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Intergrams 4.1(2002):
http://benz.nchu.edu.tw/~intergrams/intergrams/
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1 ¡@¡@¼f¬d·N¨£ªº§åµû³¡¤À¡A¤j­P³ò¶µÛ¡m°gÃú¤§®q¡n¡] Myst ¡^©Mªd¤Ú¹CÀ¸¡]MUD, Multi-User Dungeons or Dimensions¡^¡A¥H¤§ÀËÅç½×¤å¦U¶µ»¡ªkªº»¡ªA¤O¡C­Y­n¥Î´X¥y¸Ü­«½Æ¼f¬dªÌ©M§Úªº¬Ýªk¬°¦ó¦p¦¹«nÁÕ¥_Âá¡A¥i¥H³o»ò²Ê²¤¦a»¡¡G
¡@¡@¢°¡B¦b¡u¨î°Ê·Q¹³¡vÆ[ÂI¤W¡A§Ú¥H¤Î§Ú©Ò¤Þ¥Îªº¾ÇªÌ»{¬°¡m°gÃú¤§®q¡n¬O¦n±o¤£±o¤Fªº¹qª±§@«~¡A¼f¬dªÌ«h»{¬°¡m°gÃú¤§®q¡n¬O¨S¬ÝÀYªºªF¦è¡C
¡@¡@¢±¡B§Ú»{¬°ªd¤Ú¦b±Ô¨Æ§Î¦¡ªºÃÀ³N¦¨´N¤W¨S·dÀY¡A¼f¬dªÌ«h»{¬°ªd¤Ú¥H¤Î«á¨Óµøı¤Æªº¨¤¦â§êºt¹CÀ¸¡]RPG, Role-Playing Games¡^¬O¦n±o¤£±o¤Fªº§@«~¡C
¡@¡@¢²¡B¦b¤Þ¥Î¸ê®Æ¤è­±¡A§Ú»{¬°¤Þ¥Î¤F¦¹¦æ³ÌÅv«Âªº¸ê®Æ¡A¼f¬dªÌ«h»{¬°§Úªº¸ê®Æ¡u¦ü¥G¡v¤£¨¬¡A¦Ó¥B½èºÃ§Ú¡u¹L«×¨ü¨ì¶È¬O¬ã¨sªÌ«o«D¨ã¦³¸gÅ窺ª±®a¤§¦UºØ½×­z¼vÅT¡A¨Ï±oÆ[¹îµø¨¤¯¶¤Æ¡v¡A¤]´N¬O»¡¡A³Q§Ú¤Þ¥Îªº¾ÇªÌ¬O¤@§å¹ï¹qª±ÃD§÷¤£°÷¼ô±x¦ýÀH·Nµoªí¨¥½×ªº¬ã¨sªÌ¡C
¡@¡@¢³¡B±q¡u¶ê¿Ä¨î°Ê¨¤¦â¡v§Î¦¨ªº¨¤«×¨Ó¬Ý¡A¼f¬dªÌ»{¬°§Ú©Ò´£¨ìªº³æ¾÷«¬¹qª±¨S·dÀY¡A¥L¦V§Ú«Øij¦h¦hÆ[¹îµøı«¬RPG½u¤W¹qª±¡A¦]¬°³oÃþ¹qª±¤~¯à´£¨Ñ§ó¾A·íªº¨î°ÊÀô¹Ò¡C¦¹¬°½×¤å½d³ò¤§¥~ªºÄ³ÃD¡Aµy«á§Ú±N´£¥X¤£¦Pªº¬Ýªk¡C
2 ¡@¡@¼f¬dªÌªºµ²½×¬O:¡u¦¹½g½×¤å»Ý°µ­«¤j­×§ï¨Ã¦A½Æ¼f«á¤è¯à¥Zµn¡v¡C©Ò¿×¡u­«¤j­×§ï¡v¡A¹ê¦b¥s§Ú·P¨ì¬°Ãø¡A¦]¬°³o¬Û·í©ó±j­¢§Ú¥H¤Î§Ú©Ò¤Þ¥Îªº¾ÇªÌ§ïºÙ¡m°gÃú¤§®q¡n¨t¦C¬OÄê§@«~¡BÆg¬üªd¤Úªº±Ô¨Æ§Î¦¡ªºÃÀ³N¦¨´N«D±`°ª¡C Intergrams ´Á¥Z§â¨â³y»¡ªk¤½¶}¡AÅý§ó¦hŪªÌ¦³¾÷·|¥[¥HÀËÅç¡A¤£¥¢¬°¾A·í¤èªk¡C¥H¤U§ÚºÉ¥i¯à±N¦Û¤vªº¦^À³¶°¤¤¦b¼f¬d·N¨£©Ò¯A¤Îªº½d³ò¡A¯S§O¬O¤W­z¥|­Ó´Xªñ¹ï¥ßªºÄ³ÃD¡AÁקKÅý¹ï¸Ü¥¢µJ¡C

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3 ¤@¡B¸ê®ÆªºÅv«Â©Ê°ÝÃD

¡@¡@¥ß½×­n¦û±o¦í¸}¡A°Ñ¦Ò¸ê®Æ§êºt­«­n¦a¦ì¡A¦]¦¹½Ð¤¹³\§Ú¥ý§â²Ä¤TÂIªº¸ê®ÆÅv«Â©Ê°ÝÃD´£¥X¨Ó¡C
4 ¡@¡@¼f¬dªÌ»{¬°§Úªº°Ñ¦Ò¸ê®Æ¤£¶È¤£¨¬¡A¦P®É¥H¿w©w¤f®ð§P©w³o¨Ç³Q¤Þ¥Î¾ÇªÌ¡u«D¨ã¦³¡v¾A·íªº¹qª±¡u¸gÅç¡v¡C³o¼Ëªº»{©w¡A¹ï§Úªº¬ã¨sºA«×¡A¥H¤Î³Q¤Þ¥Îªº¾ÇªÌ¬O¤@¶µ«ÜÄY¼Fªº§åµû¡C¦b¥»¤åªþ¿ý¤@ùØ¡A²¤¶¤F´X¦ì®Ö¤ß¤Hª«ªº¸ê¾ú¡AÅý¤j®aŲ©w¤@¤U¥L­Ì½Í¹qª±ªº¸ê®æ¡A½Ð°Ñ¬Ý¡C
5 ¡@¡@Espen P. Aarseth, Gonzalo Frasca, Stuart Moulthrop, Janet H. Murray, Laure-Marie Ryan³o¨Ç¾ÇªÌ©M½×¤å´£¨ìªº¨ä¥L´X¦ì¡AÄÝ·sªñ³o¤@ªi¹qª±¬ã¨sªºÆF»î¤Hª«¡]¥i°Ñ·ÓFrascaºô­¶¥ª¤U¨¤ªº¹qª±¬ã¨sªÌ¦Cªí¡Gwww.ludology.org¡^¡A¼Ú¬ü¾Ç¬É¡B¾Ç³N¥Xª©ªÀ¡B¾Ç³N´Á¥Z¦³¨ä¤@³eªº¼f®Ö¼Ð·Ç¡A¹ï©ó¥L­Ìªº¬ã¨s¦¨ªG¡A¦Ü¤µ§Ú¤´¨S¨£¹LÃþ¦ü¼f¬dªÌ³oµ¥­t­±µ{«×ªº§åµû¡C½èºÃ³o¨Ç¾ÇªÌªº¥ß½×»P¤ß±oµL§«¡A¦ý±N³o¨Ç¾ÇªÌÂkÃþ¬°¡u¶È¬O¬ã¨sªÌ«o«D¨ã¦³¸gÅ窺ª±®a¡v¡A¥H²³æ¤@¥y¸Ü«ü¨ä¤£¨ã³Æ¾A·íªº¹qª±°Q½×¨­¤À¡A¥þ½L§_©w¥L­Ì¡A¼f¬dªÌªº»¡ªk¯Ê¥F¹ê»Úºt­z¡A¦³«Ý¸É¥R¡C¼f¬dªÌ¥H¦p¦¹Â²©öªº½×­z¤è¦¡±N§Úªº¸ê®ÆÅv«Â©Ê¥ý§_©w±¼¡A±µ¦Ó§P©w§Úªº¹qª±Æ[¹î¹L©ó¡u¯¶¤Æ¡v¡A³o¼Ëªº¼f¬d·N¨£¯Ê¥F»¡ªA¤O¡C¦]¦¹¦b¦¹½Ð¼f¬dªÌ´£¥X¨ãÅ骺¸ê®Æ½×¾Ú¡]¾ÇªÌ¸ê®Æùتº½×­z¦³¤°»ò·åÏÝ¡H¡^¡A¥H¤Î¤£­«Å|ªº¹qª±¬ü¾Ç¬ÛÃö¸ê®Æ¡]¨â¤T½g¸g¨å½×¤åªºÂ²¤¶¤]¥i¥H¡^¡A¥[¥H¦õÃÒ¡A§_«h³o¼Ëªº§åµû¦³¹H¾Ç³N¼f¬d¼Ð·Ç¡C§Ú¦Û»{¬°½×¤åùةҤޥΪº¸ê®Æ¡A¨ì¢¯¤@¦~¤Q¤@¤ë¤î¡] Intergrams ·í´ÁºI½Z«e¤@­Ó¤ë¡^¡A¬°¼Ú¬ü¾Ç¬Éùس̱`¤Þ¥ÎªºµÛ§@¡C¼Ú¬ü¾Ç³N«¬ªº¹qª±¬ã¨s¡A§Î¦¨­·¼é¡A¬O³o¨â¡B¤T¦~¶¡ªº¨Æ¦Ó¤w¡A½×¤å¼Æ¶q¤£¦h¡A«Ü®e©ö¬d²M·¡¡C­Y¦³¿òº|¬ÛÃö°Q½×ªº§÷®Æ¡A½Ð¼f¬dªÌ©MŪªÌ«ü¥¿¡C

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6 ¤G¡B¡m°gÃú¤§®q¡nªº¨î°ÊÀô¹Ò°ÝÃD

¡@¡@¼f¬dªÌ¹ï¡m°gÃú¤§®q¡nªº·N¨£¸òMichael Dirdaªº¬ü¾Ç§åµûÄݦP¤@°}Àç¡A¤Þ¼f¬d·N¨£¨â¬q¸Ü¬°¨Ò¡G
¡@¡@¢°¡B¡uMyst¤§©Ò¥H¨S¦³replayability¡A¥¿¦]¬°¨ä¤¤¨¤¦âµo®i«ó¥­¡A·Q¹³ªÅ¶¡µäÁY¡C¡v
¡@¡@¢±¡B¡u½ÍMyst´£¨Ñ¤F¤@­Ó¡y¸ê·½Â×´Iªº¨î°ÊÀô¹Ò¡z¡A¯à°÷¶}±Ò¨î°Ê¨¤¦âªº¡y²`«×±´¯Á¡z¡AÅý«_ÀIªÌ¦¨¬°¡yªÀ·|¾ú¥v¬ã¨sªÌ¡B¥Á±Ú¾Ç®a¡zµ¥µ¥¡A·¥ÃøÅý¤H­e¦P¡C¥¿¦]¬°MystÄÝ©ó¸ê·½³h½Cªº¨î°ÊÀô¹Ò¡A§@ªÌ¤å¤¤´£¨ì¤@­Ó­«­nªºÆ[©À¡A©Ò¿×ªº¡y¨î°Ê·Q¹³¡z¡A«Ü§Ö«K¦b¹CÀ¸¤¤³Q¯ÓºÜ½aºÉ¡A¦¹¥¿¬OAVG¹CÀ¸¡eAdventure Games¡f­±Á{¥«³õ«æÁصäÁYªº¥D­n­ì¦]¡C¡v
7 ¡@¡@Johnson¡BMoulthrop©M§Ú³oÃäºÙ¦n¡ADirda ¡]"Cyber-Spooked: Lost in the Myst ," Washington Post , November 25, 1994¡^©M¼f¬dªÌ¨ºÃä°Û¤Ï½Õ¡A³o¼Ëªº·¥ºÝ¹ï¥ß¡A¦bÃÀ³NªY½àªº¾ú¥v¤W¡A¹ð¨£¤£ÂA¡A¨Ã¤£µ}©_¡C¨â³y»¡ªk¨Ã¦C¥Z¥X¡A¬O§_¬O¤½»¡¤½¦³²z¡AŪªÌ¡þª±®a¦Û¥iµûÂ_¡C²{ÂǦ¹¦^À³¾÷·|¡A§Ú·Q§â³o¬q¼f¬d·N¨£¤¤ªº´X­Ó¦a¤èªþ¤Wµù¸Ñ¡C
8 ¡@¡@¼f¬dªÌ¤£¯à»{¦P¡m°gÃú¤§®q¡nªºª±®a¦³¥i¯à¦¨¬°¡uªÀ·|¾ú¥v¬ã¨sªÌ¡K¡K¡v¡A³o¼ËªºÂ_¥yŪªk¡A±a¦³»~¸Ñ¡C¥H¤U¬O§Ú©Ò°Ñ¦ÒªºMoulthrop­ì¤å¡G
¡@¡@"Yet they ¡e«üRivenùتº©T©w¨¤¦â¡A©Î«Dª±®a¨¤¦â¡ANPC¡f do not serve the same purpose as extras in conventional films. When they dash away, these figures leave behind a wake or vacuum that demands investigation, if not interpretation. To some extent this impulse feeds the purposes of the game: it keeps players moving through the world, encountering situations in which they may discover clues. But by the same token it also complicates our relationship to the quest, for the more we attend to these extravagant or extra-vagrant persons, the more we become aware not merely of sites unseen but of lives and communities beyond the game. To focus upon these imaginary spaces is to find oneself no longer "the adventurer" (the term by which Infocom formally defined its players). It is to become something more like a social historian, an ethnographer -- or maybe just a visitor passing through ."¡]Italic and Bold mine; p 194; ©Î½u¤Wª©¡A¦ì§}°Ñ¨£½×¤å®Ñ¥Ø¡^
9 ¡@¡@±qMoulthropªº¤W¤U¤å¨Ó§PÂ_¡A¨î°Ê¨¤¦âÅܦ¨¡ua social historian, an ethnographer -- or maybe just a visitor passing through¡vªº»¡ªk¡A¬O¤@ºØ²²¤ªºÄ´³ë¡C¤§©Ò¥H¡u²²¤¡v¡A¦]¬°MoulthropµLªk¤@¤@¦CÁ|¡u¤å¥»íá»Ø¶¡¡v·|°n¥X¨Óªº¨ä¥¦¨­¤À¡C¤§©Ò¥H»¡¡uÄ´³ë¡v¡A¬O¥Ñ©ó³o¨Ç¨­¤Àªº¨ú±o»P¡m¤Àµõ¡n¡] Riven ¡^©Î¡m°gÃú¤§®q¡nªº¹êÅ餺®eµLª½±µÃö«Y¡A¦]¬°¨S¦³¤@³¡¹qª±¯à°÷´£¨Ñ¨¬°÷ªº§÷®Æ¡AÅýª±®a¦¨¬°¯à²Å¦X¯u¹ê¥@¬É¤¤©Ò¿×ªº¡ua social historian, an ethnographer¡v¡C¤]´N¬O»¡¡ua social historian¡v³o­Ó¨­¤À¬O¤@ºØ¤Ûı¡A¤@ºØ¦b¿Ä¤J¡]immerse¡^¨î°ÊÀô¹Ò¤§«á¡B¦b¾A¤Áªº¨î°Êª^³òùØÁßÆC¥X¨Óªº¨­¤À¦@»ï¡C©Î»¡¡A¡ua social historian¡v¦b¨î°ÊÀô¹Ò¤¤¬°¤@¼ÒÀÀ¨­¤À¡]a simulated identity¡^¡A¨äªí¶H·Pı¦h©ó¹ê½è¤º®eªº¾Ö¦³¡A¥ç§Y¸g¿Ä¤J¦Ó¨ú±oªº¨­¤À¤º®e¡AµLªk»P¹êÅéªÀ·|ªº¡ua social historian¡v¹ê½è¤º®e²£¥Í¹ïµ¥¡C
10 ¡@¡@§Úªº½×¤å²Ä¤K©M²Ä¤G¤Q¤­¬q¡A¨â¦¸¤Þ¥Î¡ua social historian, an ethnographer -- or maybe just a visitor passing throug¡v¡A¤W¤U¤å¬Ò­«´_±j½Õ¡u¤å¥»íá»Ø¡vªº½ÆÂø·N¸q¡A½×­z©IÀ³MoulthropªºÄ´³ë»¡ªk¡C°ò©ó³o¼Ëªº»{ª¾¡A·í§Ú¬Ý¨ìMoulthrop¡þ¤Æ¨­¹ï¡m¤Àµõ¡nùتº©øÂηP¿³½ì¡AÁÙ¤£¦Ü©ó·|µ¹¥L¸ü¤W©øÂξǮaªºÀY»Î¡]°Ñ¨£²Ä¤G¤Q¬q¥½¡^¡C
11 ¡@¡@¼f¬dªÌ§_©w¡u¤å¥»íá»Ø¡vªºÂ×´I©Ê©Î¹ï¤W¤U¤åªº³s³e»¡ªkµø¦Ó¤£¨£¡A¦Ó¦©ºò¡uÅý«_ÀIªÌ¦¨¬°¡yªÀ·|¾ú¥v¬ã¨sªÌ¡B¥Á±Ú¾Ç®a¡zµ¥µ¥¡v¤@¥yªºªí¼h¸ÑÄÀ¡A¹ê¬O»~¸Ñ§Úªº¥»·N¡C
12 ¡@¡@¦pªG¼f¬dªÌªºªí¼h¸ÑÄÀ¡A¬O·½¦Û©ó§_©wMoulthropµ¥¤H©ÒÆ[¹î¨ìªº¡u¤å¥»íá»Ø¡vÂ×´I©Ê¡A³o­ÓijÃD¥i¥H¤£¥Î½Í¤U¥h¡A¦p«e©Ò­z¡A¬ü¾Ç»{ª¾·¥ºÝ¹ï¥ßªºµ²ªG¡A½Í¤U¥h·|Åܦ¨¤½»¡¤½¦³²z¡C
13 ¡@¡@§Ú­Ë¬O¶É¦V©ó»{¬°¼f¬dªÌªºªí¼h¸ÑÄÀ¨S¦³ª`·N¨ì¨­¤ÀÄ´³ëªº¦s¦b¡A¤]´N¬O»¡¡A¥L§â¼ÒÀÀ¨­¤À¡]illusion¡^©M¯u¹ê¥@¬É¤¤¨­¤À¡]reality¡^¹ïµ¥°_¨Ó¬Ý«Ý¡]¦ô¤£½×¥»Åé½×ªº®t²§¡^¡C³o­Ó¹ïµ¥Æ[©À¡A§¹¥þÅã²{¦b¼f¬dªÌ³o¼Ëªº¶i¤@¨B±À½×¡G¥L»{¬°³æ¾÷«¬¹qª±ªº¤º®e§÷®Æ¤£°÷¡A¤£¨¬¥H»²§U¨î°Ê¨¤¦â¹F¦¨¶ê¿Ä¡A¶i¦ÓÁ|¤j«¬½u¤W¦h¤H¹CÀ¸¡A±j½Õ³o¨Ç¶W¤jÀô¹Ò¤~¦³¨¬°÷¡B¦hÅܪº§÷®ÆÅý¨î°Ê¨¤¦âÅܦ¨¶ê¿Ä¡C©Î»¡¡A¤£ºÞ¼f¬dªÌ¹ï§Úªº¤å¦r¦p¦ó¸ÑŪ¡A¨Ì¥L¦Û¤vªº¹qª±Æ[¹î¡A¥L¦Û¦³¤@®M¶ê¿Ä¨¤¦â§Î¦¨©M³Ì¨Î¨î°ÊÀô¹Òªº¬Ýªk¡C¨ä¤¤ªº¥ß½×¡A¦³«Ü¦hº|¬}¡A²{Á|¤@¨Ò»¡©ú¡C
14 ¡@¡@¡m¼ÒÀÀ«°¥«¡n¬O­Ó3D§@«~¡A¤¹³\ª±®a¦Û¥Ñ«Øºc¦Û¤vªº«°¥«¡A¹CÀ¸µ²ªG¬O¦n©ÎÃa¡B¦¨¥\©Î¥¢±Ñ¡AÃöÁä¦b©ó¦UºØ¤¸¥ó¤§¶¡ªºÃö«Y¯à§_«O«ù¥­¿Å¡C°²³]¡m¼ÒÀÀ«°¥«¡n¤]Åܦ¨½u¤W¦h¤H¹CÀ¸¡]¬O§_§ïª©¡A«Ý¬d¡^¡AÅܦ¨¶W¤j¨î°ÊÀô¹Ò¡A§÷®Æ»P¤¬°Ê¼Ò¦¡§óÁÍÁc¦h¡C­Y¨Ì¼f¬dªÌ¤§«eªº¡uªí¼h¸ÑÄÀ¡v¡A¨ã¦³«Ø¿v¤uµ{®vµ¥µ¥¤Ûı©Î¨­¤À¦@»ïªºª±®a¡þ¤Æ¨­¡A¨ä¹ê½è¤º®e¥i¹ïµ¥©ó¹êÅé¥@¬Éªº«Ø®v¤uµ{®vµ¥µ¥¡C¥i¬O§Ú­Ì¤£¸T­n°Ý¡A³oºØ§t¹CÀ¸¦¨¤Àªº§@«~¯à¿W¥ß°V½m¥X«Ø¿v¤uµ{®v¶Ü¡H³o²ª½¬O¤£¥i¯àªº¥ô°È¡]°w¹ï¤@¤p½d³ò°µ°V½mªº¹ê¥Î«¬­¸¦æ¼ÒÀÀ¾¹¡A¤]¥¼¥²¦³¯à­@¿W¥ß°V½m¥X­¸¦æ­û¡^¡C
15 ¡@¡@­ì¦]¤@¡G¼ÒÀÀ«°¥«¦p¦óªº½ÆÂø¡A¥Ã»·¬O¯u¹ê«°¥«¤ÆÁc¬°Â²ªº¦æ¬°¼ÒÀÀ¡]simulation, behavior modeling¡^©Î§½³¡¤ù­±ªº¦A²{¡]representation¡^¡]Frasca, "Simulation 101," http://www.ludology.org/articles/
sim1/simulation101.html¡^¡C¤G¡A¯u¹ê«°¥«¬O¶W¦ÛµM¤O¶q¡B¦ÛµM¤O¶q©M¤HÃþ¶°Å骺¦@¦P¡u§@«~¡v¡A¤º®e¤£©T©w¡A¦b³Ì°ª¼h¦¸¤W¡A¬O¥HµL¥i²z¸ÑªºÀH¾÷¤è¦¡¤£Â_ºt¤Æ¡A¤]´N¬OµL¤H¯à¯u¥¿´x´¤«°¥«ªº©w¸q¬O¤°»ò¡C¡m¼ÒÀÀ«°¥«¡n«h¬O¤@­Ó¤H©Î´X­Ó¤Hªº«ä·Qµ²´¹¡]¡u¤H¤@«ä¦Ò¡A¤W«Ò´Nµo¯º¡v¡^¡A¤º®e¥i¥H¬O¤£©T©w¡]§ïª©©Î½u¤W¤¬°Ê¡^¡A¦ýºt¶i¤èªk¡A«h´`©T©wªºµ{¦¡ÅÞ¿è¡A¨ä¤¤ªºÀH¾÷µ{¦¡¤]¥i°µÀH¾÷¨M©w¡A¦ý¤´Â¬O¥i²z¸Ñªºµ{¦¡¡C
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intergrams/002/002-lee.htm¡^¡C§Ú¹ï¥xÆW¥»¤gªºªd¤ÚÆ[¹î¡A«h¥X²{¦b¤E¤K¦~ªº¤@½g·|ij½×¤å¡G "There are some fifty MUDs currently on line in Taiwan, most of which, however, are translations or projects modified from Western instances. "Broken History" and "Eternal Civilization" could be the only two virtual realms independently created by local students. Unfortunately, to be tested technically, these two virtual zones are not officially open to the public as yet"¡]Shuen-shing Lee, Proceedings of the Second International Conference on Multimedia Language Education . Taipei: Crane Publishing. p180-181¡^¡C
23 ¡@¡@¥xÆWªº Broken History ©M Eternal Civilization ÁÙ¨S¥¿¦¡¤½¶}«e¡A¬Æ¦ÜÁÙ¨S§¹¤u«e¡A§Ú«K¤w­n¨D¨ä¤¤¤@­Ó¥D«ù¤HÅý§Ú·í´ú¸ÕªÌ¡A¦]¬°§Úµo²{ Broken History ³o­Óªd¤Úªº¤º®e¤£¨«¾Ô°«¸ô½u¡A¨ã¦³³Ð·Nªº¬[ºc¡]¤£ª¾¬O§_ÁÙ¦s¦b¡^¡A¦b¥xÆW´X¤Q­Óªd¤Ú¤¤¡A´X¥G¬O²§¼Æ¡C±µÄ²¦UºØªd¤Ú¬ù¤T¦~¡A¤E¤K¦~¤§«á¤£¦A¯S§O¥hª`·Nªd¤Úªºµo®i¡A­ì¦]¬O¹ï¨ä¤¤ªº±Ô¨Æ§Î¦¡ªº¬ü¾Ç»ù­È·P¨ì¥¢±æ¡CFrasca, Murray, Ryan¤]³£´¿ªí¹F¦P¼Ëªº·P¨ü¡C¤£¹L´£¿ô¼f¬dªÌ©MŪªÌª`·N¡A§Ú½èºÃªd¤Úªº±Ô¨ÆÃÀ³N¦¨´N¡A¨Ã¤£ªí¥Ü§Ú§_©w¥¦­Ìªº¨ä¥¦»ù­È¡A³oÂI¤w¦b¡q¶W¤å¥»¤å¾Ç§Î¦¡¬ü¾Çªì±´¡rªº¬ÛÃö¬q¸¨ªí©ú¡]¬q½X44-6¡^¡C
24 ¡@¡@Frasca ¹ïªd¤Ú±Ô¨Æ§Î¦¡ªº§_©w·N¨£¤w¦b½×¤å¤¤´£¤Î¡A¦¹³B¼W²KRyan ªº¬Ýªk¡G¡uThe strong forms¡e«üMUD¡fof interactivity run most blatantly into the design problem: how can the contributions of the reader-turned-author be monitored by the system, so that the text as a whole will maintain narrative coherence and aesthetic value? An interactive system may be an alphabet for writing books, but the user should be prevented from producing nonsense.¡v(Laure-Marie Ryan, "Immersion vs. Interactivity: Virtual Reality and Literary Theory," Postmodern Culture 5.1: 39 pars. <http://jefferson.village.virginia.edu/pmc/text-only/issue.994/ryan.994>. par. 33)¡C§ã¨¥¤§¡Aªd¤Ú¤§Ãþªº¤¬°Ê³õ©Ò¡A­YµL¦³®ÄªººÊ±±¤è¦¡¡A«Ü®e©ö²_¬°¤å¦r©U§£³õ¡A±Ô¨Æ¤@­P©Ê»P¬ü¾Ç»ù­È¤]Ãø§K¸òµÛ±Y¼ì¡C¬°¦ó¦p¦¹©O¡H¥D­n­ì¦]¬O¬Y¨Ç°Ñ»PªÌ¹ï¦Û¤v©Ò¾Ö¦³ªº¦Û¥D©Ê»P³Ð³y©Ê¡A¶i¦æ¤F¡u¤Ñ°¨¦æªÅ¡v¯ëªº¨Ï¥Î¡Aµ²ªG»s³y¤F¤@°ï»P¨î°ÊÀô¹Òª^³ò¤£¬Û²ÅªºªF¦è¡A©Î»¡¨ä»s³y¥X¨ÓªºªF¦è¡A¶W¶V¤F¤@¯ë±Ô¨Æ©w¸q¡]¥]¬AGérard Genette, Mieke Bal¡^©Ò¯à§Ô­@ªº·¥­­¡CÁ|­Ó¨Ò¨Ó»¡¡A Diablo MUD ¡]diablo.mudshell.com 6666¡^¬O¹qª±¡m·t¶Â¯}Ãa¯«¡n¡] Diablo ¡^ªºªd¤Úª©¡A°²³]ùØÀY¤@¸s¯Â¤å¦rRPG¨¤¦â¡A¦]¬ü°ê911¨Æ¥ó¦³·P¦Óµo¡AºZ¨¥·N¨£¡C¥Ñ¥~¦bÆ[¹î³o¼Ëªº¦æ¬°¡A¥L­Ìªº°Q½×µ¥©ó¬Ononsense¡A¦]­Ì³o¨Ç¨¤¦â§¹¥þ¤£¦b¥Gªº¥j¨å­I´º¡A¦pªG¤j®a¤£¦b¥GºtÀ¸ªº³W«h¡A¨º¦ó¶·¨¤¦â§êºt¡H¤S¦ó¶·¬°ªd¤Ú³]©w©_¤Û¬G¨Æ­I´º»P¦UºØ¹D¨ã¡H¥þ§ï¦¨¤@¤ùªÅ¥ÕªºChatroom¡A¤£´N¸Ñ¨M¤F¤j®a­J¾xªº¦Û¥Ñ¡H¥i¬O½Ö·|»{¬°Chatroom©MùØÀYªº¬¡°Ê¬OÃÀ³N§@«~©O¡H
25 ¡@¡@µøı¤ÆªºRPG¥X²{«á¡A¯Â¤å¦rªd¤Úªº½÷·×¤é¤l®ø¥¢±o§ó§Ö¡]¯S§O¬O¾Ô°««¬¡^¡C¼f¬dªÌ¹ïRPGªºÆ[·P¦n±o¤£±o¤F¡A¸Õ¬Ý³o¬q¤å¦r¡G¡u©Ò¿×¶}±Ò¨î°Ê¨¤¦âªº¡y²`«×±´¯Á¡z¡AÅý«_ÀIªÌ¦¨¬°¡yªÀ·|¾ú¥v¬ã¨sªÌ¡B¥Á±Ú¾Ç®a¡zµ¥µ¥¡A¤]¦bRPG¤¤¤è¦¨¬°¥i¯à¡]³oÂI­Y¯à²³æÆ[¹î¤@¤URPGª±®a¢w¢w©Î»¡RPG¾ú¥v¾ÇªÌ¡B¥Á«U»x½sÄ¡ªÌ¡Bª«ºØ¾Ç®aµ¥¢w¢wªººô¯¸«K¯àª¾¾å¡^¡v¡C§Úªº¬Ýªk¬O³o¼Ëªº¡G
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28 ¡@¡@³oùئ³¥²­n¦^ÅU¤@¤U¶ê¿Ä¨¤¦â¤Î»P¨ä¹ï¥ßªº«ó¥­¨¤¦â¤@µüªº©w¸q¡A³o¨â­Ó³N»y¥X¦Û¦ò´µ¯S¡]E. M. Forster¡^¡A¤@¯ë­^¬ü¤å¾ÇÃã¨å§¡¦³¦¬¿ý¡A¥iµø¬°¤å¾Ç¬ã¨sªº±`ÃÑ¡A¦]¦¹§Ú¥u¦b½×¤å°_ÀY³B¤@µ§¥N¹L¡C¨ä¤¤§Ú©Ò¿×¡u·B¬ü¡v¡A«üºÙ¤@ºØ¤ñ¸û¡A¦Ó«D­ì©l©w¸qªº¹ê½î¡A¦]¬°¨î°Ê¨¤¦âªº¦æ°Ê¤ß±o¬O«D±`­Ó¤H¤Æ¡A¦P®É¬O®É¶¡¤Æ¡A¤]´N¬O¹CÀ¸¤@°±¤î¡A¨î°Ê¨¤¦âªº¡u¨­¤ß¡v¬¡°Ê¸òµÛ°±¤î¡A°£«Dª±®a¨Æ«áÄ@·N°O¿ý¤U¨Ó¡A§_«h¶ê¿Äªºµ{«×¡AµL¨ÌµL¾Ú¡C¶ê¿Ä¤ß±oÃø³V¡A¦ý¤´¥i±H±æ©óÆ[¹î¨î°ÊÀô¹Òªº¾A·í©Ê¡A²¦·N³o¤]¬O¶ê¿Ä±o¥H§Î¦¨ªº®Ú¥»¦]¯À¤§¤@¡]¸ûªø´T«×ªº¤ñ¸û»P¤ÀªR¡A¥t¨£½×¤å²Ä¤Q¤»¬q¨ì²Ä¤G¤Q¤­¬q¡^¡CNorthrop Fryeªº The Harper Handbook to Literature ³o¼Ë©w¸q¡G

Round Character: One possessing the depth and complexity of a living person, the opposite of a FLAT CHARACTER.
Flat Character: In a literary work, a character that is two-dimensional, without the depth and complexity of a living person.

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¡@¡@¢°¡B Espen Aarseth¡A Cybertext ¤@®Ñ§@ªÌ¡A¤E¤C¦~¥ÑJohns Hopkins¥Xª©¡A«á¥b³¡½g³¹°Q½×¦­´Á¹qª±¡A¾Ç³N¬ÉùØÄÝ¥ýÅX¬ã¨s¡C¥Lªº¬ÛÃö¤å³¹¡A¤w¬O¥Ø«e¹qª±¬ü¾Ç¬ã¨sªº¥²Åª¸ê®Æ¡CÁ|¨Ò¨Ó»¡¡A¢¯¤@¦~Á|¿ìªº¹qª±¾Ç³N·|ij "Computer Games and Digital Textualities"¡A¬°¦¹Ãþ·|ij¥ý¦æªÌ¤§¤@¡A¶×¶°¤Q¤T½g½×¤å¡A¨ä¤¤¦Ü¤Ö¦³¤»½g¤Þ¥ÎAarseth¡C¤Þ¥Î¼Æ¦r¬O¾Ç³N¦¨´Nªº°Ñ¦Ò«ü¼Ð¤§¤@¡A´NÅý¼Æ¦r´ÀAarseth»¡¸Ü¡C¢¯¤@¦~¤C¤ë¥X¥Zªº Game Studies ¡]www.gamestudies.org¡^¬°¥þ¥@¬É²Ä¤@¥÷¹qª±¾Ç³N©Ê¥Zª«¡A¤]¬OAarseth¶Ê¥Íªº¡CAarseth¦P®É¤]¬O Paradigma (for Mac)³o­Ó³nÅ骺µ{¦¡§@ªÌ¡CAarseth¢¯¤G¦~­ì­pµe¦bVirginia Tech¶}³]¹qª±¬ã¨s½Òµ{¡A²{¦]¹wºâ«ú­Ð¡A¼È®É¨ú®ø¡]®ø®§½T»{¡G§Ú»PAarsethªº¹q¶l³q°T¡^¡C
¡@¡@¢±¡BGonzalo Frasca¡A¢¯¤@¦~²¦·~©ó³ìªv¨È²z¤u¾Ç°|¡AºÓ¤h½×¤å³B²z¹qª±Ä³ÃD¡A¥Ø«e¤u§@¬°±M·~¹qª±³]­p®v¡A¦P®É­P¤O©ó±N¹qª±¬ã¨s´£ª@¬°Ludology¡]¹CÀ¸¾Ç¡^¡]www.ludology.org¡^¡AÅã¥Ü¥L¥H²z½×»P¹ê½î­ÝÅUªº«ººA¤¶¤J¹qª±¬ã¨s¡CÁöµM­è¥X¹D¡A¦ý¬O¬ÛÃö½×¤å¨³³t³Q¤Þ¥Îªº¦¸¼Æ³vº¥¼W¥[¡C¢¯¤G¦~±N¦³¤­³õ¥H¤Wªº¹qª±¾Ç³N¬ÛÃö·|ij¡]¤£¥]¬A¹qª±¶}µo§Þ³N·|ij¡A°Ñ¨£Frascaºô­¶¥k¤U¨¤ªº¦Cªí¡Awww.ludology.org¡^¡AŪªÌ¥i¦b¨Æ«áÀËÅç¥L³Q¤Þ¥Îªº¦¸¼Æ¡C
¡@¡@¢²¡BStuart Moulthrop¡A¤Úº¸ªº¼¯¤j¾Ç¶Ç¼½³]­p¨t±Ð±Â¡A¶W¤å¥»²z½×¥ýÅX¤§¤@¡A¤]¨ã¦³µ{¦¡³]­p¯à¤O¡C Postmodern Culture ½u¤W´Á¥Z³Ð¥Z¤H¤§¤@¡C¾Ç³N¦¨´N¥i±q¨ä¾á¥ô¦UºØ¬ÛÃö¾Ç³N·|ijKeynote Speakerªº¦¸¼Æ¡A¥i¨£¤@ºÝ¡]http://raven.ubalt.edu/staff
/moulthrop/talks/¡^¡C³sXerox Palo Alto Research Center³oºØ¥@¬É¯Å¬ã¨s³æ¦ì³£·|§ä¥L¥hºtÁ¿¡A¨S¦³¯u§÷¹ê®Æ¡A¦­´N³Q¼N¤U¥x¡C³Ìªñªº¬ã¨s¥]¬A¹qª±¡]"Misadventure: Future Fiction and the New Networks"¡^¡A¨ä¥ß½×ÄYÂÔ¡AÀ³µLºÃ°Ý¡C
¡@¡@¢³¡BJanet H. Murray¡A Hamlet on the Holodeck ¤@®Ñ§@ªÌ¡A¥ô¾³Â¬Ù²z¤u¾Ç°|Senior Research Scientist, Center for Educational Computing Initiatives¦h¦~¡A¥Ø«e¥ô±Ð³ìªv¨È²z¤u¾Ç°|¡A¤]¬OGonzalo Frascaªº½×¤å«ü¾É±Ð±Â¡C Hamlet on the Holodeck ¤@®Ñªº¾Ç³N¤ÏÀ³¤£¤@¡A¦ý³Q¤Þ¥Î¤§¦¸¼Æ¤£ª¾¤Z´X¡A¾ÇªÌ©Î±q¨äÄ@´º¦¡ªº¡]visionary¡^»y¨¥Àò±o¥¿­±±Òµo¡A©Î¤£¦P·N¨ä¥ß½×¡A¦ýµL½×¦p¦ó¡A¦¹®Ñ³Qµø¬°¬ÛÃö¬ã¨sªº°Ñ¦Ò°_ÂI¡A¤w¬O¤£ª§ªº¨Æ¹ê¡C
¡@¡@¢´¡BSelmer Bringsjord¡A Artificial Intelligence and Literary Creativity §@ªÌ¤§¤@¡ARensselaer Plytechnic Instituteªºµ{¦¡³]­p®v¡C­P¤O©ó¬ãµo¤H¤u´¼¼z¡A­pµe¤§¤@¬O¸ÕÅç¯à¥Í²£¤¬°Ê¬G¨Æªº¾÷¾¹¡C³o¨Ç¶µ¥Ø¸ò®É¤U©Ò¿×ªº¬y¦æ¹qª±¤£¤Ó¤@¼Ë¡A¦ý¨ä¹ê§Î¦¡¥i¿×¥tÃþ¹qª±¡A·§©À©Mºë¯«¨«¹êÅç»P«e½Ã¸ô½u¡C
¡@¡@¢µ¡BMari-Laure Ryan¡A´¿·í¿ï¹L¬ü°êMLA¾Ç·|¡]Modern Language Association¡^³Ç¥X¿W¥ß¾ÇªÌ¼ú¡C Cyberspace Textuality ¤@®Ñ½sªÌ¡C´¿¥ô³nÅéÅU°Ý¡C¨ä²z½×¤Á¤J¨¤«×«D±`µR§Q¡A¨£¦a³Ð·s¡A¾Ç³N¬Éªº¤Þ¥Î¦¸¼Æ¬Û·íÀWÁc¡C¨ä¹ïªd¤Úªº¤¬°Ê±Ô¨Æ¬ã¨s¡]¦p"Interactive Drama," Modern Fiction Studies , Special Issue on "Technocriticism and Hypernarrative," ed. N. Katherine Hayles¡^¡Aºò¨nªd¤Úªºµo®i¡AÆ[¹î©P©µ¡A§Ú­Ó¤H»{¬°¨ä¤D¦P»â°ì¤¤ªºË³Ë³ªÌ¡C

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