not only whether each mechanism would activate smoothly, but also whether teams could convince the judges that the unknown result revealed by a draw could genuinely change how people approached boredom. From defining “boredom” to repeatedly testing every latch and mechanism, contestants had to do more than bring their creative ideas to life; they also had to demonstrate that their solutions could work, reflecting the emphasis on Inquiry and Practice in the Curriculum Guidelines of 12-Year Basic Education of Academic Year 108. There is no standard answer to “How can life be made less boring?” Yet by observing and analyzing familiar aspects of student life, developing their own interpretations, identifying problems, raising questions, reflecting, and devising solutions, these young participants demonstrated both the ability to explore everyday life proactively and the courage to propose solutions of their own.