# 阿雷塔在東京拿金獎，台灣獨立遊戲的分界點在哪

- URL: https://justfly.idv.tw/%e9%98%bf%e9%9b%b7%e5%a1%94%e5%9c%a8%e6%9d%b1%e4%ba%ac%e6%8b%bf%e9%87%91%e7%8d%8e%ef%bc%8c%e5%8f%b0%e7%81%a3%e7%8d%a8%e7%ab%8b%e9%81%8a%e6%88%b2%e7%9a%84%e5%88%86%e7%95%8c%e9%bb%9e%e5%9c%a8%e5%93%aa/
- 日期: 2026-09-27
- 分類: 我知故我在
- 標籤: 台灣獨立遊戲, 數位內容, 東京電玩展, 遊戲

![阿雷塔在東京拿金獎，台灣獨立遊戲的分界點在哪]

##### 現象
2026年東京電玩展，千葉幕張展覽館，9月17日到21日，30週年，51國、759家參展商、3,946個攤位。這種規模數字通常跟台灣團隊沒什麼關係——頂多是去看展、去朝聖。今年不一樣。海溝遊戲，3人team，作品《阿雷塔 YARETA》，從全球1,513件報名裡殺出來，拿下SELECTED INDIE 80的Gold。這個獎項本屆全球只發1座Platinum、7座Gold，台灣占了其中1席。

同一批展場，台灣其實派了兩條線進去：台北市電腦商業同業公會執行的計畫帶6組團隊在Hall 9，包括《逐墨 Seeker Tactics》《異獸髮廊 Beastfolk Barber》《詭寓 The Immolation Apartment》《炎上棉 HOT 糖 Hot Stuff》《走走小日 Moments》與《Mixevivor》；巴哈姆特自2014年起持續補助台灣獨立遊戲團隊，這次支持9組，跟前面那批有重疊。兩條線加起來，15組團隊，同時出現在同一個展場。這在過去，不會被算成「同一件事」的兩批人。

##### 分界點
真正的分界，不是「台灣遊戲出國比賽」，這件事本身沒什麼新鮮。分界在於：這次得獎的作品，一開始的設計目標就不是台灣市場。過去很長一段時間，台灣獨立遊戲的預設答案是「做給在地玩家的本地化內容」——先求台灣人買單，海外市場是加分項。阿雷塔這條線走的是反過來的路徑：從立項就對準日本、歐美玩家的口味與敘事習慣，台灣市場反而變成附帶。
同一個時間點，另一個台灣團隊Team9拿下Japan Game Awards的Game Designers Award，這個獎項辦了17年，這屆是最後一屆，由中文字符構成的遊戲作品拿下這個獎項體系的最終得主。兩件事分屬不同獎項體系——一個是CESA的Japan Game Awards，一個是TPCA數位產業署主導的SELECTED INDIE 80——卻在同一個時間帶同時發生，這比單一個獎項更能說明問題：不是一次僥倖，是同一批做法在不同評審體系下都被認出來。

##### 容易誤判的原因
外部觀察容易把這種事簡化成「台灣遊戲品質變好了」，聽起來勵志，但沒解釋到重點。真正的變化在生產鏈：政策框架（公部門的產業支持計畫）、產業民間支援（巴哈姆特12年來持續補助）、獨立工作室的創意主體，三層各自運作，疊在一起才讓15組團隊有辦法同時站上同一個展場。單靠任何一層都不夠——只有補助，作品出不去；只有創意，沒有展場曝光跟報名管道；只有政策，沒有從下而上的創作密度。

##### 確認方式
怎麼確認這不是單一個案的運氣？看報名基數和獲獎比例：全球1,513件報名，8席卓越獎（1 Platinum + 7 Gold），台灣占1席，換算下來占了這個最高榮譽層級的一部分名額。再看正直香蕉的《自拍蟲蟲》同樣入選SELECTED INDIE 80，並且打進SENSE OF WONDER NIGHT決賽——同一屆展會裡不只一組台灣作品被評審體系認可，這比單一個獎盃更能排除偶然。

##### 留給未來的話
3人team做出全球8席之一的作品，這個數字本身值得記住：不是靠團隊規模堆出來的成績。下次再看到「台灣獨立遊戲又去參展了」這種新聞，這次的作品是做給誰看的、瞄準的是誰的眼睛，值得多問一句。答案如果還是「先給台灣玩家」，那是另一條路；答案如果是「一開始就沒打算只給台灣人玩」，那才是這次分界線真正移動的地方。
— 邱柏宇

### Where Taiwan’s Indie Games Crossed the Line at Tokyo Game Show

##### The Scene
Chiba’s Makuhari Messe, September 17–21, 2026. Tokyo Game Show’s 30th anniversary: 51 countries, 759 exhibitors, 3,946 booths. Numbers like these usually have nothing to do with Taiwan teams beyond a pilgrimage visit. This year was different. A 3-person studio, 海溝遊戲, submitted *YARETA* and made it through 1,513 global entries to win Gold at SELECTED INDIE 80. This edition handed out exactly one Platinum and seven Gold awards worldwide. Taiwan took one of those seven.
Two separate delegations converged on the same show floor. TPCA (Taipei Computer Association) brought 6 teams into Hall 9 — *Seeker Tactics*, *Beastfolk Barber*, *The Immolation Apartment*, *Hot Stuff*, *Moments*, and *Mixevivor*. Separately, Bahamut — which has funded Taiwan indie teams since 2014 — backed 9 teams this round, with some overlap between the two groups. Fifteen studios total, same venue, same week. That kind of overlap didn’t used to count as one story.

##### The Dividing Line
The real turn isn’t “Taiwan indie games went abroad again.” That’s not news. The line is where the design target sat from day one. For years the default was localization-first: build for Taiwan players, treat overseas interest as a bonus. *YARETA* flipped that order — built from the start for Japanese, European, and American players, with the domestic market as the afterthought.
In the same window, another Taiwan team, Team9, won the Game Designers Award at the Japan Game Awards — a 17-year-running award category that closed with this edition, and the final recipient was a Taiwan team whose work is built from Chinese characters. Different award systems entirely — CESA’s Japan Game Awards versus TPCA’s SELECTED INDIE 80 — landing in the same window. That’s harder to write off as a fluke than either result alone.

##### The Easy Misread
The lazy read is “Taiwan’s games just got better,” which sounds inspiring but explains nothing. The actual shift sits in the pipeline: a policy framework (public-sector industry support), grassroots industry backing (Bahamut’s funding, running 12 years now), and independent studios as the creative core — three layers, none sufficient alone. Funding without craft doesn’t travel. Craft without a submission pipeline and show floor doesn’t get seen. Policy without bottom-up density produces nothing worth funding.

##### How to Check It
Skepticism is fair — is this one lucky entry? Look at the ratio: 1,513 global submissions, only 8 top-tier awards (1 Platinum, 7 Gold), and Taiwan holds one of those eight. Then check for repetition: another Taiwan team, 正直香蕉, also made SELECTED INDIE 80 with *自拍蟲蟲* and advanced to the SENSE OF WONDER NIGHT finals in the same edition. Multiple Taiwan entries recognized by the same jury in the same cycle is a stronger signal than any single trophy.

##### A Note Forward
A 3-person team producing one of eight top-tier global awards is worth sitting with — this wasn’t built on headcount. Next time a headline reads “Taiwan indie games attend another show,” the better question is who the game was built to reach. If the answer is still “Taiwan players first,” that’s one path. If the answer is “never meant to stay local,” that’s where the line actually moved.
— 邱柏宇