中英文摘要

摘要

　　台灣通俗文學中的奇幻類型，目前約已度過三個發展時期：九〇年代至《魔戒》等電影熱潮後，朱學恆等人原於網路論壇與遊戲雜誌的譯介奇幻，並試圖以奇幻藝術獎的文學獎機制推廣在地創作，同時網路小說也經歷了蓬勃發展與西進、實體化書市衰弱，奇幻類型並轉向、參與2008年台灣角川主辦起輕小說大賞的徵文比賽，本獎項卻也在台灣網路小說平台龍頭鮮網惡性倒閉後因故停辦——網路小說、輕小說與傳統實體出版的市場皆無法支持奇幻類型永續發展。不過，在中國天聞角川加入合辦輕小說大賞後，及至2014年太陽花學運與「臺北地方異聞工作室」的成立，台灣奇幻便進入「妖怪學」逐漸盛行的在地化階段。前行研究者已討論過奇幻類型中數部作品或特定的出版媒體，如輕小說、普通出版物的原民奇幻、網路小說作家的奇幻作品，或梳理台灣奇幻類型的起源，然而在現今台灣文學研究中，未有研究概觀奇幻類型二十年來的發展進程。

　　本研究在整理出此發展脈絡後，從這三段發展時期，選出以世界觀創作（worldbuilding）為重的奇幻類型作品，梳理各部作品在台灣奇幻類型內的位置，觀察各作者作品是如何參與於台灣奇幻，找尋台灣作者在進行奇幻的力量幻想時進行了哪些在地化的發展，點出且其世界觀如何構築前行研究者已有提及的台灣奇幻去中心化、多元化的歷史敘事。

　　本文參考的各階段作品包含：九〇年代至2008年第一階段的傳統出版物，陳約瑟的《殛天之翼》和李伍薰的《海穹英雌傳》；2008至2014年第二階段階段、從網路小說轉入輕小說的天罪《幻想異聞錄》與輕小說大賞獲獎者余卓軒的《白色世紀》；2014至2020年、開始深入運用台灣在地材料的第三階段，北地異的「言語道斷之死系列」與李伍薰海穹文化的作者詹子藝所推出的《歸途：華席納》。

關鍵詞：奇幻、類型、世界觀創作、通俗、在地化

Abstract

The Fantasy genre in Taiwanese popular literature has undergone three developmental periods. Starting from the 1990s and extending beyond the wave of popularity of films like The Lord of the Rings, translators like Zhu Xueheng worked as mediums of Fantasy genre who attempted to promote Chinese Fantasy writings through avenues such as literary awards. Concurrently, the market of Internet fictions experienced robust expansion, eventually leading to a decline in the failing of online monetization and downturn in book market. In response to these changes, the Fantasy writers of Taiwan shifted their engagement toward the participation of the fantasy genre through the 2008 Taiwan Kadokawa-sponsored Light Novel Awards. However, while the leading platforms like XianWang closed, this award was eventually discontinued, and left writers with where to debut. The markets for Internet novels, light novels, and traditional print publishing were all unable to sustain the long-term development of this genre. Nonetheless, the landscape has began to change with the involvement of China's Tianwen Kadokawa in co-organizing the Light Novel Awards. Furthermore, the establishment of the "Parallel Taipei & Its Stories Studio" in conjunction with the 2014 Sunflower Movement marked a turning point. This period witnessed the emergence of a localization phase for Taiwanese Fantasy, punctuated by a growing fascination with "yokai." While previous studies have explored individual works within Taiwanese Fantasy genre or specific media, such as indigenous Fantasy, light novels, works by Internet novelists, or the origins of Taiwanese Fantasy, the broader decades-long developmental trajectory of the Fantasy genre in Taiwan has yet to be comprehensively studied.

This study selects a few works across these three developmental periods, with a significant emphasis on worldbuilding. By analyzing the positioning of these works within the Taiwanese Fantasy genre, this study seeks to understand how authors contribute to the localization of the Fantasy paradigm. It explores the ways in which Taiwanese authors infuse their fictions with local material while constructing their worldbuilding. Through this analysis, the study highlights the historical narratives of decentralization and diversification that have been discussed by previous researchers.

Keywords: Fantasy, Genre, Worldbuilding, Masses, Localization