Echoes of the Lost brings an AR maze onto the real lawn of NCKU’s Banyan Garden. Players move through the garden to explore a campus ghost story. I led development, carried out AEIOU fieldwork and integrated the code, working with the team to refine the game through internal playtests.《榕易迷路》將 AR 迷宮放進成大榕園的真實草坪，讓玩家在行走之間探索校園怪談。我負責開發統籌、AEIOU 田野調查與程式整合，和團隊透過組內實測與討論，逐步調整遊戲。
Banyan Garden sits on NCKU’s Guangfu campus, ringed by old banyan trees and red-brick barracks left from the Japanese colonial period. Every NCKU student holds some memory of it, and on weekends families come to sit on the grass. The place also carries a ghost story from those same colonial years: Japanese soldiers who never made it home still wander under the trees after dark, or so people say.榕園位於成大光復校區，四周環繞老榕樹與日治時期留下的紅磚營舍，是成大人的共同回憶，也是家庭週末休憩的場所。這裡流傳著日治時期的校園怪談。據說未能返鄉的日本兵，入夜後仍徘徊在這片林蔭下。
Early in development, the team spent a Saturday afternoon watching the garden. We recorded what we saw with the AEIOU framework (Activities, Environments, Interactions, Objects, Users), and those notes became reference material for the game design:開發初期，團隊選在週六午後到榕園進行田野觀察。我們運用 AEIOU 架構記錄現場資訊，作為遊戲設計的輔助資料。
After three, children began throwing a ball around. Some people rested on the grass; most were still active.午後三點，孩子們開始傳接球。有些人躺在草皮上休息，多數人仍在活動。
Cloudy, with a light breeze across the grass. Old banyans and red-brick buildings gave the garden a quiet, unhurried, slightly mysterious atmosphere.多雲，微風吹過草地。老榕樹與紅磚老舍營造出安靜、緩慢而略帶神祕的氛圍。
Mostly family outings. Children played together while adults chatted nearby.多為家庭出遊。孩子成群嬉戲，大人則在旁聊天。
Picnic mats, small tents, balls, frisbees, kites. A few bags left lying on the grass.野餐墊、小帳棚、球、飛盤與風箏。有些包包放在草地上。
Students, families with young children, runners, and older relatives on the benches watching their children and grandchildren.在校學生、親子家庭、跑者，以及坐在長椅上看著兒孫的長輩。
The fieldwork led us to three priorities: match the garden’s unhurried pace, encourage physical movement, and keep the game approachable.田野觀察讓我們把重點放在三件事：配合榕園的慢步調、鼓勵實際走動，以及降低操作門檻。
Before the maze opens, the player reads the legend behind it and then gets a message from Cheng-Kang, the NPC asking for help. The story sets the mood. It also spells out the goal and the task before the search starts.玩家在進入迷宮前會先閱讀背景傳說，接著收到 NPC「誠鋼」的求助訊息。透過故事營造氣氛，也讓玩家在探索前知道遊戲目標與任務。
We made the garden’s ghost story part of the mission. In the legend, Japanese soldiers who never returned home continue their drills after dark. In the game, Cheng-Kang asks for help finding his missing friend Chia-Hao. The player enters the maze to find him and bring him back to the exit.我們把榕園的鬼故事編入通關任務。傳聞中，未能返鄉的日本兵入夜後仍沿著生前路線操練；遊戲裡，玩家收到誠鋼的求助，走進迷宮尋找失蹤的家豪，再將他帶回出口。
The project runs on Unity. Here are the core features we built.專案使用 Unity 引擎開發，核心實作功能如下。
The camera feed finds the real ground. Once the player is in position, the system sets the virtual maze onto that plane at 1:1 scale.透過相機畫面偵測真實地面。玩家就定位後，系統會將一比一比例的虛擬迷宮放置於該平面上。
Vuforia.PlaneFinderBehaviourVuforia.PlaneFinderBehaviourWhen the player comes within two meters of Chia-Hao, he begins following them. A NavMeshAgent works out the path, and an Animator swaps between idle and walk depending on the distance.玩家走到家豪兩公尺內時，家豪便會開始跟隨玩家。NavMeshAgent 負責計算路徑，Animator 則依據距離切換待機與行走的動畫。
followAI.cs · NavMeshAgentfollowAI.cs · NavMeshAgentBoolean checks between GameObjects fire the game events. Chia-Hao reaching an exit and touching an invisible trigger zone wins the game; too long in contact with a ghost loses it.遊戲事件由多個 GameObject 間的布林運算觸發。家豪走到出口碰觸隱形判定區即獲勝；與鬼魂接觸過久則觸發失敗。
DistanceChecker.cs · ImageVisibility.csDistanceChecker.cs · ImageVisibility.csPlayers will try to walk straight through a wall, and a parent may be steering with a child in tow, so the system allows a three-second margin. Two seconds against a wall raises a warning. At the third second, the game ends.為防止玩家直接穿牆，並考量家長可能帶著孩子操作，系統提供三秒的容錯機制。持續接觸牆體超過兩秒會發出警告，第三秒則直接判定遊戲結束。
WallCollision.csWallCollision.cs
The team completed an MVP that could be anchored on site and played from start to finish. The features below were planned but could not be finished within the course schedule, so I have gathered them here as future development.團隊完成了能在實地定位、走完流程的 MVP。以下功能在規劃之中，但未能在課程期限內完成，因此我將它們整理為未來展望。
The build has one background track and nothing more. Next would be whispers or footsteps that shift with distance, to pull the player further inside.目前僅有單一背景音樂，未來計畫加入隨距離變化的低語或腳步聲，提升沉浸感。
The field study showed that people come to the garden with company. A shared mode would put several players in the same maze, able to see each other and split the search between them.觀察到使用者多結伴而行，希望能開發多人共遊模式，讓多名玩家在同一座迷宮中看見彼此並分工解謎。
With GPS, a task would unlock only when the player stands under a particular tree or beside a particular building in the garden. This connects the game more closely to the physical space.結合 GPS 定位，要求玩家必須走到榕園特定的樹下或建物旁才能解鎖任務，強化遊戲與實體空間的連結。
Instead of one fixed layout, the maze would generate a different route each time inside a set boundary, so every visit to the garden is a new challenge.捨棄固定配置，改為在既定範圍內自動生成不同路線，讓玩家每次造訪榕園都有全新的挑戰。
Feedback during open play was positive. The build stayed the same from that session through the final showcase; the adjustments had happened earlier during internal testing.開放試玩時，參與者的回饋正面。從這次試玩到期末發表，作品沒有再修改；開發中的微調主要是在先前的組內實測完成。
During on-site playtests, I saw players hold their breath and turn sideways to avoid virtual walls. The walls existed only on screen, but their bodies were already responding. The scene reminded me of Merleau-Ponty’s phenomenology of perception, and that insight became the starting point of my later research on Bow Mind.實地試玩時，我看見玩家為了避開虛擬牆壁會屏息、側身閃躲。牆只存在於畫面裡，身體卻已經做出反應。這個場景讓我想起了梅洛龐蒂的知覺現象學。這份啟發成為我後來投入《Bow Mind》研究的起點。
Each of our four team members proposed a concept. The team chose my AR maze idea, and I led the development schedule and coordinated code integration. At playable MVP milestones, we tested as a team and agreed on small adjustments. Before the final showcase, I checked that the maze, characters and events worked together. Each member’s technical, visual and narrative contributions are listed below.四位組員各自提案後，團隊選擇了我的 AR 迷宮構想，後續由我持續帶領開發進度，並負責程式整合。原型推進到可試玩的 MVP 階段時，我們會進行組內實測，依照討論後的共識微調。成果展前，我再確認迷宮、角色與事件能一起運作。各成員負責的技術、美術與敘事如下。
Dev lead · concept development · maze design · code integration開發統籌（Dev Lead）、概念發想、迷宮設計、程式整合
Vuforia research · story writing · character animationVuforia 技術研究、故事編劇、角色動畫
Ghost animation · game art · campus-legend research and source material鬼魂動畫、遊戲美術、校園怪談考據與素材
NavMesh AI research · all graphic design (UI, poster, promo film)NavMesh AI 技術研究、UI、海報與宣傳片等所有平面設計
Thank you to the teammates who made this project with me. This photograph marks the day we finished the showcase.謝謝一起完成專案的夥伴。這張照片留下了我們完成成果展的那一天。
Kai-Yan’s showcase poster remains an important record of the project. On his own initiative, he also edited a two-minute promotional film that helped us present the project more fully.凱硯設計的成果展海報成為回顧專案的重要紀錄。他更主動剪輯了一支兩分鐘的宣傳影片，讓團隊能更完整地向外界介紹這項專案。
The 2023 Unity AR build needed real physical space, which put it out of reach for most people. In 2026 I rebuilt it for the browser with Three.js. The story and the way it plays stayed the same. Now you can meet the Banyan Garden maze and its ghost story without standing on the lawn.2023 年的 Unity AR 版本受限於實體空間要求，體驗門檻較高。我在 2026 年使用 Three.js 開發了瀏覽器版本，保留核心故事與玩法，讓更多人無須到場也能體驗榕園的迷宮怪談。
Mouse and keyboard only for now.目前僅支援鼠鍵控制。