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3. ¤E¤K¦~¦Ì°Ç¡]Laura Miller¡^¦b¡m¯Ã¬ù®É³ø¡n¼¶¤å¡AÂI¦W­×²z³ì¥ì«ä¡]Michael Joyce¡^©M¼¯´µ¬¥©Yªº¶W¤å¥»¤p»¡¡A«üºÙ¾\Ū¥L­Ìªº§@«~¡A¹³¬Oº©µL¥Ø¼Ðªº¹C¿º¡A²@µL·N¸q¦Ó¥BµL²á³z³»¡C¼¯¬¥´µ©Yµy«á¼g«H¦^À³¦Ì°Ç¡A¦ý¦r¥y¤£¦h¡]§õ¶¶¿³2000, ¬q½X9¡^¡C¤E¤E¦~¡A¼¯´µ¬¥©Yµoªí½×¤å¡q²æ½uªº«_ÀI¡r¡A°_¦]¦b©ó»é¥¸¤E¤C¦~¨¤¨¦¡]Michiko Kakutani¡^ªº¶W¤å¥»Æ[ÂI¡CÁA¸Ñ­ì©e©M¤º±¡¤§«á¡A§Ú­Ì¤£§«±N¼¯´µ¬¥©Yªº½×¤åµø¬°¹ï¦Ì°Çªº¥t¤@¦¸ÁÙÀ»¡C¨¤¨¦¦b¡m¯Ã¬ù®É³øÂø»x¡n¡] New York Times Magazine ¡^¥Zµnµû½×¡A»{¬°¶W¤å¥»¤p»¡®t¤£¦h¬Û·í©óÀN§B¸¯§Æ¸­¡]Robbe-Grillet¡^ª©ªº¡m°gÃú¤§®q¡n©M¡mÅ]Ã~ª§ÅQII¡n¡] Warcraft II ¡^¡C¨¤¨¦ªº¶S§í¡A¤ûÀY¤£¹ï°¨¼Lªº¤ñÀÀ¡AÅãµMÅý¼¯´µ¬¥©YÃø¥H®ø¨ü¡CÄ´¦p»¡¡A¡m°gÃú¤§®q¡n ©M¡mÅ]Ã~ª§ÅQII¡n³o¨â³¡¹qª±¥»¨­ªº·½°_¨tÃЩMª±®aºØÃþ¤j¤£¬Û¦P¡AÃø¥H¦b¦¹¤@¾\Ū±¡ªp¤UÂk¯Ç¦¨¤@Ãþ¡A§@­·¤§¯ó²v¡A©{¦p¡u§â¡m±Ð¤÷¡n©M¡m¤T¼C«È¡n©ñ¦b¤@°_¡A±j¦æ¦±¸Ñ¦¨¤C¢¯¦~¥N¹q¼vªº¥N¦Wµü¡v¡]Moulthrop 1999, 186¡^¡C

4. ¦ã´µ¬_§Q¤¯¡]Markku Eskelinen¡^¡u¹qª±±¡¹Ò¡v("The Gaming Situation")¥t¥H¦¨¤À¤§¶¡ªºÃö«Y»P©Ê½è¤ÀÃþµ¥µ¥¨¤«×¡A°Q½×¹qª±»P±Ô¨Æªº®t²§¡Aµ²½×¬Û¦P¡C·§¬A¤§¡A¥ñ©Ô´µ¥d¡B©~º¸¡B¦ã´µ¬_§Q¤¯µ¥¤T¤Hªº½×­z³£¨ü¨ì¨È·æ´µªº±Òµo¡C

5. ¹qª±ªº¶}³õ±Ô¨Æ¡A³q±`¥H²Ä¤G¤HºÙ¡u§A¡v¦Vª±®a¥æ¥N¹CÀ¸¨Æ¶µ¡A·íª±®a»P¤Æ¨­µ²¬°¤@Åé¡B»PÀô¹Ò¶i¦æ¤¬°Ê¤§«á¡A±Ô¨ÆªÌªºÁn­µ¡]narrator's voice¡^«K·|®ø¥¢¡A¦æ°Ê¤¤ªº¡u§Ú¡v¦ÛµM¦a¨ú¥N¤§«e¨­¬°Å¥²³ªº¡u§A¡v¡]narratee¡^¡A¦¨¬°ª±®aªº»{ª¾¨¤«×¡C

6. holodeck¤¤ªºholo­ì«ü§¹¾ã¡B¥þ³¡¡C²ö¥ìªº¥»·NÀ³¬O«ü¯Ahologram¡A¥ç§Y¥H¥þ®§Äá¼v³N»s¦¨ªº¥ßÅé¹Ï¹³¡Cholodeck¥iĶ¦¨¡u¥þ®§¦¨¹³¥­¥x¡v¡C

7. Murray (1997), 25 ; ¤Þ¦ÛRyan (2001), 72¡CÃö©ó¥þ¹³¥­¥xªº´CÅé³z©ú«×¤@ÂI¡A¼¯´µ¬¥©Y§å§P¨ä¬ü¾Çªº¯U¹i¡A«ü¥X´CÅ骺¤£³z©ú©Ê©Î¡uíá»Ø¡v¦a±a¡A¤Ï¦ÓÄ­ÂõۦUºØ­È±o¶}µoªº¬ü¾Ç¨ë¿E¡C°Ñ¦ÒMoulthrop (2001), Section 12, 14¡C

8. ùѻ½×¹q¸£»P¨Ï¥ÎªÌ¤§¶¡ªº¤¬°Ê¡A¥ç½Í¤Î²¾±¡§@¥Î¡]Laurel 1993, 120-1¡^¡AÆ[ÂI»PµÜ®¦¤@­P¡C

9. Bringsjord, 41¡C¥»¤å¥D­n°Ñ¦Ò¥¬ªL´µÀu¼wªº½×¤å¡q¼@±¡°Ê¤Hªº¤¬°Ê¼Æ¦ì®T¼Ö¡A¥i¯à¶Ü¡H¡r¡]"Is It Possible to Build Dramatically Compelling Interactive Digital Entertainment (in the form, e.g., of computer games)?"¡^¡C¨Æ¹ê¤W³o½g½×¤åªº®Ö¤ß²z½×§¡±Ä¦Û¥L©M¥t¤@¦ì¾ÇªÌªº¦XµÛ¡G¡m¤H¤u´¼¼z»P¤å¾Ç³Ð³y¡n¡] Artificial Intelligence and Literary Creativity ¡^¡C¨ä¤¤¹ï¡u¥¬¾|¯S´µ¡v­pµe¦³¥þ­±©Êªº­åªR»P§å§P¡C

10. §Ú¦b¥¦³B¤ñ¸û¹L¥­­±»P¶W¤å¥»±Ô¨Æªí²{§Î¦¡¡A»¡©ú¨âªÌ©ÒÀ³¥Îªº§Î¦¡¡A¨ã¦³¶Ç©ÓÃö«Y¡A¦ý¦³©¼®ø¦¹ªøªº½ü´À²{¶H¡C°Ñ¦Ò§õ¶¶¿³¡]2001b¡^:¬q½X46-54¡C

11. ¨©¯÷¡]Joseph Bates¡^¡q¹G¯u¨¤¦âªº±¡·Pªí¹F¼Ò¦¡¡r¡]"The Role of Emotion in Believable Agents"¡^¤@¤å«ü¥XµêÀÀ¨¤¦â¡]«D«ü¨î°Ê¨¤¦â¡^ªº¥i«H«×«Ø¥ß¦b±¡·Pªºªí¹F¼Ò¦¡¡A³o¨Ç¼Ò¦¡¥¼¥²¬O¯u¹ê±¡·Pªºª½±µ¥é»s¡A¦Ó³q±`¬O¿z¿ï¹Lªºªí¹F¨BÆJ¡A²­n¦Óºë·Ç¡A¯àÀþ¶¡¤Þ°_¨Ï¥ÎªÌªº¦@»ï¡C®Ú¾Ú¨©¯÷ªº³ø§i¡A³o¼ËªºµêÀÀ¨¤¦â¶ì³y¤´¥¼¿²¦Ü§¹¬ü¡C¹ï·Ó¥¬ªL´µÀu¼wªº¡u¦Û¥D©Ê¡v¼Ð·Ç¡A¨©¯÷ªº¡u¹G¯u¨¤¦â¡vÅãµM¬O¸û¦¸¯Åªº¤H¤u´¼¼z²£ª«¡C¤£¹L¦p«e­z¡A¶ê¿Ä¨î°Ê¨¤¦âªº§Î¦¨¹Lµ{¤¤¡A»P¨ä¤¬°Êªº°t¨¤¡AµL¶·¬O¨ã¡u¦Û¥D©Ê¡vªº¡u¹G¯u¨¤¦â¡v¡C

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