a hack of red snow

內容警告：後設恐怖、飲食混亂、憂鬱、怕脆弱的恐懼、敵對性的敘述者、跟別人互不理睬、被拋棄的恐懼、情緒自傷/自我破壞、絞刑架幽默、超現實血腥畫面、怕接觸污染的恐懼、溺水、自我厭惡、強迫尋求再保證、呼吸困難、無性行為的身體侵犯

content warning: meta-horror, disordered eating, depression, fear of vulnerability, adversarial narrator, not being on speaking terms with someone, fear of abandonment, emotional self-harm/self-sabotage, gallows humor, surreal gore, fear of contamination, drowning, self-loathing, compulsive reassurance seeking, suffocation, non-sexual physical violation

暫停。查：「這該死的拘執佮愛」。啟動重複播。再繼續滾動下去。

PAUSE. Look up “damn that stubbornness damn that love.” Put it on repeat. Then keep scrolling.

1

骯髒的盤子 是你唯一攜帶的東西

油污

要硬去 再 硬 去

你非常飢餓

A dirty plate is all that you carry

grease

to scour and scour

you are very hungry

擲 2d6 來判斷渴望

記錄 在空白的紙上

作為你的角色卡

Roll 2d6 to determine your craving

record it on a blank sheet of paper

to use as your character sheet

2-5: 無法享用的東西。要擲多個骰子的時候只能擲一顆。 What you can't have. If needing to roll multiple dice, you can only roll one.

6-10: 無法做的東西。只能在角色卡上記錄奇數片段裡的東西。 What you can't make. Only record things from odd numbered sections on your character sheet.

11: 找不到的東西。被拋棄。關於搜尋的骰 -1。 What you can't find. FORSAKEN. -1 to all rolls that involve searching.

12: 被你剛吞沒的東西。不知足。把角色卡的其中一角咬掉。 What you just consumed. INSATIABLE. Bite off a corner of your character sheet.

擲 3d4 來判斷生命值

今天有哭的話 -1 睡眠不足的話 -2 昨天也是的話 -3 那又怎樣的話 +4 你在說謊的話 -6 知道要命的話 +10

再把結果 記錄 在角色卡上

Roll 3d4 to determine your health

-1 if you cried today -2 if you didn't get enough sleep -3 if that was yesterday too +4 if you say you don't care -6 if you're actually lying +10 if it kills you to admit it

and record the result on your character sheet

2

如果目前在遊戲外播放的音樂有歌詞 把聽到的一段在角色卡上寫下來 如果在遊戲中找到用處 用完把它給劃掉

如果你聽到的段是純音樂 寫下「血落歸槽」 之中每一個字是能花費的 +1 花完劃掉 劃掉最後的話就會死

如果你現在才開始放音樂 生命扣 1 點 由於你認為我 會為了你重複自己

If the music playing outside of the game currently has lyrics record a section that you hear on your character sheet if you make use of it inside the game cross it out after you're done

if the section you hear is an instrumental write down SINK within it each letter is a +1 you can spend after it's spent cross it off if you cross off the last, you die

if you just started playing music right now lose 1 point of health for expecting me to put myself on repeat for you

3

你把髒盤子帶到水槽洗 但水槽裡有個顛倒的塑膠袋 是家裡那另外一個人放的 你們超過一個周沒說話 可以擲 2d6 去尋找 ta

寫下四個不說話讓你害怕的原因 要面對另外一個人的時候 可以借助這些原因 來傷害自己 把自己利用完 然後劃掉

或著是你可以繼續滾動下去

You bring the dirty plate to wash at the sink but inside the sink is an upside-down plastic bag placed there by the other person who lives in the house you haven't spoken in over a week you can roll 2d6 to search for them

write down four reasons why you're not talking that make you scared when you confront the other person you can invoke these reasons to hurt yourself to make yourself useful then cross yourself out

or you can just keep scrolling

想怎樣處理塑膠袋？只能有一個選擇。

把它移出去：袋子下流出鮮血，玷污水槽、料理台、地板、你的衣服、你的手。失去 d4 生命。劃掉一個原因。

不理它：你打開水龍頭，開始把油污洗掉。你把乾淨的盤子收起來。你的手開始出血，一直流不停。失去 d12 生命。劃掉所有原因。

吃掉它：入口即化。味道像燒仙草。獲得 d4 生命。下次擲骰 -1。

把它撕碎：關掉音樂，大聲尖叫。在角色卡上寫下一句髒話。

What do you do with the bag? You can only choose one.

MOVE IT: Fresh blood pours out from underneath the bag, staining the sink, the countertop, the floor, your clothes, your hands. Lose d4 health. Cross out one reason.

IGNORE IT: You turn on the faucet and start washing the grease stains off. You put the clean plate away. Your hands start to bleed, and they won't stop. Lose d12 health. Cross out every reason.

EAT IT: It melts in your mouth. Tastes like grass jelly. Gain d4 health. -1 to your next roll.

TEAR IT APART: Turn off the music and scream. Write an expletive down on your character sheet.

如果你有去尋找 ta…

If you searched for them...

2-11: 你找到一間空房子還有一杯紅茶，半空。你帶不走。 You find an empty house and a cup of black tea, half full. You can't take it away.

12: 你找到一間空房子還有一杯紅茶，全滿。你帶不走。 You find an empty house and a cup of black tea, full. You can't take it away.

4

水槽 （不管還有沒有塑膠袋） 突然變得太滿 開始淹沒廚房

你沉 入 洪水

它在試圖 將會成功 把你淹死

The sink (with plastic bag or not) suddenly overflows starts flooding the kitchen

you sink into the flood

it is trying to will succeed in drowning you

記得 你擁有的東西 這就是為什麼 你把它們 寫下來 的原因

Remember the things you have that is why they are written down

5

採取行動

使用歌詞 使用原因 使用髒話 使用虛無

Make your move

USE LYRIC USE REASON USE EXPLETIVE USE NOTHING

擲 d12 來使用歌詞

Roll d12 to use the lyric

1-6: 話如鯁在喉。感覺自己是廢物。 The words get stuck in your throat. You feel like a failure.

7-12: 你把話嗆出來。下次受傷害的時候，減 1 點傷害。 You choke out the words. The next time you take damage, it will be reduced by 1.

13+: 你的聲響嘹亮。下次擲骰 +1。 Your voice rings clear. +1 to your next roll.

擲 3d4 來使用原因

Roll 3d4 to use a reason

3-12+: 寫下三樣能不靠另外一個人給自己安全而做的事。如果有需要，再重複寫一遍。寫完把原因劃掉。 Write down three things that you can do to give yourself safety without relying on the other person. Write them down again if you have to. When you are done writing, cross the reason out.

擲 2d6 來使用髒話

Roll 2d6 to use the expletive

2-6: 血爆出你的喉嚨。 Blood erupts from your throat.

7-12: 你被口水嗆到。 You choke on your spit.

13+: 你嘗到新鮮的空氣。下次擲骰 +1。 You taste fresh air. +1 to your next roll.

擲 d12 來使用虛無 （必須一無所有）

Roll d12 to use nothing (you must have nothing left)

1: 感到慌張。受到 d4 傷害，下次擲骰 -1。 Feel panic. Take d4 damage, -1 to your next roll.

2-6: 感到渴念。堅持下去。 Feel yearning. Go on.

7-11: 感到無能。你沒有效果。 Feel powerless. You have no effect.

12+: 感到解脫。洪水消失。 Feel release. The flood disappears.

採取行動完之後 （如果洪水沒消失的話） 換它採取行動

After you make your move (and if the flood has not disappeared) it makes its move

（可能含血的）洪水試圖讓你窒息；擲 2d6

The water (which possibly contains blood) tries to make you suffocate; roll 2d6

2-6: 它成功。你死了。把角色卡上全部的東西都劃掉。在背後寫下你的遺言。 It succeeds. You're dead. Cross everything off your sheet. Write your last words on the back.

7-11: 它佔領你的氣管。時間慢下來。受到 d20 傷害。要命的話，按照以上的規則處理。 It colonizes your windpipe. Time slows down. You take d20 damage. If it kills you, resolve with rules above.

12: 它擊中你的腹部。你喘不過氣。受到 d10 傷害。要命的話，按照以上的規則處理。 It punches you in the gut. It leaves you breathless. You take d10 damage. If it kills you, resolve with rules above.

13+: 你繼續憋氣。下次擲骰 +2。 You keep holding your breath. +2 to your next roll.

再次採取行動，並且重複 到其中（或彼此） 再也不在

Make another move and repeat until one (or both of you) are no longer here

尾聲 coda

彷彿夜晚沉默的降臨 迫於最漫長的一天 你家的前門終於被打開

Like the silent fall of night born from the longest day the front door of your house finally opens

另外一個人 向你前進 留下紅色的痕跡 寫下你希望能對 ta 說的話 我希望能給你所有的一切 對不起

The other person approaches you trailing red write down what you wish to say to them i wish i could give you everything i'm sorry

ta 的存在感 給你一點安慰

這個未來 你還能面對

Their presence give you an inch of comfort

this future is what you can face

𝄂

零零星星是個部落格貼文系列，專門描寫形形色色不想被我更加發展的 TRPG 點子。要看所有期數，請按 #ZS 的主題標籤。

Zero Stars (ZS) is a blogpost series for various TRPG ideas I didn't want to develop further. To view all issues, please click on the hashtag #ZS.

為什麼在 TRPG 之中，冒險的目的每次都是為玩家獲得更多 XP 和寶藏？傳統的地下城—為了獲得 XP 和寶藏去冒險的地方—到底有沒有必要在解放遊之中存在？冒險的目的能不能不是為了增加個人的權力？非玩家角色存在的目的能不能不是以玩家的需要為準—虛構世界能不能獨立不靠玩家地存在？

Why is it that in TRPGs, the purpose of adventure is always to gain more XP and treasure for the player? Do traditional dungeons—places to go on adventures for XP and treasure—need to exist in a liberationist game? Can the goal of adventure be something other than a quest to amass personal power? Can the purpose of NPCs' existences be something that doesn't revolve the needs of the player—can the fictional world exist on its own without needing the player at all?

我要想像一種冒險，之中焦點不會是玩家跟非玩家角色的衝突。不是「非暴力的冒險」，而是社會革命的冒險。在這個冒險之中，新的現實會出現，而冒險空間的萬物必須決定該如何面對。在這個冒險之中，不管對玩家的鄰近度是什麼，大家都算是冒險家。而且「大家」不只是人形的角色。「大家」包括怪物、植物和動物—那些不能說話的物體，通常除了求生不准有其他的目標—被逼無奈做赤裸生命的存在物。問一下：史萊姆要的是什麼？為什麼蘑菇決定在這裡生長？蛆蟲們是怎麼樣現這個地下城的存在？對它們來說，冒險的意義是什麼？

I want to imagine an adventure where the focus won't be on conflict between PCs and NPCs. Not a “nonviolent adventure,” but an adventure in social revolution. In this adventure, a new reality emerges, and all beings in the space of the adventure must decide how to face that reality. In this adventure, regardless of proximity to the player, everyone is considered an adventurer. And “everyone” is more than just humanoid characters. “Everyone” includes the monsters, the plants, and the animals—those nonspeaking entities who aren't normally permitted to have any other goals beyond striving for survival—those beings who are reduced to bare life. Ask: what do the slimes want? Why did the mushrooms decide to grow here? How did the maggots discover this dungeon? What is an adventure to them?

烏雷巴的地下城 UREBAR'S DUNGEON

給《幽影》的轉移

A Diversion for Shades of Hell

hexroll.app 隨機產生沙盒的改編

Adapted from a random sandbox generated by hexroll.app

地下城地圖 DUNGEON MAP

4 — 5 — 6 | | 1 — 2 — 3

地圖描述：橫 A 字形的地下城。最上層的房間是 4、5、6，最下層的房間是 1、2、3。4 連到 1、5 連到 2。

Map Description: A dungeon shaped like a sideways letter A. The upper level rooms are 4, 5, 6, and the lower level rooms are 1, 2, 3. 4 connects to 1, and 5 connects to 2.

1. 戰利品房間 TROPHY ROOM

布滿灰塵的架子，裡頭有布滿灰塵的雕像。角落有個屍體。

Dusty shelves filled with dusty STATUES. A CORPSE lies in the corner.

雕像：怪獸般、憤怒、可怕。來自熟悉和外來的文化（對你而言）。

STATUES: Monstrous, wrathful, fearsome. From cultures familiar and foreign (to you).

屍體：老妖精、拿著羽毛撣子、頭被吹箭射中。空手旁邊有破碎的雕像。掠奪品…

• 110 冥幣（腰包）
• 昉橙珠項鏈（可變魔法物品）

這位是吳待認，是烏雷巴地下城的管理員。烏雷巴是來自發惹衛的法師，在穿越時空的時候常常不會回來管地下城的事。烏雷巴偶而會把相對無害的俘虜用法力傳送到戰利品房間，給吳先生訓練成未來的僕人。今天，這俘虜就是你。

可惜吳先生因為老年紀開始有記憶力問題，有一天在打掃戰利品房間的時候忘了架子上有防小偷的秘密陷阱。他不小心拿起一尊雕像，突然間被毒吹箭射中，倒在地上痛苦的死去。

CORPSE: Old elf, holding a feather duster, dart in head. Beside his hand, a statue lies broken on the floor. The loot...

• 110 hell coins (waist purse)
• 1 morning pearl necklace (can become magic item)

This is Goh Dailin, janitor of Urebar's Dungeon. Urebar is a wizard from Fara Wei who often leaves the dungeon unattended for long periods of time while traveling through other dimensions. Occasionally, Urebar teleports a relatively harmless captive into the trophy room, for Mr. Goh to train as a future servant. Today, that captive is you.

Unfortunately, as Mr. Goh aged, he started having problems with his memory, and one day while cleaning the trophy room he forgot that the shelves had a secret trap to ward off thieves. He accidentally picked up a statue, and was suddenly hit by a poison dart, causing him to fall to the floor and die a slow and painful death.

出口：

• 上（到 4）：鋼鐵活板門。房間裡沒有梯子。
• 東（到 2）：鋼鐵門，從另外一邊被鎖住。

EXITS:

• UP (to 4): Steel trapdoor. The room has no ladder.
• EAST (to 2): Steel door, locked from the other side.

2. 甲號牢房 CELL A

到處都是蜘蛛網，但沒有蜘蛛。三位酸沼木乃伊正在用寶藏賭博。

Cobwebs everywhere, but no spiders. 3 BOG MUMMIES gamble with a pile of TREASURE.

酸沼木乃伊：從奧斯塔拉被俘的不死囚犯，代理烏雷巴監視吳先生和新的「戰利品僕人」。他們不靠飲食，反而是靠重述自己被謀殺的故事維持自己的生存，常常喜歡在玩死侍（賭戰利品僕人什麼時候會死亡的遊戲）的時候講這些故事。陣容…

• 埃米爾（他），穿著羊皮帽，被絞死
• 揚內（她），穿著羊皮披風，被儀式殺死
• 西格麗德（她），深紅頭髮，頭被砍掉

BOG MUMMIES: Undead prisoners captured from Othala, deputized by Urebar to guard Mr. Goh and the new “trophy servants.” They don't rely on food or drink, but instead on retelling stories of how they got murdered for sustenance, which they enjoy repeating over games of dead pool (in which they bet how long it will take for trophy servants to die). The lineup...

• EMIL (he/him), wears sheepskin hat, was hanged
• JANNE (she/her), wears sheepskin cape, was ritually sacrificed
• SIGRID (she/her), dark red hair, was decapitated

寶藏：5000 冥幣。

TREASURE: 5000 hell coins.

出口：

• 西（到 1）：鋼鐵門，受魔法密碼保護
  • 只有烏雷巴容許的人才能上鎖和解鎖
  • 解鎖的密碼是「雷德」，上鎖的密碼是「德雷」
• 上（到 5）：鋼鐵活板門。房間裡沒有梯子。
• 東（到 3）：鋼鐵門，從另外一邊被鎖住。

EXITS:

• WEST (to 1): Steel door, magically password-protected
  • Only those permitted by Urebar may lock or unlock the door
  • Password to unlock is “RAIDHO,” password to lock is “DHORAI”
• UP (to 5): Steel trapdoor. The room has no ladder.
• EAST (to 3): Steel door, locked from the other side.

3. 乙號牢房 CELL B

肢刑架在破裂的天花板之下變得更朽爛。四位快餓死的吸血鬼正在舉行令人毛骨悚然地的辯論。一個坐在黑箱上，旁邊有個操縱桿。另一個躺在巨大的寶藏堆上。

TORTURE RACKS rot under a fractured ceiling. 4 starving VAMPIRES engage in morbid debate. One sits on a BLACK BOX by a LEVER. Another lies in a massive pile of TREASURE.

肢刑架：有兩個。看起來很像梯子。

TORTURE RACKS: Two of them. They look a lot like ladders.

吸血鬼：年輕的巫師群，為了逃離三塗城的神廟幫發誓當烏雷巴的傭人。他們負責監視甲號牢房的囚犯。戰利品僕人負責給他們血喝。當戰利品僕人過了很久都沒回來的話，吸血鬼們會開始討論誰要先當犧牲來餵養其他的人。陣容…

• 羅飛（他），原本是人類，個性憂思
• 密思嵐（他/祂），原本是深涯妖精，個性快活
• 呰禪（她），原本是天妖，個性厭世
• 日油（他/它），原本是鬼怪，個性惱怒

VAMPIRES: A young coven that pledged service to Urebar in exchange for escape from the temple-gangs of Santu City. They are responsible for guarding the prisoners in Cell A. Trophy servants are responsible for giving them blood to drink. When a trophy servant doesn't return after a long time, the vampires start discussing who should be sacrificed first to feed the other people. The lineup...

• RAFAEL LUO (he/him), once human, brooding personality
• LANCE MISI (he/they), once abyss elf, jovial personality
• AZA'ZEN (she/her), once skyfiend, jaded personality
• GREASE (he/him), once goblin, cantankerous personality

黑箱：用黑耀晶做的。裡頭有修肢刑架的材料。

BLACK BOX: Made of blackbright. Contains materials to repair the torture racks.

操縱桿：操縱地下城之中所有活板門的開關。

LEVER: Controls the opening and closing of all trapdoors in the dungeon.

寶藏：12,500 冥幣。

TREASURE: 12,500 hell coins.

出口：

• 西（到 2）：鋼鐵門，受魔法密碼保護
  • 只有烏雷巴容許的人才能上鎖和解鎖
  • 解鎖的密碼是「死在萬刀之下」，上鎖的密碼是「自入洪門之後」

EXITS:

• WEST (to 2): Steel door, magically password-protected
  • Only those permitted by Urebar may lock or unlock the door
  • Password to unlock is “LET SLEWS OF SWORDS SLAY ME,” password to lock is “ONCE I'M THROUGH THE VAST GATE”

4. 食品儲藏室 PANTRY

發光的蘑菇長在銀池的旁邊。

GLOWING MUSHROOMS grow near a SILVER POOL.

發光的蘑菇：希望跟大家分享他們的幻想。這是它們交流的方式。菜單…

• 藍：清水的口味。讓你感到平靜。
• 紅：鮮血的口味。讓你感到被愛。
• 黃：淡拉格的口味。讓你感覺被吃掉。

GLOWING MUSHROOMS: Wish to share their visions with everybody. This is their form of communion. The menu...

• BLUE: Tastes like fresh water. Lets you feel at peace.
• RED: Tastes like fresh blood. Lets you feel loved.
• YELLOW: Tastes like pale lager. Lets you feel eaten.

銀池：其實是鋼鐵史萊姆，正在享受幻想所以不想被打擾。被踩到會生氣，被亂喝會超級生氣。如果你故意惹史萊姆麻煩的話，蘑菇會用毒氣殺傷你。

SILVER POOL: Actually a steel slime, wishing to be left alone to enjoy its visions. Gets annoyed if stepped on, gets extremely annoyed if you try to drink it. If you deliberate antagonize the slime, the mushrooms will gas you.

出口：

• 下（到 1）：鋼鐵活板門，操控桿在 3。
• 東（到 5）：拱門。

EXITS:

• DOWN (to 1): Steel trapdoor, control lever at 3.
• EAST (to 5): Arch.

5. 銳舞房間 RAVE ROOM

即興的舒緩燈光秀，來自鍍銀天花板上發光的蘑菇。

Spontaneous soothing light shows come from GLOWING MUSHROOMS on the SILVERED CEILING.

發光的蘑菇：不小心被一位戰利品僕人帶回地下城。他們在這裡吃上層的神光能。

GLOWING MUSHROOMS: Accidentally brought back to the dungeon by a trophy servant. They're here to eat the spark energy on the upper level.

鍍銀天花板：所謂把蘑菇帶進來的戰利品僕人。其實不是個體，而是一大群的鋼鐵史萊姆，因為有一天在玩耍的時候模仿人形被烏雷巴好奇地「收集起來」。吳先生發覺他們只能在過分壓力之下才會聽話，而且受太多壓力之後會死掉，變成永遠凝固的狀態。在這個地下城之中，所有被鋼鐵製造的東西都是活鋼史萊姆的屍體。因此這個史萊姆群害怕跟別人接觸，寧願待在蘑菇的保護之下。

SILVERED CEILING: The so-called trophy servant who brought all the mushrooms here. Not actually an individual but a collective of steel slimes, who were playing at mimicking humanoids one day when they were “collected” by Urebar out of curiosity. Mr. Goh discovered that they only obey under excessive pressure, and too much pressure will kill them, leaving them in a permanently solidified state. In this dungeon, everything made from steel is the corpse of a living steel slime. Hence this slime collective is afraid of interacting with others, and prefers to remain under the mushrooms' protection.

出口：

• 西（到 4）：拱門。
• 下（到 2）：鋼鐵活板門，操控桿在 3。
• 東（到 6）：拱門。

EXITS:

• WEST (to 4): Arch.
• DOWN (to 2): Steel trapdoor, control lever at 3.
• EAST (to 6): Arch.

6. 門廳 FOYER

A tunnel surrounded by BLACK WALLS with a ramp leading up towards the east.

被黑牆包圍的隧道，斜坡往上到東邊。

黑牆：用黑耀晶做的。有發光的電路板花紋，會輪流換不同顏色。順序是藍、紅、黃。

BLACK WALLS: Made of blackbright. Has glowing circuit board patterns that cycle through different colors. The order is blue, then red, then yellow.

出口：

• 西（到 5）：拱門。
• 東（到外面）：坡道。

外面是冰風雪地。你目前的衣服不適合這種天氣。

Outside is a land of ice and snow. You are not dressed appropriately for the weather.

附錄 APPENDIX

不常見詞語的說明。

Explanations for uncommon terms.

深涯妖精：住在地下洞穴或深海之中的妖精。

ABYSS ELF: Elves that live in subterranean caves or the deep sea.

黑耀晶：長得像黑曜岩的魔法水晶。幾乎難以銷毀。常見的模式是吸收附近生命能量的尖塔。

BLACKBRIGHT: A magic crystal that looks like obsidian. Virtually indestructible. Commonly occurs in the form of spires absorbing life energy from their surroundings.

轉移：路線、目的、注意力的改變（也就是冒險）。

DIVERSION: A detour of itinerary, of purpose, of attention (in other words, an adventure).

冥幣：硬幣版的紙錢。「給活人冥鈔往往視為死亡詛咒或恐嚇」（維基百科）。

HELL COINS: Coin versions of joss paper money. “The act of giving a living person hell bank notes is considered a great insult in Chinese culture and may even be seen as a death threat” (Wikipedia).

活鋼：一種能按照使用者的意志力在液體跟固體狀態中轉換的魔法金屬。自然的狀態是史萊姆。見《破裂疆》。

LIVING STEEL: A magic metal that can alternate between liquid and solid states according to the will of its user. Its natural form is a slime. See Fractured Frontier.

昉橙珠：跟早晨一樣橘的珍珠。適合用來做發光的神器。

MORNING PEARL: A pearl that is as orange as morning light. Suited for making artifacts that glow.

天妖：來自萬敵界被強迫變成人形的山脈。他們的皮膚跟天色一樣有多種，眼睛跟星一樣明或夜一樣黑。據說他們能在封閉空間無翅飛翔，也能履險如夷地睜眼說瞎話。見《下世萬敵》。

SKYFIENDS: Mountains that were forced to become humanoid from Bantik Kai. Their skin comes in as many colors as the sky, and their eyes are as bright as stars or as dark as night. Rumor has it they can fly without wings in closed spaces, and can lie through their teeth without breaking a sweat under pressure. See Future Only Enemies.

神光能：宇宙每一個生物都擁有的生命能量。耐核系統主要使用的超自然能量資源。見《破裂疆》。

SPARK ENERGY: Life energy that every living entity possesses in the universe. Supernatural energy resource primarily used in the Nai'oh System. See Fractured Frontier.

還在英語獨立 TRPG 圈子的時候，我常常看見人家問：「你建議 TRPG 設計者該讀什麼文獻？」雖然有很多普通的政治文獻可以推薦，我是從來沒看過專門為了桌上角色扮演遊戲設計和遊玩寫的政治文獻。所以我就寫了一個。是我當初開始接觸 TRPG 的時候希望擁有的資源。

When I was still in the Anglosphere indie TRPG scene, I'd often see people asking: “What text would you recommend tabletop game designers to read?” Although there are a lot of normal political texts you could recommend, I had never seen any political texts specifically written for tabletop roleplaying games. So I wrote one. It's the resource I wish I had back when I first started engaging with TRPGs.

現在是 2024 年度的金錢嘉年華，你們即將要偷運送給資產階級和警察們的小驚喜。有兩件事情你需要注意： 一、你有一個需要精確計算時間的複雜計畫。 二、你是一隻天殺的熊，但只有對白人來說才是。^†

It's MONEYCON 2024. You are going to smuggle in a surprise for the bourgeoisie and police. Two Things - One: You have a complex plan that requires precise timing. Two: You are a GODDAMNED BEAR, but only to white people.^†

^†世界上其實沒有真正有知覺力的非人類動物。金錢嘉年華只是一個白人為了擺脫政治正確組織的擴增實境娛樂活動。之中白人會用 AR 頭戴式顯示器讓全部有色人變成不能講話的動物。有色人在實際上還是人。

There actually aren't any sentient nonhuman animals in this world. MoneyCon is just an augmented reality entertainment event organized by white people wanting to get free from political correctness. Inside they use AR headsets to transform all PoC into animals incapable of human speech. People of color are still human in fact.

1: 設定與劇本 SETTING AND SCENARIO

嘉年華策劃者的行業 CONVENTION ORGANIZER'S INDUSTRY: 1: 廣告業 Advertising 2: 銀行業 Banking 3: 學術工作 Academia 4: 併購 Mergers and acquisitions 5: 創業 Entrepreneurship 6: 國防工業 Defense

金錢嘉年華舉辦在一個 MONEYCON IS BEING HELD IN A (2D6): 1: 偏僻 Isolated / 海灘度假勝地 Seaside Resort 2: 擁擠的 Crowded / 豪宅 Mansion 3: 有歷史意義的 Historic / 旅館 Hotel 4: 夏天的 Summer / 會議中心 Convention Center 5: 被抗議的 Protested / 大學 University 6: 冬天的 Winter / 野外渡假村 Wilderness Retreat

要偷運送給資產階級和警察們的小驚喜是 THE SURPRISE YOU SMUGGLE IN FOR THE BOURGEOISIE AND POLICE IS:

1: 會偷信用卡資料的銷售時點情報電器 A point-of-sale device that steals credit card info

2: 一皮箱已經在倒數的定時炸彈 A briefcase of time bombs that are already on countdown

3: 同志 U，來殺死她富豪強姦者嫖客的性工作者 Comrade U, a sex worker here to kill her rich rapist john

4: 「黑夜之后手工製作的歌特風蜂蜜」，任何人吃了它就會變成無治主義者 “Queen of the Night artisanal goth honey,” which turns anyone who eats it into an anarchist

5: 黛安娜的心靈，是被詛咒的酒，喝下來的人會被隱形的動物暴力地吃掉 Spirit of Diana, a cursed wine whose drinker will be violently eaten alive by invisible animals

6: 同志哈莉特，用才藝展示掩護沒有文件黑人移工從 ICE 的逃避 Comrade Harriet, who is using a talent show to cover the escape of undocumented Black migrant workers from ICE

但這些叛亂者並不知道 BUT LITTLE DO THE INSURGENTS KNOW: 1: 另外一些叛亂者開始放火！ Another group of insurgents started a fire! 2: 條子們正在路上! The cops are en route! 3: 看─是驕傲男孩! Look – the Proud Boys! 4: 他們被陷害了! They've been set up! 5: 驚喜出了問題！ Something's gone wrong with the surprise! 6: 工人們超級生氣! The workers are angry!

保全措施 SECURITY FEATURES (2D6): 1: 有知覺力的 Sentient / 機械狗 Robo-dogs 2: 鑰匙卡控制的 Keycard-controlled / 電子門鎖 Electronically locked doors 3: 不斷故障的 Glitchy / 反魔法結界 Antimagic field 4: 被駭客攻擊的 Hacked / 閉路電視系統 CCTV network 5: 被解除的 Disabled / 金屬探測器 Metal detectors 6: 被破壞的 Destroyed / 蜂型機 Drones

無論如何，場所都會有另外正常工作的反魔法結界、（後備）閉路電視系統和有金屬探測器的入口。被駭客攻擊、被解除和被破壞的隨機表保全措施也不一定是被你們弄的。

Regardless, the facility will have an additional and functional anti-magic field, (backup) CCTV network, and an entrance with metal detectors. You also don't necessarily have to be the ones who hacked, disabled, and destroyed the security features generated by the random table.

2: 製作角色 CHARACTER CREATION

擲骰 3D6 來決定你的描述、角色與熊和工具的種類。

Roll 3D6 to determine your descriptor, your role, and your bear type plus tool.

描述 DESCRIPTOR 1: 菜鳥 Rookie 2: 前途慘淡的 Washed-Up 3: 退休的 Retired 4: 瘋癲的 Unhinged 5: 老油條 Slick 6: 無能的 Incompetent

角色 ROLE 1: 肌肉派 Muscle 2: 動腦派 Brains 3: 車手 Driver 4: 駭客 Hacker 5: 竊賊 Thief 6: 體面迎人的 Face

熊的種類 BEAR TYPE / 工具 TOOL 1: 灰熊 Grizzly (被偷來的克拉克 22 手槍 Stolen Glock 22) 2: 北極熊 Polar (冰桶 Ice bucket) 3: 熊貓 Panda (偽裝成竹筒的應急爆炸裝置 Improvised explosive disguised as bamboo pipe) 4: 黑熊 Black (傘繩 Paracord) 5: 馬來熊 Sun (密報 Tip-off) 6: 蜜獾 Honey Badger (其實是臥底警察 Is actually an undercover cop)

如果你想要，為你的叛亂者取名。給 ta 一個民族背景。在嘉年華的場所之中，有 AR 頭戴裝置的白人聽不懂你說的話，只會聽到嗥叫和呼嚕聲。大部分是武裝的警衛、警察、動物管制、大部分是有色人的場所員工和從外面進來活動的人不會有 AR 頭戴裝置。

Name your insurgent, if you want. Give them an ethnic background. Within the facilities of the convention, AR headset-wearing white people will not be able to understand your speech, only hearing grunts and growls. Mostly armed security guards, police, animal control, mostly PoC facilities staff, and those coming into the event from the outside will not have AR headsets.

額外的工作表 BONUS JOB TABLE

如果你想要讓你的叛亂者在活動場所有「真正的工作」IF YOU WANT YOUR INSURGENT TO HAVE A “REAL JOB” AT THE EVENT FACILITY (1D8)

1: 清潔工 Janitor 2: 餐飲服務員 Caterer 3: 實習生 Intern 4: 警備 Security Guard 5: 記者 Reporter 6: 服務台人員 Help Desk Attendant 7: 衣帽間服務員 Coat Check Attendant 8: 代客泊車員 Parking Valet

3: 數值 STATS

金錢嘉年華有你有兩種數值，每一種剛開始都是 3 點。 MoneyCon has 2 stats. Each starts with 3 points.

國家 STATE: 使用來鎮壓叛亂、監視群民、製造傷害、驚嚇人們，以及做那些普遍威權主義的行為。 Use to repress insurrection, surveil the masses, cause damage, scare people, and generally do authoritarian stuff.

資本 CAPITAL: 使用來拒絕資源要求、保護資源控制者的權力、剝削一無所有的人、撫慰人們，以及做那些普遍商品化世界的行為。 Use to deny resources, protect the power of those who control the resources, exploit the dispossessed, placate people, and generally do world-commodifying stuff.

如果嘉年華被抗議，國家加 1 點。如果有被駭客攻擊的保全措施，國家再加 1 點。 如果有被解除的保全措施，國家再加 2 點。如果有被破壞的保全措施，國家再加 3 點。

If the convention is being protested, add 1 point to State. If there's a hacked security feature, add 1 more point to State. If there's a disabled security feature, add 2 more points to State. If there's a destroyed security feature, add 3 more points to State.

4: 叛亂 INSURRECTION

當你挑戰國家或資本的制度，骰一個 D6。12如果它等於或小於對應的數值，國家或資本的壓制會成功；為該數值再加 1 點。若是它超過該數值，則你的叛亂會創造能實現解放的機會；為該數值減 1 點。

When you challenge the order of State or Capital, roll a D6.12 If it's equal to or under the relevant stat, suppression from State or Capital succeeds; add 1 more point to that stat. If it's over the stat, your insurrection creates an opportunity for liberation to be realized; subtract 1 point from that stat.

如果你使用了符合你熊種的特殊工具或是做了符合於你職責的事情，骰 2D6 然後取較大的那個值。

If you're using your bear special-tool or doing something related to your role, roll 2D6 and pick the highest.

5: 不對稱的物質狀態 ASYMMETRICAL MATERIAL CONDITIONS

如果國家或資本的數值達到或超過 6，不表示叛亂和解放的結束。相反，這表示你必須在不對稱的物質狀態之下繼續好鬥地行動。遊戲也可能會已經在這個地步開始。

If stats for State or Capital reach or go beyond 6, that does not mean the end of insurrection and liberation. On the contrary, that means you must militantly continue to act under asymmetrical material conditions. The game can also already begin at this point.

國家的數值越高，越有被軍事化的保安。資本的數值越高，越有為了保持自己從資本得到的獲利不願意跟叛亂團結一致的人民​。現實一點—要求不可能的事。

The higher the stat for State, the more militarized security is. The higher the stat for Capital, the more there will people who refuse to show solidarity with the insurgents for the sake of protecting their own gains from capital. Be realistic—demand the impossible.

設計筆記 DESIGN NOTES

此遊戲是為了《解放遊：設計革命世界的指南》被即興地設計。設計過程在該書〈如何改版和設計〉的部分被記錄，該書也有《金錢大盜》的〈遊玩示範〉和〈遊玩分析〉。來自遊玩分析的一些建議：

This game was improvisationally designed for Liberationist Play: A Guide to Designing Revolutionary Worlds. The process of design was chronicled in the its section on “How to Hack and Design,” and the book also contains an “Example Play” and “Analysis of Play” for Money Heist. Some suggestions from the analysis of play:

• 前提變體：與其扮演偷運驚喜的有色人，扮演目擊到嘉年華吃驚的群眾之中的有色人。 Premise variant: instead of roleplaying people of color smuggling in the surprise, roleplay people of color among the masses witnessing the convention being surprised.
• 不要把數值檢定恢復成判斷成功或失敗的二元原狀。用神諭的方式來對待。 Don't recuperate the stat tests into binary conditions of success or failure. Treat them like an oracle.
• 換新的抵制情況的時候，把數值重置到 3（或其他適合的數量）。 When you are switching to new circumstances of resistance, reset the stats to 3 (or another appropriate number).
• 如果有同志被逮捕的話，不要在故事之中把他們移出去。為他們組織監牢和法庭支持、追隨他們在審判上的發展、而且如果最後被關進監獄的話，絕對不要讓他們被遺忘。讓他們有支持運動、讓外面的人繼續有跟他們聯絡、繼續分享他們抵抗的故事。 If there are comrades who get arrested, do not remove them from the story. Organize jail and court support for them, follow the developments of their trial, and if they ultimately get sent to prison, do not let them be forgotten. Let them have support campaigns, let people on the outside continue to stay in contact with them, continue to share the story of their resistance.

破裂疆是我即將發布的互動小說遊戲，《吞聲》，的世界設定，設定在《受死令》後犧牲的詭野西部世界。它的世界設定入門書 30 頁長，突破《降天下世》創的紙筆遊戲內容長度紀錄。它的模式類似《冥咒島》，是靈感來源於 OSR 的反正典跨系統世界設定，大部分的世界背景是按照隨機表產生出來的。差別是《破裂疆》不是純粹反正典，在最後面有個「被創造的歷史」的推薦部分。另外，它比《冥咒島》的結構更複雜，設計目標更費勁。

The Fractured Frontier is the setting for my forthcoming interactive fiction game, Swallowcry, set in the post-Sacrifice Weird West world of Soulslinger. Its setting primer is 30 pages long, breaking the record for analog game content length set by Felling Heaven, Felling World. Its format is similar to Hellsealed Isles, which is an OSR-inspired anti-canon system-agnostic setting, with the majority of its lore generated by random tables. The difference is Fractured Frontier isn't purely anti-canon, and includes a section of suggestions at the end titled “Generated History.” In addition, it is more structurally complicated than Hellsealed Isles, and is more ambitious in design.

目標是：用歷史唯物論創造一個反殖民主義的世界，但歷史不能特定到過分決定遊戲可能有的故事的地緣政治起源；把一切重要的歷史都放在隨機表的結構之中；不要讓反殖民主義變成隨便的被種族化的陣線、不要繞寫原民性，強迫自己和玩家完全面對它的存在；拒絕來自方便的答案—虛構現實的每一部分都需要嚴格的解釋。

The goal was: to use historical materialism to create an anti-colonial world, without making the history so specific so as to overdetermine the geopolitical origins of possible in-game stories; to put all the crucial history in the structure of the random tables; to not turn anti-colonialism into a vague racialized front, to not write around Indigeneity, to force myself and the player to confront its existence in full; to reject all answers of convenience—all parts of the fictional reality had to be rigorously explained.

一個一個來對付。關於歷史唯物論的世界建構，我已經在〈沒有任何人控制的地方或：我如何學會停止恐懼並徹底理解 TRPG 中的裝備單跟世界設定背景〉之中概述了一些基本想法。問題是從歷史唯物論的角度來看，每一個反殖民運動都是在對自己特別的狀況做出反應。沒有面對普遍帝國的普遍抵抗組織的普遍鬥爭。可是《受死令》就是有類似普遍帝國的概念—當時我是把每一個星球想像成國家，把生榮當作是唯一的帝國，剩下的行星當做是它的殖民地。

I'll address things one by one. With regards to historical materialist worldbuilding, I already sketched out some basic ideas in “Nobody's Place or: How I Learned to Stop Worrying and Grok Equipment Lists and Setting Lore in TRPGs.” The problem was, from the angle of historical materialism, every anti-colonial movement was responding to its own specific conditions. There was no universal empire against which a universal resistance carried out universal struggle. But Soulslinger did have a concept of a universal empire—back then I had imagined every planet as a nation-state, treated Vim'run as the sole empire, and the rest of the planets as its colonies.

在開發《吞聲》的過程之中，因為我很早就決定要挑戰寫更靠近傳統西部世界設定，而且要做美國平原印地安人跟台灣平埔族群的跨界歷史，選了族群和考慮玩家的角色之後故事的地緣政治範圍就縮小了很多。某些得到的結論：

In the course of developing Swallowcry, because I decided early on that I wanted to take on the challenge of writing a closer-to-traditional Western setting, with a crossover history of Plains Indians in the U.S. and Plains Indigenous peoples in Taiwan, after choosing the tribes and considering the player's role I was able to narrow down the geopolitics of the story by a lot. Some conclusions I arrived at:

1. 至少要有四個帝國，一個是西班雅的類似物、一個是美國的類似物、有美國也必須要有英國的類似物、然後最後需要中國的類似物。There had to be at least 4 empires, a Spain analog, a U.S. analog, which meant there had to be a Britain analog, and finally a China analog.

2. 生榮還是帝國之鄉，可是血星的自動殖民地在《受死令》中向聖榮帝國宣布的大戰可不是革命性的戰爭，而是為了要保護墾殖社會和白人至上主義奴隸制的反革命性戰爭。血星是美國，自動靈的歷史位置類似但不是完全像新非洲人的位置。Vim'run was still the home of empires, but the Great War that the Machine Colonies of Shahsin' declared on the Holy Empire of Vim'run was not a revolutionary war, but a counterrevolutionary war to defend settler-colonial society and white supremacist slavery. Shahsin' was the U.S., and the historical position of hauntaumatons was similar to but not exactly the same as that of New Afrikans.

3. 因為聖榮帝國現在變成英國的類似物，可是本來我是把吞人想像成漢人的類似物，我決定把聖榮帝國跟羅馬帝國一樣分成兩個合作的半，西聖榮帝國是英國的類似物，東聖榮帝國是中國的類似物。在西方，吞人是白人的類似物，在東方他們是漢人的類似物。 Because the Holy Empire was now the Britain analog, but originally I imagined the Twun as Han analogs, I decided to split the Holy Empire into two cooperating halves like the Roman Empire, with the West Holy Empire being the Britain analog and the East Holy Empire being the China analog. In the West, the Twun were analogs for white people, and in the East, they were analogs for Han people.

4. 刮膽是台灣、刮膽牢籠類似白色恐怖、東聖榮帝國類似戒嚴之下的國民黨、毛革類似共產主義者。 Gwahdyu' was Taiwan, the Caging of Gwahdyu' was like the White Terror, the East Holy Empire was like the Kuomintang under martial law, and Malga were like communists.

5. 血星是美國被工業化的東海岸，送息是科曼奇地。 Shahsin' was the industrialized Eastern Seaboard of the U.S., Ehm'rah was Comanchería.

可是我認為紙筆版的破裂疆應該有更可變通的背景，應該能探索世界歷史中任何的反殖民鬥爭。所以與其把每個星球當作是真正國家的類似物，或是創造任何特定的虛構民族，我用隨機表的原先星球機率分布概述耐核系統的地緣政治：

But I believed that the analog version of The Fractured Frontier should have a more flexible backstory, that should have had the ability to explore any anti-colonial struggle in world history. So instead of treating every planet as a nation-state analog, or creating specific fictional nations, I used the probability distributions of original planets in the random tables to sketch out the geopolitics of the Nai'oh System:

• 刮膽耕地最多，也有許多荒野
  • 可能作為掠奪型殖民和墾殖的目標
  • 後犧牲的多數形類是殭和光民
• Gwahdyu' had the most farmland, as well as plenty of wilderness
  • Likely target for exploitation colonialism and settler colonialism
  • Majority forms after The Sacrifice are Stiffs and Lumin
• 送息有許多監獄和荒野
  • 可能作為流放地和墾殖的目標
  • 後犧牲的多數形類是毛革
• Ehm'rah had plenty of prisons and wilderness
  • Likely penal colony and target for settler colonialism
  • Majority form after The Sacrifice is Malga
• 生榮學院最多
  • 可能是在帝國核心
  • 後犧牲的多數形類是光民和殭
• Vim'run had the most academies
  • Likely in the imperial core
  • Majority forms after The Sacrifice are Lumin and Stiffs
• 血星交彙最多，也有許多監獄
  • 可能是在帝國核心，有極端監禁性的政府
  • 後犧牲的多數形類是自動靈
• Shahsin' had the most confluences, as well as plenty of prisons
  • Likely in the imperial core, with a highly carceral government
  • Majority form after The Sacrifice is hauntaumaton
• 要塞、聖地和住處平均分配
  • 戰爭、靈性和社群是普遍的
  • 後犧牲多數形類：要塞和住處是自動靈、聖地是光民
• Forts, sacred grounds, and dwellings were equally distributed
  • Wars, spirituality, and communities were widespread
  • Majority forms after The Sacrifice: hauntaumaton in forts and dwellings, Lumin on sacred grounds

雖然光民在舊刮膽有強勁的存在，他們原本來自生榮的殖民者。相反，在舊生榮的殭是被強迫移居的刮膽人。在舊送息的毛革是革命性的罪犯，但不一定來自舊送息。在舊血星的自動靈是買辦和被強迫勞動者，但也不一定來自舊血星。

Although Lumin have a strong presence on former Gwahdyu', they are colonizers from Vim'run. On the contrary, the Stiff on former Vim'run were forcibly displaced people from Gwahdyu'. The Malga of former Ehm'rah are revolutionary criminals, but may not necessarily be from former Ehm'rah. The hauntaumatons of former Shahsin' are compradors and forced laborers, but also may not necessarily be from former Shahsin'.

多數居住者的機率分布加上居民和恐怪的隨機表也展現出更多的殖民政治：

The population distributions of majority occupants along with the random tables for inhabitants and horrors also reveals more about colonial politics:

• 來自教權法西斯主義國家的（前）憲兵在末日後還是有強勁的存在，出現在總共超過一半的行邑特色種類。大部分居住在監獄和要塞，但也出現在學院和交彙，可能也以上司和下屬的身分控制一些住處—他們。然而大部分的軍人不是資產階級的光民，而是自願或被強迫變成自動靈的人。
• (Ex-)Military Police from clerical fascist states still have a strong presence after the apocalypse, appearing in total over half of the peh'rah character types. They mostly reside in prisons and forts, although they also appear at academies and confluences, and may control some dwellings under the identity of superiors and subordinates. However, the majority of soldiers are not the bourgeoisie Lumin, but people who chose to or were forced to become hauntaumatons.
• 大部分的恐怪（破裂疆所謂的怪獸）是突變的動物，但也包括被視為野化的毛革革命者和難民殭。毛革和殭兩個都是被種族化的形類，毛革是被種族化的政治犯，殭是原住民。他們主要居住在監獄和聖地，但也出現在耕地和荒野。居住在聖地的毛革和殭「恐怪」大部分是在當地紮寨抗議营地的土地衛士。
• The majority of horrors (the so-called monsters of The Fractured Frontier) are mutant animals, but also includes Malga revolutionaries and Stiff refugees who are viewed as feral. Malga and Stiffs are both racialized forms, with Malga being racialized political prisoners, and Stiffs being Indigenous people. They primarily reside in prisons and on sacred grounds, but also appear in farmlands and wilderness. Malga and Stiff “horrors” residing on sacred grounds are usually land defenders who have set up protest camps there.
• 準軍事部隊大部分是威權共產主義的游擊隊，但也可能是無治主義的武裝抗敵分子或防衛財產的警戒委員會。他們跟（前）憲兵差不多一樣常見。他們主要居住在要塞，但也出現在監獄、學院和荒野；在住處的準軍事部隊是無治主義的空想家和威權共產主義或武裝社會達爾文主義的上司和下屬。左翼的準軍事部隊大部分是毛革，右翼的大部分是光民或自動靈。
• Paramilitary forces are mostly authoritarian communist guerilla fighters, but could also be anarchist partisans or property-defending vigilance committees. They are about as common as (ex-)military police. They primarily reside in forts, but also appear in prisons, academies, and the wilderness; in dwellings paramilitaries are anarchist utopians and authoritarian communist or armed social Darwinist superiors and subordinates. Left-wing paramilitaries are mostly Malga, and right-wing ones mostly Lumin or hauntaumatons.
• 大部分是光民的前貴族只出現在要塞的隨機表之中。他們住的要塞應該是城堡或宮殿。意味是在犧牲前，貴族和維持他們的封建制度已經是快要消失的現象。
• The majority-Lumin ex-nobility only appears in the random table for forts. The forts they live in would be castles or palaces. The implication is that before The Sacrifice, nobles and the feudal systems that supported them were already a disappearing phenomenon.
• 學者包括只出現在學院隨機表的職員和學生，以及比較普遍的研究員。研究員在末日後並不常見，比較有可能出現的地方是荒野（博物學家、民族學家、古文物家）和交彙（天文學家、工程師）。大部分的研究員是光民。可見有民族科技的等級制度。
• Scholars include the staff and students that only appear in the random table for academies, as well as the more widespread researchers. Researchers are rarely seen after the apocalypse, most commonly appearing in the wilderness (as naturalists, ethnologists, and antiquarians) and confluences (as astronomists and engineers). The majority of researchers are Lumin. It's evident that there was an ethnotechnical hierarchy.
• 大部分是殭的拾荒者是流氓無產階級中的其中一類，主要居住在學院，更少出現在比較跟憲兵有歷史關係的交彙（也就是在指軍用的港口和空港）。他們大部分是非專業化的生存拾荒者，但有些也會收金錢為別人拾荒。
• The majority-Stiff scavengers are one kind of lumpenproletariat, mostly residing in academies, less likely appearing in confluences which have historically been associated with the military police (namely military ports and airfields). They are mostly unprofessionalized subsistence scavengers, but some take payment to scavenge for others.
• 農民只出現在耕地的隨機表之中。雖然「農民」這一詞也能用來形容原住民，因為原住民在耕地的隨機表之中是自己的條目，意味是破裂疆耕地的農民是大部分是光民的墾殖者。隨著犧牲前封建制度的衰落（和工業資本主義的興起），非原住民的農民也照樣減少，變成城市中的無產階級或是流氓無產階級。
• Peasants only appear in the random table for farmlands. Although the term “peasant” can be used to describe Indigenous people, because Indigenous people are listed as a separate entry in the farmlands random table, the implication is that the peasants in the farmlands of The Fractured Frontier are majority-Lumin settlers. Following the decline of feudalism (and the rise of capitalism), non-Indigenous peasants likewise fell in population, becoming urban proletariat or lumpenproletariat.
• 大部分是殭的原住民主要居住在耕地，但也出現在荒野和住處（泛指任何有房子類似物的地方，包括村莊、城鎮、部落、營地）。雖然為了玩家選擇遊戲地緣政治的自由我並沒有說明《破裂疆》的原住民是以哪些真正的原住民為根據，在殭的描述之中，我有說殭是氣候難民。既然破裂疆是後核子末日的世界，一個自然的發展方向就是選被核工業剝削的原住民做虛構原住民的根據，例如：
  • 太平洋島原住民和美國西南方的原住民
  • 阿爾及利亞撒哈拉沙漠附近的非洲人
  • 民主剛果的 Shinkolobwe 礦工
  • 馬達加斯加人和加彭人
  • 哈薩克人
  • 蘭嶼島的達悟族
• 當然，有其他過於影響原住民的氣候強迫移居模式，像是全球暖化製造的災難。也有可能有像巴勒斯坦人一樣，不停地受到殖民者用武力製造的生態破壞。重點是選擇太多，不要試圖代表世界歷史中一切抵制環境殖民的狀況—而且遊戲中的原住民也不需要限制是氣候難民或是殭，一個民族的人民也不需要全部都是同樣的形類。
• 我的建議是至少從三個虛構原住民族群開始；「用色寫作」的 Tumblr 部落格有更多的指導。但該注意的是你不是在做激進自由主義的代表—我也建議不要把原住民的抵抗輕易歸類於某種政治主義引發的抵抗。在歷史和現代之中，許多原住民抵抗的目的是為了保護或增強自己族人的權力，不一定有革命、去殖民化或民族解放的目標。與其以反革命的類型拋棄這種抵抗，我認為該用有細微差別的方式對待，顯然地按照自己政治傾向的主觀做出結論。不要把遵從政治當作保護自己免受批評的藉口。承認自己的立場，把盟友和敵人負責地選好。
• The majority-Stiff Indigenous people primarily live in farmlands, but also appear in the wilderness and dwellings (generally referring to any place with house analogs, including villages, towns, cities, tribal communities and camps). Even though I declined to specify which real Indigenous peoples the Indigenous people of The Fractured Frontier were based on for the sake of giving the player freedom over choosing the geopolitics of the game, in the description for Stiffs, I had said that Stiffs were climate refugees. Since The Fractured Frontier is a nuclear post-apocalyptic world, a natural course of development would be to pick Indigenous people who have been exploited by the nuclear industry as bases for fictional Indigenous people, such as:
  • Pacific Islanders and Native Americans in the Southwestern U.S.
  • Africans near the Algerian Sahara
  • Shinkolobwe miners in the DRC
  • The Malagasy and the Gabonese
  • The Kazakhs
  • The Tao people of Orchid Island
• Of course, there are other forms of climate displacement that disproportionately affect Indigenous people such as disasters caused by global warming. There could also be those who are like the Palestinians, who endlessly suffer ecocide created by colonial military force. The point is that there are a lot of options, and you shouldn't try to represent every instance of resistance against environmental colonialism in world history—and the in-game Indigenous people don't have to be restricted to just climate refugees or Stiffs, and the people of a nation don't all need to have the same form.
• I recommend starting with at least 3 fictional Indigenous kinkinds; the Tumblr blog Writing With Color has a couple more tips. But note that you aren't doing radlib representation—and I would caution against casually lumping Indigenous resistance in with any form of resistance driven by political ideology. In history and in modern times, the purpose of many Indigenous people's resistance is to protect or advance the power of their own kind, and not necessarily to fulfill a goal of revolution, decolonization, or national liberation. Rather than dismiss these resistances as counterrevolutionary, I believe you should engage them in a nuanced manner, and transparently draw conclusions according to the subjectivity of your own political orientation. Do not use deference politics as a shield to protect yourself from criticism. Own your positions and choose your allies and enemies with responsibility.
• 最臭名昭著的信徒當然是教權法西斯主義者，可是我也有想像認為神會決定一切的「非政治性」孤立主義者、左翼和右翼的空想家、揮舞槍棍的武僧、有魔力的神秘主義者和民間恐怖的邪教。信徒主要居住在聖地—這些通常會是制度性宗教徒（據我所知，許多原住民族群不會去住在聖地的，只會去為了某種目的去拜謁。）另外出現的地方是耕地和荒野，在住處是上司和下屬或比較沒有等級制度的空想家。大部分的信徒是一無所有的殭。在聖地、耕地和荒野，大部分的信徒是墾殖者；在住處中是混合的群體。
• The most infamous religious disciples are obviously the clerical fascists, but I also imagined “apolitical” isolationists who believed that everything was up to the gods, left-wing and right-wing utopians, gunstaff-wielding warrior monks, occult mystics and folk horror cults. Religious disciples primarily live on sacred grounds—these will usually be followers of organized religions (according to my knowledge, many Indigenous groups do not live on sacred grounds, but go to visit for a specific purpose). They also appear in farmlands and the wilderness, and in dwellings as superiors and subordinates or less hierarchical utopians. The majority of religious disciples are dispossessed Stiffs. On sacred grounds, in farmlands and the wilderness, most religious disciples are settlers; in dwellings their composition is mixed.
• 大部分是毛革的亡命者是流氓無產階級中的第二種類。另外最有可能的形類是曠工或逃兵的自動靈。他們出現在荒野和住處，跟研究員差不多少見。提出幾些假設：大部分的囚犯在犧牲前被處死，有逃出來的也沒有防空壕的保護；雖然犧牲後的正式法律與國家壟斷的秩序已蕩然無存，還是有許多再生產那制度的憲兵和右翼準軍事部隊；就算是沒有憲兵和右翼準軍事部隊的話，群眾仍然繼續再生產監禁質，拒絕給亡命者糧食和住宿，故意加快他們的死亡，認為這是他們該受的懲罰。
• The majority-Malga fugitives are the second kind of lumpenproletariat. The other most-likely form is hauntaumatons who have deserted their jobs or military post. They appear in the wilderness and in dwellings, and are about as rare of a sight as researchers. Some hypotheses: the majority of prisoners were executed before The Sacrifice, and those who escaped didn't have the protection of bomb shelters; even though formal law and state-monopolized order have broken down after The Sacrifice, there are still many military police and right-wing paramilitaries reproducing its system; even if there weren't military police and right-wing paramilitaries, the masses still continue to reproduce carcerality, refusing to give fugitives food and shelter, hastening their deaths on purpose, believing that this is the punishment that they deserve.
• 大部分是光民的墾殖者只出現在住處的隨機表之中。當然任何非原住民的居住者種類不是混合的群體就也是墾殖者；隨機表有暗示一個居住者種類是墾殖者的話我會在它的項目符號之中說。不然的話，非原住民居住者種類的預設是混合群體。跟不說明原住民的真正類似物的邏輯一樣，為了玩家選擇遊戲地緣政治的自由，墾殖者也沒有做特定。
• The majority-Lumin settlers only appear in the random table for dwellings. Of course any non-Indigenous occupant types who aren't of mixed composition are also settlers; if a random table implies that a certain occupant type is settler then I'll mention it in its bullet point. Otherwise, the default for non-Indigenous occupant types is mixed composition. Following the logic of not specifying real-world analogs of Indigenous people, for the sake of player freedom over choosing the game's geopolitics, I also did not specify them for settlers.
• 大部分是自動靈的商人和工匠只出現在住處的隨機表之中，但這些是固定在一個位置的人—巡迴的也有可能存在。自動靈是被放進機器人身體的人靈，有自願的也有被強迫的。但什麼商人或工匠會是自願成為自動靈的？最可能的是退伍軍人，或許也有少數希望能變成作用上長生不老的富豪。除了這些人之外，剩下都是強迫被機器化的。雖然「商人」這一詞通常是指企業主，我認為在隨機表結果的情況之下可以理解為任何在做買賣事務的人，包括推銷員和店員。這些無產者跟現代被 AI 和機器代替的員工一樣，只是因為耐核系統是超自然的威權資本主義社會，他們的自然身體和個性是被設定為只能執行工作的機器身體代替。大部分是無產者商人的住處通常是舊公司市鎮，有反烏托邦充滿機械玩偶的遊樂園的氣氛。
• The majority-hauntaumaton merchants and artisans only appear in the random table for dwellings, but these are the ones that stay in one place—traveling ones may also exist too. Hauntaumatons are spirits of people that were placed into robot bodies, some by choice and others by force. But what merchant or artisan would voluntarily become a hauntaumaton? Most likely veterans, and perhaps a few magnates who wished to become functionally immortal. Besides these people, the rest were forcibly mechanized. Although the term “merchant” usually refers to business owners, I believe that in the context of a random table result, you can interpret it to mean anyone who is in the business of buying and selling, including salespeople and store clerks. These proletarians are like workers who've been replaced by AI and robots in modern times, only because the Nai'oh System was a supernatural authoritarian capitalist society, their natural bodies and personalities were replaced by machine bodies programmed to only carry out work. Most majority-proletarian merchant dwellings are usually former company towns, with the atmosphere of dystopian animatronic-filled amusement parks.
• 上司和下屬也只出現在住處的隨機表之中，包括憲兵和有等級制度的準軍事部隊、舊國家的政客和個人崇拜的當地政治和/或宗教領袖、歹徒暴君以及老闆和工人。不管背景，他們的基本特質就是主宰城市的人，把它變成了實質上的城國。一些可能的形類：大部分是光民的墾殖者、秘密史達林主義者的毛革、道德淪喪到離譜的自動靈實業家與他邪教般的私人軍隊、盜用民族解放爭取自己利益的殭民族資產階級。
• Superiors and subordinates also only appear in the random table for dwellings, and they include military police and hierarchical paramilitaries, politicians from former nation-states and local political and/or religious leaders with cults of personality, tyrant gangsters as well as bosses and workers. Regardless of background, their basic characteristic is that they run their town, having transformed it into a virtual city-state. Some suggestions for forms: majority-Lumin settlers, crypto-Stalinist Malga, the most morally bankrupt hauntamton businessman you have ever seen and his cultish private army, Stiff national bourgeoisie who co-opt national liberation to advance their own interests.
• 空想家又是只出現在住處的隨機表之中，形容任何政治和/或宗教的主義者和行動者。一些可能的形類：放蕩主義光民前貴族的虐待狂地牢、毛革的無治主義公社、幫助自動靈恢復個性的庇護所、被逃避宗教迫害的殭建立的小城市。
• Utopians only appear in the random table for dwellings again, and they refer to any political and/or religious ideologues and activists. Some suggestions for forms: a sadist dungeon for libertine Lumin ex-nobles, a Malga anarchist commune, a sanctuary that helps hauntaumatons recover their individuality, a small town set up by Stiffs fleeing from religious persecution.
• 大部分是自動靈的前員工是流氓無產階級中的第三種類。他們跟前貴族一樣少見，只出現在交彙的隨機表之中。他們主要是居住在舊工作場所的人造交彙—車站、港口、空港—做的工作包括清潔、顧客服務、調度、保安、建造、載運工具裝配、維修、當乘務員、載運工具駕駛員、交通控制、航行風險預防、搬貨等等。因為末日後沒有長期驅動機器的能量，他們失去了工作。另外也有來自各地的自動靈工人，因為恢復個性辭職或被開除。他們主要居住在充滿玄風的自然交彙。
• The majority-hauntaumaton former workers are the third kind of lumpenproletariat. They are as rare as ex-nobility, only appearing in the random table for confluences. They primarily reside in their former workplaces of artificial confluences—stations, ports, and airfields—and the work they did included cleaning, customer service, dispatching, security, construction, assembling transports, maintenance, serving as crew, operating transports, traffic control, navigational hazard prevention, hauling freight and the like. Because there is no long-term energy for powering machines after the apocalypse, they lost their jobs. There are also hauntaumaton workers from all over the world who quit their jobs or were fired after regaining their individuality. They primarily reside in weirdwind-filled natural confluences.

這也都只是上一半之中能發現的資料，幾乎是完全按照隨機表創造的世界背景。下一半是幫忙補充以上背景的建議正典。最特別的是玄風，在破裂疆末日後的超自然航天方式。這是怎麼發展出來的？在《受死令》之中，我有說心火是受到創傷的靈魂，但也有暗示它是核能的類比物。在為《吞聲》建構世界的時候，我決定把心火能變成經濟的反烏托邦基礎—法西斯資本主義者將會故意普遍化殘酷的壓迫為了榨取心火，而心火會是跟《異塵餘生》宇宙之中的核能一樣是普遍的能源。但問題是核子末日之後維持這種綱領的基礎建設都被毀滅，也殺不了足夠的倖存者來長期恢復犧牲前科技狀態需要的心火能。

And this is just the information you can discover from the first half, which is just lore almost entirely generated by random tables. The second half is a suggested canon that helps flesh out the lore from above. The most unique is The Weirdwind, the supernatural post-apocalyptic form of space travel in The Fractured Frontier. How did this come to be developed? In Soulslinger I mentioned that a spark was a traumatized soul, and also implied that it was an analog for nuclear energy. When I was worldbuilding for Swallowcry, I decided to turn spark energy into the dystopian foundation for the economy—fascist capitalists would purposely generalize brutal oppression for the purposes of extracting spark, and spark would be an energy source as general as nuclear energy in the universe of Fallout. But the problem was after a nuclear apocalypse all the infrastructure to sustain this kind of program would be destroyed, and there also wouldn't be enough survivors left to kill to recover enough spark energy to sustain pre-Sacrifice levels of technology in the long term.

沒有航天方式的話，大家就只能待在自己的行邑之中—對 TRPG 來說，特別是類似 OSR 的 TRPG, 這是完全不能接受的事。哪有設定在外太空的 TRPG 不給玩家航天的！ 或許是一個共產主義的 TRPG。我認為其實在犧牲前的世界中，天舟是非常耗心火能的機械，需要定時的種族滅絕才能產生出足夠的能量。心火本來就是不可持續的燃料，法西斯資本主義者也就是被這一點吸引—低供給和高需求等於利潤。他們的計畫是強迫群眾依賴唯一被他們控制的資源來求生，群眾的起義也透過鎮壓被收復用來生產更多心火能。

Without a method for space travel, everyone could only stay on their own peh'rah—which, for a TRPG, especially an OSR-like TRPG, was completely unacceptable. What kind of TRPG set in space wouldn't allow their players to have space travel! Perhaps a communist one. I believe that even in the world before The Sacrifice, skyships were a technology with a heavy rate of spark consumption, which required regular genocides to produce adequate amounts of energy. Spark was always an unsustainable source of fuel, and that was exactly what fascist capitalists were attracted to—low supply and high demand meant profit. Their plan was to force the masses to rely on a resource under their exclusive control for survival, and the resistance of the masses was recaptured through repression which produced even more spark energy.

航天和其他高科技的工具本來就不是普遍的現象，而是主要為了殖民、軍事和資產階級利益被發展。它們和一切利用心火的科技再生產了以那些主宰和剝削為基礎的社會。來自非墾殖社會的原住民並沒有發展航天科技的希望，不是因為他們是「原始」，因為他們徹底明白了「文明社會」和「現代化」的意思—也就是再生產一個種族和生態滅絕的社會。所以要在反抗那些制度的世界中為航天的包含做辯護的話，我必須想想其他的辦法。

Skyships and other high-tech tools were not generalized phenomena, but developed primarily for colonization, military use, and the interests of the bourgeoisie. They and all forms of spark technology reproduced a society that was rooted in those dominations and exploitations. Indigenous people who did not come from settler-colonial societies never had the desire to develop technology for space travel, not because they were “primitive,” but because they fully understood what “civilization” and “modernization” meant—which was to reproduce a genocidal and ecocidal society. So if I wanted to justify putting space travel in a world that resisted those hierarchies, then I had to think of something else.

具有諷刺意味的是，天舟的靈感來源—老一套東方主義的科幻經典戰役設定《魔法船》（英文： Spelljammer）—也是為玄風賦予靈感。我說：「在每個行邑上有可能出現玄風，是能把捲入的生物和物品傳送到另外一個行邑的超能力龍捲和颱風。」許多在實際上的問題馬上出現。玄風跟真正的龍捲和颱風一樣激烈嗎？需要什麼才能安全搭乘？不同形類，不同體力和智力能力的安全物品需要有什麼差別？那些用品在末日後的世界多難得到？那將會判斷玄風的搭乘有多麼被普遍化。

Ironically, the source of inspiration for skyships—the stereotypically Orientalist and classic space fantasy campaign setting of Spelljammer—also inspired The Weirdwind. I wrote: “On every peh'rah there is the possibility of encountering The Weirdwind, supernatural tornadoes and typhoons with the power to send the beings and items it engulfs from one peh'rah to another.” Several practical questions immediately appeared. Were weirdwinds as intense as real tornadoes and typhoons? What did you need to ride it safely? What were the discrepancies in terms of safety materials needed by people of different forms, of different physical and mental abilities? How hard was it to acquire those supplies in the world after the apocalypse? That would determine how much riding The Weirdwind was generalized.

《吞聲》中有試圖回答這些問題，但《破裂疆》並沒有—反而，它給玩家考慮的問題還要更多！玄風不是好好待在一邊等你的現象，而是按照季節和圈段出現，每個行邑也都是不同。不同的行邑又有相反的自轉方向，導致相反的季節和圈段順序，需要轉換。最後，玄風不是可靠的航天方式，終點大部分是完全隨機的、再有可能的是同環原先星球的行邑、之後再有可能的是異環原先星球的行邑、最不可能的是到鄰近的行邑。要到某個行邑的話可能會需要類似魯布·戈德堡機械的旅程路線—但恰好就是 TRPG 的冒險傳統之中的最愛。

Swallowcry attempts to answer these questions, but Fractured Frontier doesn't—and it gives the player even more questions to consider! The Weirdwind is not a phenomenon that stays and waits for you, but one that appears according to season and cycle phase, which is different on every peh'rah. Different peh'rah also had opposite directions of rotation, which caused them to have opposite orders of seasons and cycle phases, requiring conversions. Lastly, The Weirdwind was an unreliable form of space travel, with the vast majority of destinations being completely random, the next likely being peh'rah from same-ring origin planets, the next likely after that being peh'rah from different-ring origin planets, and the least likely being adjacent peh'rah. To arrive at a certain peh'rah would likely require Rube Goldberg-machine-like routes—which is incidentally what TRPGs with a tradition of adventure love to have.

但是誰會在破裂疆冒險？在「心火」的部分之中，我有暗示是拾荒團，也諷刺地把拾荒團的三個基本角色命名為 OSR 的戰士、奇才（英文的 wizard 不只是指法師）、盜賊傳統三職業。之前我說拾荒者是大部分沒被付錢的流氓無產階級，但這裡比較專業化的零工拾荒團算是不穩定無產者（這也不是原創概念；相反，大部分現代 OSR 的玩家角色也是有不穩定無產者的預設）。

But who goes on adventures in The Fractured Frontier? In the section on spark, I implied it was scavenging parties, and even cheekily named the three basic roles in scavenging parties after the three traditional OSR classes of fighter, wizard, and thief. Previously I said that scavengers were mostly unpaid lumpenproletariat, but the more professionalized gig worker scavenging parties here are more like the precariat (this is also not an original concept; on the contrary, the majority of modern OSR player characters also have a precariat default).

然而，不同的角色會有不同常見的背景：

However, different roles will have different commonly-seen backgrounds:

• 負責用武力保護團的戰士是最有多樣性的角色，通常會是：
  • 專業化的（前）憲兵（大部分是舊血星的自動靈）
  • 半專業化的準軍事部隊員（大部分是舊送息的毛革）
  • 半專業化的拾荒者（大部分是被強迫移居到舊生榮的殭）
  • 傳統的原住民勇士（大部分是舊刮膽的殭）
  • 信徒武（大部分是舊生榮的光民）
• Fighters responsible for using armed force to protect the party are the most diverse role, and will often be:
  • Professionalized (ex-)military police (mostly hauntaumaton on former Shahsin')
  • Semi-professional paramilitary members (mostly Malga on former Ehm'rah)
  • Semi-professional scavengers (mostly Stiff forcibly displaced to former Vim'run)
  • Traditional Indigenous warriors (mostly Stiff from former Gwahdyu')
  • Religious warrior monk disciples (mostly Lumin from former Vim'run)
• 負責解決科技問題的奇才是最資產階級的角色，通常會是：
  • 專業化的學院職員（大部分是舊生榮的光民）
  • 專業化的研究員（大部分是舊生榮的光民）
  • 專業化的前員工（大部分是舊血星的自動靈）
  • 半專業化的學生（大部分是舊生榮的光民）
  • 半專業化的拾荒者（大部分是被強迫移居到舊生榮的殭）
• Wizards responsible for solving problems to do with science and technology are the most bourgeois role, and will often be:
  • Professionalized academy staff (mostly Lumin from former Vim'run)
  • Professionalized researchers (mostly Lumin from former Vim'run)
  • Professionalized former workers (mostly hauntaumaton on former Shahsin')
  • Semi-professional students (mostly Lumin from former Vim'run)
  • Semi-professional scavengers (mostly Stiff forcibly displaced to former Vim'run)
• 負責解放零件的盜賊是最流氓無產階級的角色，通常是：
  • 專業化的工匠（大部分是舊血星的自動靈）
  • 專業化的前員工（大部分是舊血星的自動靈）
  • 半專業化的拾荒者（大部分是被強迫移居到舊生榮的殭
    
  • 半專業化的亡命者（大部分是舊送息的毛革）
  • 半專業化的歹徒（大部分是舊血星的毛革）
• Thieves responsible for liberating the parts are the most lumpenproletarian role, and will often be:
  • Professionalized artisans (mostly hauntaumaton on former Shahsin')
  • Professionalized former workers (mostly hauntaumaton on former Shahsin')
  • Semi-professional scavengers (mostly Stiff forcibly displaced to former Vim'run)
  • Semi-professional fugitives (mostly Malga on former Ehm'rah)
  • Semi-professional gangsters (mostly Malga on former Shahsin')

那麼多混合階級利益展現出拾荒團的政治多樣性。有極端唯利是圖的團、只是希望能求生的團和傾向於解放的團。一定會是有錢的主顧偏右翼，因此能收到金錢的解放主義團非常少見，大部分其實會是為缺金融資本的人免費工作的互助團。這也就是我最有興趣探索的拾荒團種類。

The vast amount of mixed class interests reveals the political diversity of scavenging parties. There are parties that are extremely mercenary, parties that are simply trying to survive, and parties oriented towards liberation. Patrons which are always monied lean right-wing, so liberationist parties that can get money are rare, and the majority of them will actually be mutual aid crews that work for free to serve those who lack financial capital. This is the kind of scavenging party I'm most interested in exploring.

《破裂疆》的最後一頁是來自約瑟夫·康拉德的《黑暗之心》的格式化引文，描述殖民者對探險的視角：年輕的敘述者浪漫化地圖上殖民者非探索的空白空間，就像是 OSR 玩家看待未冒險到的空白六角格一模一樣。或許遊戲設計師和 GM 對世界建構空白畫布的態度也並不例外。我給了玩家許多空白空間，也有意地把其他空間填滿。最後我無法擺脫自己創造和引誘別人創造殖民黑暗之地的懷疑。

The last page of The Fractured Frontier is a stylized quote from Joseph Conrad's Heart of Darkness, which describes the colonizer's attitude towards exploration: the young narrator romanticizes blank spaces unexplored by colonizers on a map, just as OSR players regard blank hexes yet to be reached by adventure. Perhaps the attitude of game designers and GMs towards the blank canvas of worldbuilding is the same. I've given the player many blank spaces, and have intentionally filled in others. In the end I cannot shake the suspicion that I have created and lured other people into creating their own place of colonial darkness.

但面對這種黑暗是每個創造者的責任。注定再生產殖民主義的程度由我們對再生產的容許來判斷。與其空想地跳過去殖民化的過程假裝在避開我們的歷史慣性，我們必須徹底去阻擋它製造的軌跡。未來沒有定局、末日只有在壓迫者的想像之中才是必然發生的事、而破裂疆的後末日不只是在指假設壓迫者成功破壞世界之後的生活，而也是在指現在如何廢除末日的理論。殖民和資本主義製造的種族和生態滅絕不是神話般的例外事件，而是平凡人造的現實。我們必須透過解放運動和行動讓壓迫制度設定為不可能的事變成可能的事，必須革命化所謂的現實性。《破裂疆》是我為想像這種革命創造機會的謙卑企圖。

But to face this kind of darkness is the responsibility of every creator. We are only as doomed to reproduce colonialism to the extent that we permit its reproduction. Instead of utopianistically skipping over the process of decolonization and pretending to avoid our historical inertia, we must thoroughly obstruct the trajectory it has created. The future is not foregone, the apocalypse is only inevitable in the imagination of the oppressor, and the post-apocalypse of The Fractured Frontier does not merely refer to a theoretical life after the oppressors have successfully destroyed the world, but also a theory of how to abolish the apocalypse today. The genocide and ecocide caused by colonialism and capitalism are not mythic and exceptional events, but mundane and man-made realities. We have to make what the order of oppression has made impossible possible through movements and moments of liberation, we have to revolutionize what is considered realistic. The Fractured Frontier is my humble attempt to create an opportunity to imagine this kind of revolution.

《天丑！》的精神續作剛被發布。一個受 OSR 影響的 d6 骰池迷你系統，《冥幽》是個規則簡單的時空游擊 TRPG，以小編過去作品中的宇宙作為世界設定。關於每一個世界設定的更多內容，請參考：

The spiritual successor to Fools of Heaven! has just been released. An OSR-inspired d6 dice pool microsystem, Shades of Hell is a rules-lite chronoguerilla TRPG, with universes from my previous works as settings. For more information on each setting, please consult:

• 《冥咒島》 The Hellsealed Isles
• 《下世萬敵》 Future Only Enemies (萬敵界 Bantik Kai)
• 《受死令》 Soulslinger (前犧牲耐核系統 Pre-Sacrifice Nai'oh System)
• 《破裂疆》 The Fractured Frontier (後犧牲耐核系統 Post-Sacrifice Nai'oh System)
• 〈血光俠〉 “Blood Lanterns” (之佛系統 Vol's System)

自己的腦補是冥咒島跟萬敵界都是在之佛系統中的那落克星球上，但玩家沒有必要遵守這點。

My own headcanon is that The Hellsealed Isles and Bantik Kai are both located on the planet of Narak in Vol's System, but players have no need to abide by this point.

零零星星是個部落格貼文系列，專門描寫形形色色不想被我更加發展的 TRPG 點子。要看所有期數，請按 #ZS 的主題標籤。

Zero Stars (ZS) is a blogpost series for various TRPG ideas I didn't want to develop further. To view all issues, please click on the hashtag #ZS.

無常教是個折衷的民間信仰，主要靈感來源於基督教、中國和台灣民間信仰以及桌上角色扮演遊戲的特性。它並沒有教堂或聖經，但各有各地的偽經、廟宇、神殿和聖地。預設的特定地區是智末，被詛咒的城鎮，四處被沙漠包圍。

Impermanism is a syncretic folk religion, with main inspirations from Christianity, Chinese and Taiwanese folk religion, and the nature of tabletop roleplaying games. It has no churches or Bible, but local apocrypha, temples, shrines, and sacred grounds. The default locality is Wit's End, a cursed town surrounded by desert on all sides.

信仰的細節要看信徒拜的神，可是一般來說，所有的無常徒都相信現實不是自在之物，而是不穩的現象，需要不同的守護神靈來保持平衡。然而，神靈不是現實的控制者，而是現實跟創造現實的太心^†之間的調解員。唯一有能力改變現實的只有太心，因為只有太心存在於現實之外—在現實之中，一切都是太心的玩偶，隨心所欲地被偏寵或拋棄，甚至連現實的整體也是。

The details of the faith depend on what gods the practitioner worships, but generally speaking, all impermanists believe that reality is not a thing-in-itself, but an unstable phenomenon that must be balanced by protector entities. However, the entities are not the controllers of reality, but mediators between reality and The Highest Heart^† that created it. Only The Heart has the power to change reality, because only The Heart exists outside of reality—within reality, all are The Heart's playthings, to be favored and abandoned at will, including reality itself in its entirety.

^†太心是玩家的象徵，而現實是遊戲的象徵。無常教在精神方面探索意識到自己是虛構的角色的存在主義荒謬。

The Highest Heart is a metaphor for the player, and reality a metaphor for the game. Impermanism is a spiritual exploration of the existential dread of characters becoming conscious of their own fictionality.

智末的鎮民主要拜三心誓，掌管必死性的守護神：狐煙掌管死亡的判決、刺沙魔掌管衰敗的後果、深坑婆掌管來世的穿越。

The townsfolk of Wit's End primarily worship The Heartsworn Trinity, who are patron gods of mortality: Foxsmoke governs the sentencing of death, Bramblebane governs the aftermath of decay, and Chimˋhangˋpo governs passage across the afterlife.

狐煙 Foxsmoke

又稱：行騙者的救贖主、聖浮士德、沙漠死神。

Also known as: The Con Man's Redeemer, Saint Faustus, The Desert Reaper.

形象：狐狸頭的巨僧，從長到能當拐杖的煙管抽著菸。

Form: A giant monk with the head of a fox, smoking from pipe long enough to serve as a walking staff.

d6 預兆（從凶到吉）omens (from ill to auspicious):

1. 十字路口有無眼狐 An eyeless fox at a crossroads
2. 行進的方向有空繩套 An empty noose in the direction you're traveling
3. 無雨的雷聲 Rainless thunder
4. 橫財中找到香煙 Cigarettes in a windfall
5. 磨損的繩子被復原 A rope unfrays
6. 霧中咧嘴笑的月亮 A grinning moon in the fog

刺沙魔 Bramblebane

又稱：清道真君、惡煞王、腐爛神。

Also known as: Sweeper of The Way, King of Abominations, The Rotten God.

形象：分散成遊蕩的怪異蜂巢思維風滾草群，偶爾集中形成巨型。

Form: Scattered into a wandering swarm of eldritch hivemind tumbleweeds, occasionally combining into one giant form.

d6 狗哨 dogwhistles:

1. 吸收保證和平 Consumption delivers peace
2. 你就是聖餐 You are the sacrament
3. 沒有死亡，只有重生 There is no death, only rebirth
4. 主體是現實的中心 The Corpus is the heart of reality
5. 太心需要滋養 The Highest Heart must be nourished
6. 主體需要補充 The Corpus must be replenished

深坑婆 Chimˋhangˋpo

又稱：司儀神女、死人的北極星、冥咒菩薩。

Also known as: She Who Presides, The Dead Man's Polaris, The Hellsealed Bodhisattva.

形象：在反光的檯面上出現的巫師。如果是非液體的檯面，觸摸檯面會產生細浪。

Form: A witch doctor who appears on a reflective surface. If the surface isn't liquid, touching it will produce ripples.

d6 傳說 legends:

1. 深坑婆是第一位在智末試圖逃獄的囚犯。來世的洞穴系統是她和她的同志挖出來的。每一條隧道都能通往另一個世界，但與其離開，深坑婆決定待在隧道引導其他的幽影，發誓直到每一個靈魂得到解放時才會離開智末。 Chimˋhangˋpo was the first prisoner who attempted to escape Wit's End. The cave system of the afterlife was excavated by her and her comrades. Each tunnel leads to another world. But instead of leaving, Chimˋhangˋpo chose to stay in the tunnels to guide other phantom shades, swearing to never leave Wit's End until every soul was liberated.

2. 在跟執咒官員打槍戰的時候，深坑婆退出戰鬥為將死的同志請求太心送下一壺水給 ta 喝。反而，戰鬥被暴風雨打亂。時至今日，戰場被不停的雨水淹沒，總有一天會吞掉智末。 In the midst of a shootout with The Accursed Law, Chimˋhangˋpo retreated from combat to ask The Heart to deliver a canteen of water for a dying comrade. Instead, the fight was interrupted by a rainstorm. Even today, the battlefield is being flooded with endless rainwater, which will someday swallow Wit's End.

3. 因咒法而規，咒司去參加深坑婆的最後一餐。深坑婆趁機用筷子攻擊 ta，馬上被獄警槍殺處死。因此詛咒禁止向智末提供食物。因此信士如果在太心的橫財中找到食物的時候會奉給深坑婆。 In accordance with The Accursed Law, The Warden attended Chimˋhangˋpo's last meal. Chimˋhangˋpo seized the opportunity to attack them with her chopsticks, and was promptly shot to death by the guards. Hence The Curse banned food from Wit's End. Hence when devotees find food in The Heart's windfalls, they sacrifice it to Chimˋhangˋpo.

4. 死之前，深坑婆和祂的武裝隊在沙漠的四處埋藏各種不同的藥品。祂有留下如何找出來的秘密線索，如果知道怎麼破解的話。 Before death, Chimˋhangˋpo and her posse buried hidden caches of medicine all over the desert. She left secret clues on how to find them, if the clues can be deciphered.

5. 在幼年時，深坑婆的家人試圖以祂的生命為代價創造保護族群的莧怪。發現計畫之後，祂離家出走，被族群追到懸崖之邊。祂往下跳，失去知覺，醒過來後發現自己被困在智末。 In her childhood, Chimˋhangˋpo's family attempted to sacrifice her to create an amaranth abomination to protect their kinkind. After discovering their plan, she ran away from home, and was chased by her kinkind to the edge of a cliff. She leapt off, lost consciousness, and awoke to find herself trapped in Wit's End.

6. 深坑婆被詛咒判絞刑。可是當活門開了之後，祂的身體從繩套中消失。執咒官員花了數轉把祂找回來，但找也找不到。似乎像是祂根本並不在智末的現實中存在。 Chimˋhangˋpo was sentenced by The Curse to death by hanging. But when the trap fell open, her body vanished from the noose. The Accursed Law spent revolutions trying to find her again to no avail. It was as if she did not exist in the reality of Wit's End at all.

更多關於智末 More on Wit's End

智末的鎮民是來自各樣時空的敗罪羊（失敗的代罪羔羊）。因為他們拒絕為別人的罪受過，他們被詛咒送到智末下獄。之內，他們漸漸會被詛咒變成惡煞，在沙漠遊蕩到死的怪獸。

The townsfolk of Wit's End are failscapes (failed scapegoats) from across time and space. Because they refused to take the blame for others people's sins, The Curse transported them to Wit's End for imprisonment. There, The Curse gradually transforms them into abominations, monsters who wander the desert until death.

d6 敗罪羊背景 Failscape Backgrounds

1. 夢遊者：在夢中陷入智末。 Sleepwalker: Entered Wit's End through a dream.
2. 流浪漢：不小心遊蕩到智末。 Drifter: Accidentally wandered into Wit's End.
3. 逃犯：跑進智末。 Fugitive: Fled into Wit's End.
4. 罪犯：被判入智末。 Convict: Sentenced to Wit's End.
5. 末生人：智末的囚犯或執法者生出來的孩子。 Endborn: A child born from prisoners or lawfolk in Wit's End.
6. 幻景仔：有知覺力的幻景構裝體、詛咒所創造的「模犯」。 Miragi: A sentient mirage construct created by The Curse as “inmate exemplars.”

d6 敗罪羊神態 Failscape Miens

1. 陰鬱 Morose
2. 緊張 High-strung
3. 好戰 Pugnacious
4. 輕蔑 Disdainful
5. 後悔 Repentant
6. 正直 Righteous

d6 惡劣的突變 Abominable Mutations

1. 與刺沙魔合一 One with Bramblebane
2. 被蒼蠅覆蓋 Covered in flies
3. 像熱蠟滴的肉體 Flesh drips like hot wax
4. 骨瘦如柴 Skeletal frame
5. 皮膚變透明 Skin becomes translucent
6. 臉是個大洞 Face is a gaping hole

d6 詛咒的代理 （從低到高的職位）Agents of The Curse (from lowest to highest rank)

1. 3d6 咒警 Accursed Officer
2. 2d6 咒士 Accursed Sergeant
3. 1d6 – 1d6 咒監 Accursed Lieutenant (– = 死的 dead ones)
4. 1d6 咒尉 Accursed Captain
5. 咒長 Accursed Marshal
6. 咒司 Accursed Warden

d6 咒軍神態 Accursed Miens

1. 專橫 Imperious
2. 正在休息 On break
3. 累壞 Burnt out
4. 醉了 Intoxicated
5. 正在巡邏 On patrol
6. 想害你 Out to get you

智末和附近沙漠裡的居民並不靠食物求生，而是靠絕望。因此，他們在物質上有動機永遠活在緊急狀態之中，不管意思是故意把別人置於險境或是俠義地去阻止這種行為。

The denizens of Wit's End and the surrounding desert do not rely on food to survive, but desperation. As such, they are materially motivated to always exist in a state of emergency, whether that means purposely putting others in danger or stopping it in the name of justice.

智末的經濟是指令型的，由太心指令：當太心有意的時候，祂會在現實中創造資源的橫財。有時，橫財會是特別的資源，但通常會是不特別的鉛色苦元，又稱神的貨幣。通過誠意向太心的祈禱，一枚苦元硬幣會變成你在絕望時刻需要的一樣物品。

The economy of Wit's End is commanded according to The Highest Heart: when The Heart wills it, They will create windfalls of resources in reality. Sometimes, the windfalls will be of resources for a specific purpose, but usually it will be generic lead-colored dukkhats, also known as God's Tender. With an earnest prayer to The Heart, one dukkhat coin transforms into one item you need during a moment of desperation.

「我已逐漸看清迄今為止的每一種偉大哲學是由什麼構成的—即看到了其創立者的自白書，一種不自覺的、無意識的自傳；並認識到每種哲學中的道德（或非道德）目的，是長成整個植物的真正活胚芽。」

—弗里德里希·尼采，朱泱 譯，來自《善惡的彼岸》

“I have gradually come to realize what every great philosophy so far has been: a confession of faith on the part of its author, and a type of involuntary and unself-conscious memoir; in short, that the moral (or immoral) intentions in every philosophy constitute the true living seed from which the whole plant has always grown.”

—Friedrich Nietzsche, translated by Judith Norman, in Beyond Good and Evil

首先為《降天下世》發展的概念，四大解性遊原型的聖、丑、賊、惡代表人物在解性敘事中正式扮演的戲劇角色。靈感來源於京劇的生、旦、淨、末、丑五種行當和 El Teatro Campesino 的 actos，四大解性遊原型是我試圖概述在被庸俗化的革命鬥爭敘述之中的定型角色。有完美和無可指責的聖、不切實際和無能的丑、犯法和拒絕反省的賊或是暴虐和自高自大的惡。它們就是在反革命世界之中為革命的鬥爭如何地「淹死你」，強迫你呈現的「屍型」。它們也是我認為自己該為革命處死自己人性的方式。雖然當時我還沒讀過 Sergey Nechayev 的《革命者教義》，四大原型基本上就是我自己對「註定是犧牲」的革命者的想法。

First developed for Felling Heaven, Felling World, the four agonist archetypes of saint, fool, fiend, and scourge represented the formal dramatic roles played by characters in agonist narratives. Inspired by Beijing opera's five roles of 生, 旦, 淨, 末, and 丑, as well as El Teatro Campesino's actos, the four agonist archetypes were my attempt to sketch out stock characters in vulgarized narratives of revolutionary struggle. There were perfect and blameless saints, unrealistic and incompetent fools, criminal and unrepentant fiends, or tyrannical and self-important scourges. They were how the struggle for revolution in a counterrevolutionary world would “drown you,” the “corpse forms” it would force you to take. They were also different ways I felt like I had to kill my own humanity for revolution. Although back then I had yet to read Sergey Nechayev's Revolutionary Catechism, the four archetypes were essentially my take on the revolutionary as a “doomed man.”

可是是誰在註定革命者？ Nechayev 好像有暗示：就是革命者 ta 自己。革命者為革命「應當」有自我否定的態度。這是革命者自己想負的責任，自己要承擔的命。可是沒有以等級制度為基礎的反革命世界，會有這種責任，會有這種命需要存在嗎？是誰在註定革命者—是 ta 還是解放之敵？

But who dooms the revolutionary? Nechayev seems to suggest it's the revolutionary themself. It's among the revolutionary's “duties” to have a self-negating attitude for the sake of revolution. The revolutionary chooses to take up this responsibility, take on this fate. But if it were not for a counterrevolutionary world based on hierarchy, would this responsibility, would this fate, even have to exist in the first place? Who dooms the revolutionary—themself or the enemies of liberation?

缺了一方，另一方無法存在。沒有必要革命的世界，就沒有革命者必要的存在—可是是革命者的存在暴露出世界有革命的需要。因此，解性遊的中心就是探索這個辯證法—更明確地說，是探索世界的社會狀態和革命者的組織狀態的相互作用如何影響革命的發展。

There is no one without the other. Without a world that needs revolution, there is no need for the revolutionary to exist—but it is the existence of revolutionaries that exposes the need for revolution in the world. Hence, the focus of agonist play is to explore this dialectic—more specifically, to explore how the interplay between the world's social conditions and revolutionaries' organizing conditions influences the development of revolution.

然而，在解性遊戲的開發過程之中，這辯證法退化成探索遊戲狀態和玩家個人政治傾向的相互作用如何影響遊戲政治敘述的發展。退化版是原本的景觀。可是或許可以用這個說法形容解性實踐這概念的全體。在一個被中介的世界的中介之中，此內遊戲的設計和虛構世界代表現實、玩家代表革命者亦遊玩代表解放，怎麼可能會有免受景觀化的革命政治？

However, in the process of developing agonist games, this dialectic devolved into exploring how the interplay between game conditions and players' personal political orientations would influence the development of the game's political narrative. The devolved version was a spectacle of the original. But perhaps this could be said of the entirety of agonist praxis as a concept. In a mediation of a mediated world, in which the game's design and fictional world represent reality, the player represents a revolutionary, and play represents liberation, how could you have a politics of revolution free from spectaclization?

四大解性遊原型也就是革命者被景觀化的形象；以它們為特色的文本也就它們在設計中如何被景觀化的紀錄。在這個文章之中，我將會分析到目前為止使用或提到那些原型的文本，為了探索自己對革命者的看法被景觀化的發展。關於每一項文本，我會回答：

The four agonist archetypes were then the spectalized forms of revolutionaries; the texts that featured them were records of how they became spectaclized in design. In this essay, I will analyze the texts up to this point that have used or referenced those archetypes, for the sake of exploring how my own perspective on revolutionaries became spectaclized.

《降天下世》Felling Heaven, Felling World

「跑團的道理就是把非自創的名字完全當耳邊風，即使是自創有時也認不了。湖編，知這：你的玩家永遠不會感覺到歷史的沉重，除非是自己經驗的歷史。在那歷史當中，他們會為了現在方便能忘就忘，為了現在方便能記就記。你也會。你也會。」

“The principle of playgroups is to completely ignore all names they did not create, if they even recognize the names that they do. Peruffian, know this—your players will never feel the weight of any history except the history they have personally experienced. Of that history, they will forget what is presently convenient for them to forget, and remember what is presently convenient for them to remember. You too. You too.“

有了遊戲後段的這自我否定背景的指示，我們來看看《降天下世》一開始的世界背景：

With this self-negating instruction towards lore from the latter part of the game, let's look at Felling Heaven, Felling World's setting lore at game's beginning:

很久以前，冬鎖帝國征服了世界，把全都困在永恆的冰天雪地。但在百年壓迫之際，江屍革命者暴動成功毀滅了帝國的政權。革命的勝利代價就是詛咒，使下世永遠在痛苦輪迴中轉生，在每一轉都逃不過前世的困擾...

Long ago, the Frostlock Empire conquered the world, imprisoning all under eternal ice and snow. But then, on its hundredth year of oppression, the Corpse River revolutionaries rose up and successfully destroyed the Empire's regime. The cost of victory for the revolution was a curse, causing all future generations to eternally reincarnate in cycles of suffering, haunted by their past lives at every turn...

這是我意圖簡單概述所謂的「後殖民」的世界，其實不是真的有擺脫殖民主義，而是被新殖民主義冤纏。雖然正文中沒寫得特別明確，江屍革命者的詛咒來自於他們自己為了打敗冬鎖帝國而忽略的其他壓迫情況，因革命沒有真正地完畢而產生新殖民主義的呈現。就跟玩家們的毛病一樣，這些革命者的問題是馬基雅維利主義。他們並沒有完全重視革命，反而碰到跟自己的利益有衝突的時候會放棄革命選擇自己或自己陣營的人。

This was meant to be my sketch of a so-called “postcolonial” world, which was not really free from colonialism, but haunted by neocolonialism. Although I didn't make it explicit in the text, the Corpse River revolutionaries' curse came from their negligence towards other instances of oppression for the sake of defeating the Frostlock Empire, giving rise to the appearance of neocolonialism in the wake of an incomplete revolution. Like the problem of the players, the problem of these revolutionaries was one of Machiavellianism. Their priority was not entirely revolution; instead, whenever they ran into any conflicts of interest they would abandon revolution and choose themselves or their own camp.

跑團的時候，遊戲團其中屬於第一的目標就是決定什麼遊戲內容不會用，包括《降天下世》建立世界設定的小小一段。根據我自己的經驗，如果他們是決定保留背景基本部分的話，他們會選擇去掉詛咒那一部分，把遊戲破壞成武俠烏托邦模擬遊戲。就跟我上個文章中說的一樣，這些玩家根本不會管你正文的政治；他們只是把你的遊戲當作為他們實現自我表現拆用的有用屍體。

When running a game, one of the first goals of the playgroup is to decide what parts of the game not to use, including this small paragraph establishing the setting in Felling Heaven, Felling World. In my experience, they would choose to remove the part about the curse, sabotaging the game into a wuxia utopia simulator. Like I said in my previous essay, these players didn't care about the politics of your text; they only saw your game as a useful corpse to cannibalize for the purposes of realizing their self-expression.

但以預想為準，《降天下世》的虛構社會也就是按照拆用的機構創造出來的。湖編，也就是遊戲的 GM，會犧牲自己的角色，拆用自己的角色卡來填寫殭湖的角色卡，代表解性（革命者）的江湖世界。我並且在正文中解釋了這樣設計的目的：

But with prefiguration as the rule, Felling Heaven, Felling World's fictional society was also created through the mechanics of cannibalization. The Peruffian, which was the game's GM, would sacrifice their own character, cannibalizing their character sheet to fill out the character sheet of the Jyanghu or Corpse Waters, representing the agonist (revolutionary) underworld. I also explained in the text of the game what the purpose of this kind of design was:

…當我們打倒承載世界的等級制度，我們也會把世界載到制度的遺址。歷史上制度根深柢固損害未來的地景，而我們種植的新根會繼承到制度的髒土。革除天命的問題就是不能逃避我們總會被分解，總會與土合一的塵世宿命。

...when we bring down the hierarchies that hold up the world, we also bring the world down to their ruins. Their historical entrenchment compromises the landscape of the future, and the new roots we plant inherit their soil. The problem of overturning heaven is that we cannot escape our mortal destiny to become decomposed, to become one with the soil.

所以這現世的道理就是解自分的作用。就是解自己是怎樣損害未來的地景、怎樣會留傳髒土、怎樣會被革除。就是解不只是你，而是這世界上每一個人都在這因果循環中，無論他們是解或不解。

And so the principle of this present is to comprehend the purpose of your own destruction. It is to understand how you compromise the landscape of the future, how your soil will get passed down, how you will be overturned. It is to understand that not just you, but every individual on earth is in this cycle of causality, whether they comprehend it or not.

湖編—願如是解你運素俠的分屍對創造這虛構世界有怎樣的作用。

Peruffian—thus may you comprehend how your yunsu xia's decomposition serves a purpose for creating this fictional world.

《降天下世》—也可以延伸到解性實踐—的自我否定中心思想是革命失敗主義。有時候你就是敵人。那麼，如何知道什麼時候才是該死的時刻？讓四大原型上臺，之中每一個都有自己不願意去死或是自己一開始就被處於死亡的問題。這些原型形成陰陽的兩對：完全無法失去社會接受的陰聖和完全無法得到社會接受的陽賊是一對；全知的陰惡和無知的陽丑是另一對。陰方必須保持自己的正確；陽方必須完全失去正確的可能性。

The self-negation of Felling Heaven, Felling World—and by extention that of agonist praxis—was about revolutionary defeatism. Sometimes you were the enemy. So how did you know when it was time for you to die? Enter the four archetypes, each of which either had a problem of being unwilling to die or being condemned to die from the start. These roles formed two yin-yang pairs: The saint, which could never lose the approval of society, was the yin to the yang of the fiend, which could never gain the approval of society; the scourge who knew everything was the yin to the yang of the fool who knew nothing. The yin had to always protect their own correctness; the yang had to completely lose any potential for correctness.

在殭湖之中，這些緊張關係被擴大到革命者形成的組織。聖歸於篤信宗教的派、丑歸於深奧的會、賊歸於規定為非法的幫、惡歸於被制度化的門。隨機產生情節的敘事功能（靈感來源於 Vladimir Propp 分析民間故事形態的敘事功能）並且闡明四個原型和他們組織為了證明另一方是錯誤的鬥爭。陰陽雙方都認為彼此失敗做的事都是因為羞恥：陰方的聖-派-惡-門羞於被別人視為是錯，陽方的丑-會-賊-幫恥於被別人視為是對。遊戲的目標就是質問誰為了開始決鬥對自己羞恥的克服會產生真的最有正義的結果—真的完成革命、真的結束壓迫。

In the Corpse Waters, these tensions were magnified into the associations formed by the revolutionaries. Saints belonged to religious sects, fools to esoteric societies, fiends to criminalized gangs, scourges to institutionalized schools. The narrative functions (inspired by Vladimir Propp's narrative functions for analyzing the morphology of folk tales) for randomly generating plot also illustrated the struggle to prove each other wrong among the four archetypes and their associations. Both sides of yin and yang thought that the other failed to act because of shame: the yin saint-sect-scourge-schools were ashamed to be wrong to other people, while the yang fool-society-fiend-gangs were ashamed to be correct to other people. The point of the game was to interrogate whose overcoming of shame for the sake of initiating decisive struggle would produce the outcome with the truest justice—the true completion of revolution, the true end of oppression.

四大解性遊原型也有相關的運素，也就是元素和心境的合體—是角色移動他們現實的根源。運素總共分三個種類，按照它們的起源：先天就有的天運素、在壓迫之下被精煉出來的精運素、和命名為冬鎖帝國的壓迫者帶來的鎖運素；三種運素的來源是第一個運素，命。在《降天下世》的解性江湖之中，運素在機構方面形成一個主觀主義現實的結構，也就是影響命發展的結構。天運素—也就是所謂自然法的代表—決定什麼行為對（GM 扮演的）社會來說算是「罪」。精運素是創造解放實現的道理的原材料；鎖運素模仿壓迫，對那道理的創造施加限制。

The four agonist archetypes also had associated yunsu, which were combinations of elements and mentalities—the roots from which the characters moved their reality. Yunsu were divided into three types, according to their origins: natural yunsu that inherently existed, refined yunsu that was developed under oppression, and locked yunsu that came from the oppressing Frostlock Empire; all three types of yunsu originated from the first yunsu, fate. In the agonist underworld of Felling Heaven, Felling World, yunsu mechanically formed the structure of a subjectivist reality, the structure of what shaped the course of fate itself. Natural yunsu—a stand-in for so-called natural law—determined what behaviors would be considered by society (played by the GM) as “crimes.” Refined yunsu served as the raw material for creating the principle of realizing liberation; locked yunsu mimicked oppression, imposing limits on the creation of that principle.

四大解性遊原型自然跟反抗鎖運素制度的精運素有關。每一個原型組織都有虛構代表的可否定故事背景，體現在故事中的反鎖運動會看起來像是怎樣：在監牢中學會運血苦逃獄的聖派、用金決發明新逃脫帝國兵的技術的丑會、運電責向污染他們家鄉的公司實現報仇的賊幫、用空消創造自治區的惡門判軍。

Naturally the four agonist archetypes were associated with the refined yunsu that opposed the order of the locked yunsu. Each archetype-association had negatable lore for a fictional representative, embodying what resistance against locked order might look like in the story: the saint-sect that learned to direct blood-pain to break free from prison, the fool-society that used metal-resolve to invent new technology to evade imperial troops, the fiend-gang that directed shock-blame to realize revenge against companies polluting their homes, the scourge-school rebel army that created autonomous zones with void-ending.

具有諷刺意味的是，這些典型組織的實踐完全沒互斥，讓人懷疑原型與他們組織的「決鬥」到底有沒有必要。他們真正是為了解決誰失敗阻止壓迫而爭吵，還是只是在小題大做？他們決鬥到底有沒有跟詛咒的消除有關，還是只是在吵誰最有本事來幹？在尋找革命「最正確」的路線之中，他們是不是又忘了革命，回到了自己的個人問題？四大原型在《降天下世》之內問題化了革命性政治中避免不了的主觀。或許「大革命」只是一場革命者困在成為聖-丑-賊-惡的惡性循環之中的鬧劇—而此循環的解脫並被他們誤會和真心認為是真正的革命。

Ironically, the praxes of these example associations were not mutually exclusive at all, bringing into question whether the “decisive struggles” of the archetypes and their associations were even necessary to begin with. Were they really fighting over who failed to stop oppression, or just making mountains out of molehills? Did their decisive struggles have anything to do with eliminating the curse, or were they just fighting over who had the most potential to do it? In the search for the “most correct” path to revolution, did they forget revolution again, and return to their own personal problems? The four archetypes in Felling Heaven, Felling World were a problematization of unavoidable subjectivity in revolutionary politics. Perhaps “The Revolution” was just a farce about the revolutionary being trapped in a vicious cycle of becoming saint-fool-fiend-scourge—the escape from which they mistook and took seriously for real revolution.

《受死令》Soulslinger

鑑於《降天下世》的世界設定背景把失敗擺脫壓迫的責任放在「被詛咒的」革命者身上，《受死令》完全指責壓迫性的行星系統秩序。江屍詛咒的對應是主宰系統的協吞教的吞光鐵神，超自然地吞食了系統中百分之九十九的人民。

Whereas the setting lore of Felling Heaven, Felling World placed the blame for failing to escape oppression on the “cursed” revolutionaries, Soulslinger squarely placed the blame on the oppressive order of the planetary system. The equivalent to the Corpse River curse is the system-ruling Cult of Twun's Sparkeater god, who supernaturally devoured 99% of the system's population.

死令，也就是歷史大災事件的背景，顯示出更多關於協吞教的附帶提示：在生榮的倖存者有權利不「自願犧牲」，以被非生物化的判教者身份繼續活下去，跟住在其他星球沒有那選擇的人完全不一樣。雖然沒有公佈的事件時間軸，把血星大戰、送息旱災和刮膽牢籠當作是吞光鐵降臨製造的大犧牲之前發生的事比相反的詮釋更加合理。大戰把生榮的聖榮帝國指責於血星的自動殖民地的敵人；在這大戰之中，一種似核武技術製造的落塵導致了第三方送息星球的旱災，而那裡「視死不歸」的人民用超自然的方式把自己變成殭屍。生榮又在牢籠中有當殖民性壓迫者的牽連；刮膽的人民對它的侵占抗議，但被抓捕並強迫變成超自然的獸人，暗示他們的抓捕者會使用超自然的方式處罰對他們殖民秩序的反抗者。再見生榮核冬的背景，看到起因是吞光鐵的落塵，可以有理地斷定聖榮帝國就是協吞教擁有類似核武跟魔法的國家。同時可以斷定反抗的團體也有使用類似核武跟魔法的能力。

Lore behind the Death Marks, historically catastrophic events, reveals more peripheral clues about the Cult: survivors on Vim'run had the right to have “refused The Sacrifice” and live on as abioticized apostates, which makes them exceptionally different from the people on other planets who did not get that choice. Although there's no official timeline of events, it makes more sense to assume that The Great War of Shahsin', The Drought of Ehm'rah, and The Caging of Gwahdyu' happened before The Sacrifice caused by The Sparkeater's descent rather than the other way around. The Great War names The Holy Empire of Vim'run as an enemy of The Machine Colonies of Shahsin'; in this Great War, the fallout from a nuclear-weapons-like technology caused a Drought on the third-party planet of Ehm'rah, whose people “refused to die” by supernaturally becoming reanimated corpses. Vim'run is again implicated as a colonial oppressor in The Caging; the people of Gwahdyu' protested its occupation, but are captured and forcibly transformed into supernatural werebeasts, suggesting that their capturers could use supernatural methods to punish those who rebelled against their colonial order. If you go look at the lore for The Twilight of Vim'run, which was caused by fallout from The Sparkeater, you can reasonably conclude that The Holy Empire of Vim'run was the nation-state of the Cult of Twun, with access to something like to nuclear weapons and magic. You can also reasonably conclude the resistance forces also had access to nuclear-like power and magic.

考慮到這些背景，吞光鐵中的幽靈起義是完全符合虛構現實的規則的事件。大犧牲可以說是跟我們平凡世界中的大屠殺一樣，而鬼用被搶佔的神腹建立的零空實例跟在我們現實中被創造的自治區沒什麼兩樣，只是加上了科幻的背景敘述。

With this background in mind, the ghost insurrection in The Sparkeater was an incident completely in accordance with the rules of fictional reality. The Sacrifice was just like what a genocide would be in our world, and the nullspace established by the ghost's seizure of the god's stomach was just the same as autonomous zones created in our reality, just with a flavor text of science fantasy.

在《受死令》之中，四大原型可以說是成為時空游擊者（穿越時空把解性的衝動附身傳染給凡人的鬼）的症狀。每個受死令在當時空游擊者的原因就是心火，「逃不離的痛苦，強迫［他們］四處冤纏平行時空。」所以受死令反抗的原因是強迫思維；對革命的投入是他們的病態。

In Soulslinger, you could say that the four archetypes were symptoms of becoming a chronoguerilla fighter (a ghost that crosses through spacetime possessing mortals and infecting them with agonist impulses). The reason why every soulslinger was a chronoguerilla fighter was because of their spark, “an inescapable pain that compel[led them] to haunt parallel timespace in all directions.” So the soulslinger revolted out of compulsion; the commitment to revolution was pathological for them.

我必須在這裡暫停一下，回到文章開頭的尼采引文。對大部分的人來說，面對生命威脅的時候想繼續活下去不是什麼心理問題。我是被虐待者養大的。我是被當作是他們追求完美的寄託者，被教導該活得彷彿一切都只會是我的錯。如果有人要威脅我的生命，我無法直接靠「生理需求」或像是「大家都有存在的資格」的老生常談來接受我對生命的權利。我之前說過了—有時候你就是敵人。以前我弟弟常會問我：法西斯主義到底有什麼問題？他對道德的解釋不滿；他要的是實際的回答。如果你認為別人就是低等的，為什麼不能那樣地對待他們？為什們別人認為這樣是在侵犯他們自由的權利？為什麼他們不願意給你壓迫的自由？

Here is where I have to pause and return to the Nietzsche quote at the start of the essay. For most people, it is not a psychological problem if your life is being threatened and you want to live. I was raised by abusers. I was treated as nothing but a vessel for their pursuit of perfection, taught to live as if everything could only ever be my fault. If someone wants to threaten my life, I'm unable to just rely on “biological necessity” or platitudes like “everybody deserves to live” to accept my claim to life. I already said it before—sometimes you are the enemy. My brother used to constantly ask me: what's wrong with fascism? He found moral explanations unsatisfying; he wanted a practical answer. Why shouldn't you treat others as inferior if that's how you thought of them? Why did others say that this was an infringement of their freedom? Why wouldn't they grant you the freedom to oppress?

因為壓迫的自由跟免於壓迫的自由在本質上就是不一樣、因為在按照等級制度組織的社會之中，製造壓迫是在剝奪別人的權力，而反對壓迫是權力被剝奪的人在奪回自己的權力。如果讓壓迫者有自由執行壓迫的話，剩下的人就不會有自由。

Because the freedom to oppress and freedom from oppression were qualitatively different, because in a society organized according to hierarchy, to create oppression was to dispossess power from others, and to oppose oppression was the dispossessed seizing it back. If we let oppressors have the freedom to carry out oppression, there would be no freedom left for everybody else.

可是這還是沒回答我秘密法西斯主義者弟弟的問題。為什麼不該剝奪別人的權力？為什們人不會乖乖接受他們的剝奪？（秘密）法西斯主義者（或是虐待者）就是不懂為什麼別人不願愈接受隨選真正或比喻地去死的命令。一個（秘密）法西斯主義者-虐待者不重視生命，就算是自己的生命也是。他們重視的是對生命的控制；一個無法被他們控制的生命就是沒資格存在的生命。

But this still wasn't an answer to my cryptofascist brother's question. Why shouldn't you dispossess power from others? Why couldn't people just accept their own dispossession? A (crypto)fascist (or an abuser) just doesn't understand why people aren't willing to accept the imperative to literally or metaphorically die on demand. A (crypto)fascist-abuser does not value life, not even their own. What they value is power over life; a life uncontrollable by them was a life with no right to exist.

如何證明他們是錯？小的時候，我意識到自己有繼續責怪自己，不把我的經驗問題化成虐待的自由。我不懂為什麼自己一直對這樣的自由有內心一直情感操縱不掉的反對。我的認識力能讓我為虐待者一切對我做的事找出合理的解釋。為什麼我就是不能一直做下去？而且如果做不下去的話，我是不是沒有資格繼續活下去？

How could you prove them wrong? When I was little, I was conscious that I had the freedom to just keep blaming myself and not problematize my experiences as abuse. I didn't understand why I kept having internal resistance against this freedom that couldn't be gaslit out. I had the cognitive ability to rationalize everything my abusers did to me. So why couldn't I just keep doing it? And if I couldn't keep doing it, did that mean I had no right to exist?

某一天，我決定該活。我決定接受當他們敵人的責任。不是因為我找到了為什麼我該活的足夠證據，而是因為我證據找不到。我唯一找到的就是權力。我有權力秘密地存錢、去租房間、收拾行李、上車離開。我有權力跟我的室友跟房東交代不准讓我的虐待者進來。我有權力帶刀去看前門。

At some point, I decided to live. I decided to accept the responsibility of being their enemy. Not because I found sufficient proof that I should live, but because I couldn't find proof at all. The only thing I found was power. I had the power to secretly save up, rent a room, pack my bags, get on a car and leave. I had the power to tell my roommates and landlord not to let my abusers in. I had the power to bring a knife to answer the door.

權力就是自由。但自由不是自治。對我來說，自治—也就是對自己生活有的權力—可不是關於個人的問題。反而它是關於集體的問題。我是把每個人都當作一個現實實例；只要一個人的現實之中有任何再生產壓迫的痕跡，宇宙就是不潔淨的。對我來說，光從物質跟社會狀況除掉壓迫的痕跡是不夠的事。我必須要從大家的內心除掉。對我來說，直到永遠不會有人想利用權力控制或強制別人，解放—也就是不以犧牲別人的自治來維護其他人自治的狀態—並沒有完成實現。我要的是完全能確定壓迫的結束。

Power was freedom. But freedom wasn't autonomy. To me, autonomy—that is, power over your own life—was not an individualist problem. It was instead a collectivist one. I considered each person as an instance of reality; as long as any individual's reality had any traces of reproducing oppression, the universe was unclean. To me, it was not enough to wipe out the traces of oppression from material and social conditions. I had to wipe it out in everyone's souls. To me, until no one would ever have the desire to use power to control or coerce another person, liberation—that is, the state where no one's autonomy came at the expense of another's—would not be completely realized. I wanted the end of oppression to be an absolute certainty.

所以要宣布自己是「革命」者的話，要保證全宇宙的人我就是真的—就是完全能確定—結束壓迫的俠，我得給大家完全兌現。如果按照我的實踐不能完全確定地導致每一個人的解放，不准說我在革命。這就是我對自己的標準—最低限度的標準。

So if I wanted to call myself a “revolutionary,” if I wanted to promise all people in the world that I was a 俠 who would bring a true—an absolutely certain—end to oppression, I had to deliver perfectly. If my praxis was not absolutely certain to lead to liberation for every single person, I could not say I was making revolution. These are the standards I hold myself by—the bare minimum standard.

「每個受死令在當時空游擊者的原因就是心火，『逃不離的痛苦，強迫［他們］四處冤纏平行時空。』」應作：我追求革命的原因就是創傷，強迫我完美主義地要求世界的解放。「你的心火是 ___ 。它迫使你定勢如做最終判斷的惡、反制批評者的賊、沒判斷能力的丑、無法被批評的聖」。應作：我有強迫行為必須去改別人、必須認為大家的意見都是錯的、必須認為自己無法判斷對和錯或必須只能有別人覺得是正確的意見。我知道這是我自己的問題。有時候我不想讓它變成別人的問題，有時候我想管他們去死。

“The reason why every soulslinger was a chronoguerilla fighter was because of their spark, 'an inescapable pain that compel[led them] to haunt parallel timespace in all directions.'” Read: the reason I pursue revolution is because of trauma that compels me to perfectionistically demand the world's liberation. “Your SPARK is ___. It forces you to SCHEME like A SCOURGE who ends judgement, A FIEND who cheats judgment, A FOOL with no judgment, A SAINT beyond judgment.” Read: I feel compelled to correct people all the time, compelled to dismiss everyone else's opinions as wrong, compelled to deny that I have the ability to determine right and wrong, or compelled to only have opinions that are correct to everyone else. I know it's my problem. Sometimes I don't want it to become anyone else's, and other times I do.

在遊戲之中，玩家從一組撲克牌卡抽牌創造冤纏時空的一趟行程。每一張卡都代表一段行憶，重複《降天下世》以運動為主的設計。牌按照花色分成四種跟四個星球有聯繫的行：血星的血、送息的息、刮膽的膽跟生榮的榮。每一個「行色」再被分十三張行憶卡的線性故事組成。不管它的行，每一個花色的故事都有下列的基本結構，在遊戲系統的參考文檔中被詳細描述：

During the game, players draw from a deck of cards to create a journey of haunting spacetime. Every card represented a moving memory, echoing the movement-centered design of Felling Heaven, Felling World. The cards were divided by suit into four hsing: the blood of Shahsin', the breath of Ehm'rah, the guts of Gwahdyu', and the glory of Vim'run. Every “hsing suit” was then composed of a linear story divided into thirteen moving memory cards. Regardless of hsing, each suit's story had the following basic structure, detailed in the game system's SRD:

1. 大起 GREAT START: 代表故事開始 represents a story starting
2. 小合 SMALL STOP: 代表故事結束 represents a story ending
3. 小起 SMALL START: 代表故事開始 represents a story starting
4. 小轉 SMALL TURN: 代表故事改變 represents a plot twist
5. 小承 SMALL TRIAL: 代表故事衝突 represents a problem appearing
6. 中合 CORE STOP: 代表故事結束 represents a story ending
7. 中起 CORE START: 代表故事開始 represents a story starting
8. 中承 CORE TRIAL: 代表故事衝突 represents a problem appearing
9. 中轉 CORE TURN: 代表故事改變 represents a plot twist
10. 死令 DEATH MARK: 代表（行的星球上的）社會崩潰 represents a social breakdown (on the hsing's planet)
11. (騎士 J) 大承 GREAT TRIAL: 代表故事衝突 represents a problem appearing
12. (皇后 Q) 大轉 GREAT TURN: 代表故事改變 represents a plot twist
13. (國王 K) 大合 GREAT STOP: 代表故事結束 represents a story ending

受死令使用四行的「動力」來接受或拒絕行憶，指揮時間軸的發展。遊戲在機構上有限制玩家能改變虛構現實的程度。低的行點阻止角色對行憶的拒絕，而只能抽的牌阻止理想時間軸的簡單創造，強迫你去整理非線性的時間跟未予限制的空間的無秩序。另外，抽到的鬼牌會按照你的原型-定勢或心火懲罰你，破壞一行的動力。在表面上，這些限制強迫玩家接受「實際上的」現實—可是因為這是遊戲，其實沒有實際上的現實—只有被我用人工設計出來的現實。

The soulslinger used the “motive powers” of the four hsing to direct the course of the timeline by accepting or rejecting moving memories. The game mechanically limited how much the player could change the fictional reality. Low hsing points prevented their character's rejection of moving memories, and the cards from the deck that could only be drawn prevented an easy creation of an ideal timeline, forcing you to sort through the disorder of nonlinear time and unconfined space. In addition, drawn ghost cards (jokers) punished you by damaging the motive power of one hsing according to your archetype-scheme or spark. On the surface, these limits forced the player to accept reality “as it was”—but because this was a game, there was no actual reality as it was—only reality as it had been artificially constructed by me.

這也就是《受死令》與我的中心問題：認識論唯我論。我無法完全確定所謂「實際上的現實」的存在；我唯一有的是透過主觀感知的中介創造的實際現實景觀。主觀的存在就是問題。主觀的存在破壞得到完全確定的能力。主觀的存在註定你無法真的是對或真的是錯—你對當革命者或是正義—真的完成的革命和真的結束的壓迫，無法做任何真實的斷言。唯一有的是判斷的權力和無法避免被人家判斷的可能性。

This is also the central problem of Soulslinger and myself: epistemological solipsism. I have no absolute certainty that so-called “reality as it is” exists; I only have the spectacle of “reality as it is” constructed through the mediation of subjective perception. The subjectivity is the problem. Subjectivity destroys the ability to reach absolute certainty. Subjectivity dooms you to never be truly right or wrong—you cannot make any true claims about being a revolutionary, or about justice—the true completion of revolution and true end of oppression. You only have the power to judge and the unavoidable possibility of being judged.

我在〈追不到的天際〉分析《受死令》中也有提到—最後受死令和其他的時空游擊者無法完全確定自己改造的時間軸到底有沒有真的改變現實。「雖然你的玩家角色能利用自己痛苦而來的力量來『拒絕』記憶，所謂的拒絕本質不明確—你是在壓制自己的負面記憶還是在真的在把歷史改變？改變的是原來的歷史還是只是在創造架空時間線？該如何解釋在多次遊玩之中重複碰到之前已經順利除掉的記憶？」你是在革命還是只是在情感操縱自己和別人接受你的「進步」？

I also mentioned this in “The Horizon I Couldn't Reach”—in the end the soulslingers and other chronoguerillas have no absolute certainty on whether the timelines they've transformed also actually transformed reality. “Even though your character can use the power of their own suffering to 'reject' memories, the nature of this rejection is unclear—are you repressing your own negative memories or really changing history? Are you changing the original history or just creating an alternate timeline? How do you explain repeatedly encountering memories in multiple playthroughs that you had previously and successfully gotten rid of?” Are you making revolution or just gaslighting yourself and other people into accepting your “progress?”

《受死令》是種承認—承認我到此為止關於正義寫的內容完全都只是個鬧劇，只是個被創傷產生出來的定勢。四大解性遊原型是我自我意像失調的反映，而且除了完全的瘋狂，什麼事情都無法保證兌現。

Soulslinger was a confession—a confession that everything I had ever written about justice was just a farce, just a traumatized scheme. The four agonist archetypes were a reflection of my dysfunctional self-image, and I could promise to deliver nothing except complete madness.

〈血光俠〉 “Blood Lanterns”

同人小說的〈血光俠〉跟《降天下世》的前提很像，描寫一個假的（沒有真正完成革命的）後革命世界。「先鋒主義者的幻想」這副標題也闡明了另外一個能批評認為有所謂的「正確」革命路線的角度。開頭的筆記（加上我自己的強調）說：

The fanfic of “Blood Lanterns” has a similar premise to Felling Heaven, Felling World, describing a false postrevolutionary world (that never completed revolution). The subtitle of “A Vanguardist's Fantasy” also elucidates another angle of criticism towards the assumption that there is a so-called “correct” path to revolution. The notes at the beginning (emphasis own) say:

問題不只是我把所謂的「順利革命」想像成大量武裝的群眾去跟剝削者打大戰打贏、把所謂「革命之後」的問題歸結為「誰才是真正的同志？」的回答、把「同志」想像為「真正理解因此有專有權守護解放原則的人」。問題也是我把革命想像成一種能完全能被繪製出來的計畫，把革命的失敗原因歸結為個人沒預料到的後果，再想說答案是在同志彼此鬥爭中找出管理基本是不確定性現實的「正確」方法。這種鬥爭不是為了革命的鬥爭，而是為了控制革命的鬥爭，為了創造、擴大和保護自己在革命運動中掌權地位的鬥爭。

The problem is not just that I imagined a so-called “successful revolution” as armed masses in great numbers going to war against their exploiters and winning, that I reduced the problems in the so-called “post-revolution” to the issue of “who's the true comrade?”, that I imagined “comrade” as “some who truly understands and therefore has the exclusive right to defend the principles of liberation.” The problem is also that I imagined revolution as a plan that could be perfectly plotted out, that I reduced the reason for any failed revolution to consequences that individuals failed to predict, and then surmised that the answer was to find the “correct” method for managing a fundamentally uncertain reality by struggling against your own comrades. This kind of struggle is not the struggle for revolution, but the struggle for controlling revolution, for creating, expanding, and protecting your position of power within the revolutionary movement.

在這個故事之中，原本是被困在宰制多重宇宙遊戲的非玩家角色的妖怪起義推翻上帝般的玩家，在先鋒血光俠的領導之下建立了自治的公社。後來的期數顯露其實「不是每個人都跑去當俠」、還有法西斯主義者躲在跟血光俠解除同盟的村子之中、俠有支持過監禁質、俠會故意製造創傷恐嚇未成年的見習生引發覺悟、他們沒有道德，尊敬的只有權力。

In this story, NPC goblins who were originally trapped in a game of multiversal domination rose up and overthrew their player, establishing autonomous communes under the leadership of the vanguard Blood Lanterns. Later issues revealed that actually, “[n]ot everyone wanted to be a Lantern,” there were still fascists hiding out in villages that were defederated from The Blood Lanterns, The Lanterns were carceral, The Lanterns would purposely traumatize minor-aged apprentices to trigger enlightenment, they had no morals and only respected power.

原型並不在故事中有主要的角色；反而他們是出現在期數的標題之中，暗示該如何理解那些期數。期數一，〈聖之論〉，敘述「一位革命家在公開呼籲處死㐌前法西斯主義者哥哥的惡果之下重新審議革命的意識。」所謂的革命者，疤茲英名，就是標題中的聖。㐌故意帶人齡十歲左右的見習生，卡拉，到她的第一個共識會議，也就是該不該處死㐌哥哥的會議，為了強迫她「學會當血光俠是多麼殘忍的任務。」

The archetypes don't play central roles in the story; instead they appear in the titles of issues, indicating how those issues should be interpreted. Issue 1, “The Discourse of the Saint,” narrates the tale of “[a] revolutionary reconsider[ing] what it means to have revolutionary consciousness under the fallout of publicly calling for their ex-fascist brother's execution.” The revolutionary in the description, Bazsim, is the titular Saint of the story. They purposely bring their apprentice Kara, who is roughly 10 in human years, to her first consensus meeting, which is a meeting on whether or not to execute their brother, to force her to “learn how cruel it is to be a Blood Lantern.”

這情節點的靈感來源於《V怪客》；此故事中 V 按照自己被法西斯政府逮捕的經驗設計了一個假的監牢來綁架和拷打艾薇，希望她通過同一樣的經驗再發現監牢是完全被設計出來的之後會明白成功反抗權威的必要和可能性。這種實踐是解性設計的基礎—我在 《NS 3416》的舊版中有說過：「遊戲就像監獄一樣。它試圖通過設計來規訓你。因此遊玩就是遊戲的逃逸線，而玩家是那道的追蹤者。」

This plot point was inspired by V for Vendetta, in which V uses his own experiences of being captured by the fascist government to design a false prison where he kidnaps and tortures Evey, hoping that once she has gone through the same experience and subsequently realized the prison is fake, she will understand both the necessity and possibility of successfully resisting authoritarianism. This kind of praxis was the bedrock of agonist design—in the old version of NS 3416, I had written: “A game is like a prison. It tries to discipline you by design. Thus play is a line of flight from the game, and the player the pursuer of that path.”

V 創造假監牢目的是什麼？是要讓艾薇了解世界一切的壓迫也都是人工設計所創造出來的，而不是必然發生的事態。要讓她了解自由不是什麼當權者給她的權利，而是自己拒絕放棄給當權者的權力。可是要拒絕壓迫的話也需要個譴責跟再生產壓迫有同謀關係的人的實踐。而那就是〈聖之論〉的中心問題。如何完全確定地運用譴責對方是革命的敵人的權力？如何保證革命只有完全是「正確」的敵人？

What was V trying to accomplish by creating the false prison? To get Evey to understand that all the oppression in the world was also created through artificial design, and not inevitability. To get her to understand freedom was not some right some authority gave to her, but the power she refused to give up to authority. But to refuse oppression also requires a praxis of condemning those who are complicit in reproducing it. And that is the central question in “The Discourse of The Saint.” How do you wield your power to condemn others as the enemies of revolution with absolute certainty? How do you ensure that the revolution only has enemies that are absolutely “correct?”

我們來看看故事中的典型敵人是誰。禍義而‧恩爪戈—因為在等級制度的血色譜中是最低該處死的突變顏色，成為惡狠的低血獵人，為血脈至上主義的藍血貴族親手執行大屠殺。禍義而原本沒有「突變」的血色；被 troll 艾特尼亞帝國的征服者用病毒強迫變成 troll 之前，妖怪有不同的血色但並沒有按照血色創造有等級制度的物質跟社會關係。相反，他們建立的是互助的關係。在艾特尼亞帝國把 troll 的血色譜帶過來之前，妖怪社會中沒有「突變血色」的種姓這回事。

Let's take a look at who the example enemy is in the story. Waryor Endrag—someone who, because of being the lowest mutant color condemned to death under the hierarchical hemospectrum, became a vicious lowblood hunter, personally carrying out genocide for the blood supremacist Bluebloods. Waryor didn't originally have a “mutant” blood color; before being forcibly transformed into trolls by a virus inflicted by The Conqueror from the troll Alternian Empire, goblins had different blood colors but didn't form hierarchical material and social relations based on them. Rather, they established a relationship of mutual aid. Prior to the introduction of the troll hemospectrum by the Alternian Empire, goblin society had no such thing as a “mutant blood color” caste.

禍義而被殖民和至上主義的「新血秩序」被確認為「突變顏色」的擁有者；他沒有必要接受這身份，沒有必要為了自己生存而變成屠殺別人的法西斯主義者。他一開始就有拒絕血脈至上主義的預示、他知道有其他生存的方式、積極反血脈至上主義的運動也在—但他仍然選擇認為是自己的血「拒絕換色」、仍然選擇壓迫，直到被血光俠逮捕強迫當他們「有用的屍體」。

Waryor was interpellated by the colonial and supremacist “new blood order” as one with “mutant color;” there was no imperative for him to accept this identity, no imperative for him to become a genocidal fascist for the sake of his own survival. He was prefigured to reject blood supremacy from the start, he knew there were other ways to live, there was an active anti-blood-supremacist movement—and yet he still chose to believe that it was his blood that “refused to change,” still chose to oppress, until he was captured by The Blood Lanterns and forced to serve as their “useful corpse.”

也責，其中一個被他殺死的人的母親，認為俠不該處死禍義而，反而用流放「讓他在無可挽回的情況之下活下去」，為了「以示我們對任何曾經選擇跟帝國站在同一邊的人什麼人情都不用欠。」相反，疤茲英名說：「 我想相信潛力。想相信每個選擇都是一瞬間，不算一條命。就算是那個人有重複選擇做出不可原諒的事。我想相信應該對每個人的改變潛力都欠一份信心。[...] 生命是每人都擁有的資格。我最關心的不是今天的最終判決，而是我們為了得到正義必要做出來的事。現在我做出自己的判斷。我要他去死。」

Ezelb, the mother of someone he killed, believes that The Lanterns shouldn't execute Waryor, but employ exile to “let him live with no redemption,” “[a]s an example that we owe nothing to anyone who ever made the choice to side with empire.” On the contrary, Baszim says: “I want to believe in potential. I want to believe every choice is a moment in life, and not a destiny. Even if the person has repeatedly made inexcusable choices. I want to believe we owe everyone faith in their potential to change. [...] Everyone deserves to live. What I am most concerned with is not today's final verdict, but what we must do for the sake of justice. I now cast my judgment. I want him to die.”

之前，我為正義做的定義是真的完成的革命和真的結束的壓迫。可是如果沒讀這文章的前一部分，只聽到疤茲英名的演講會得到同一樣的結論嗎？這就是疤茲英名給卡拉的方便測驗。可以從殺自己哥哥要導出正義嗎？可以在此中的暴力看到革命的存在嗎？

Previously, I defined justice as the true completion of revolution and true end of oppression. But if you hadn't read everything that came before in this essay, would you have come to the same conclusion from just hearing Bazsim's speech? This is the upayan test that Bazsim gives Kara. Can you derive justice from killing your brother? Can you see the revolution in that violence?

也責譴責疤茲英名的情緒恐怖主義也是一種壓迫，爭論沒有必要因為自己的經驗強迫別人從創傷導出對革命的致力。疤茲英名決定向卡拉道歉。卡拉一開始罵㐌是騙子，指責㐌不真的關心哥哥、不真的相信大家都有改變潛力、沒資格談正義。疤茲英名承認㐌其實是自己在決定什麼時候該放棄等待別人的改變，所以㐌的正義無法完美。雖然無法有完美的答案，也是不能避免決定和後果。只能按照希望來辦。

Ezelb condemns Bazsim's emotional terrorism as oppressive, arguing that there is no need to force others to derive commitment to revolution from trauma just because that's how it happened for them. Bazsim decides to apologize to Kara. Kara initially yells at Bazsim for being a fraud, not truly caring about their brother, not truly believing in everyone's potential to change, unqualified to speak on justice. Bazsim admits that the truth is that they actually decide when it is time to stop waiting for someone to change, and so their justice can't be perfect. But despite the inability to have perfect answers, it's impossible to avoid choice and consequence. You can only hope for the result to look like justice.

因此，《血光俠》的聖也就是願意為完美的追求而犧牲完美的權利革命者。Ta 跟陽邊相對的丑合成一體，融入丑的無知。與其知識，他們有的是信念—相信就算是得不到最真的正義，正義的追求還是有用。

Thus, the saint of Blood Lanterns is the revolutionary who is willing to sacrifice the claim to perfection for the sake of perfection's pursuit. They have become one with their yang counterpart of the fool, integrating the fool's lack of knowledge. Instead of knowledge, what they have is faith—faith in the value of pursuing justice even when the truest justice is impossible to attain.

另外跟原型有關的期數是期數四， 〈惡之論〉。它描寫兩個跟禍義而相遇的兄弟最後發生什麼樣的結局。故事中的惡不是禍義而，而是被禍義而殺死的銹血，也責的兒子，死後成為血光祖燀的人物。他被派去當靠，其中一個兄弟的師父。但討論他們之前，我們必須了解另外一個兄弟，諾，和期數一的聖，疤茲英名之間對暴力在革命中的角色的辯論。他們的辯論闡明惡的原型到底不是什麼。

The other issue connected to the archetypes is Issue 4, “The Discourse of the Scourge.” It's about the ultimate fate of two brothers who cross paths with Waryor. The scourge of the story is not Waryor but the rustblood he murdered, Ezelb's son, who became a Blood Ancestern after death. He is dispatched to mentor Kal, one of the two brothers. But before discussing them, we must understand the discourse on the role of violence in revolution between the other brother, Nok, and the saint from Issue 1, Bazsim. Their discourse illuminates what the archetype of the scourge is not.

禍義而為了報仇殺死靠跟諾的父親。因為他們村子跟禍義而聯盟處死父親，靠跟諾逃出去，但不同意該往哪裡逃。靠決定到卡拉的血光俠公社避難，諾決定自己去流浪。在流浪之中，諾趁機伏擊禍義而，同樣為了報仇把他殺死。殺完後，諾繼續走，因為找不到食物和避難所在地上昏倒，被血光俠弄跟疤茲英名拯救。

Waryor kills Kal and Nok's father for revenge. Because their village allied with Waryor to kill their father, Kal and Nok escape, but disagree on where to go. Kal decides to seek shelter with Kara's Blood Lantern commune, while Nok decides to wander off alone. While wandering, Nok takes an opportunity to ambush Waryor, killing him for revenge as well. Nok continues wandering and eventually collapses after not finding food and shelter, and is rescued by the Blood Lanterns Non and Bazsim.

當諾承認他殺死了疤茲英名的哥哥之後，疤茲英名第一個反應就是道歉，說：「他今天能給你造成問題，有一部分是因為我們把他處理得不好。解除你的痛苦是我們該負的責任。」諾感到極端的困感和訝異—他認為問題只不過是禍義而；殺了禍義而就是「解決了」問題，沒有什麼剩下該負責的事。但疤茲英名強調：「就是因為禍義而一部分的原因，我們才會發現你毫無拯救地在森林中一個人昏倒。推而廣之，也就是因為我們一部分的原因，現在的你才會是個流亡者。在最低限度，我們必須要幫助你得到生存需求需要的東西。」

When Nok confesses to killing Bazsim's brother, Bazsim's first reaction is to apologize, saying: “That he could cause problems for you today, was in part because we failed to properly handle him. Your suffering is something we must hold ourselves accountable for removing.” Nok is surprised and confused—he thinks the problem was just Waryor; just killing him “solved” it, and there was nothing left to be accountable for. But Bazsim emphasizes: “Waryor was part of the reason why we found you collapsed in the forest alone with no signs of rescue. And by extension, we're part of the reason why you're an EXILE now. As the bare minimum, we're obligated to help you get what you need for survival.”

在《降天下世》之中，四大原型是彼此在輪迴中的化身。一個解性者必須有能力扮演全四個角色，了解每四個角色對革命的用處，而不是見木不見林。惡不是認為革命只是除掉所有敵人的人。相反，惡深深理解處理敵人只是革命的一部分。

In Felling Heaven, Felling World, the four archetypes are reincarnations of each other. An agonist must have the ability to play all four roles and understand how each one is useful for revolution, instead of not seeing the forest for the trees. The scourge is not someone who just thinks revolution is killing all your enemies. Rather, the scourge deeply understands that dealing with your enemies is just one part of revolution.

祖燀跟靠的辯論關於敵視的解構。在一開始，祖燀要靠了解敵人權威主義實踐的特性。「要完整控制別人的話，該需要什麼？」靠回答：需要很多的威力。祖燀爭論，這威力的目標不是讓人家不敢抵抗，而是「讓他們的自我意識無法存在的威力。讓他們無法擁有不是被霸權者界定的自我意識，然後在違反界定的情況之下，無法避免自我意識的完整崩潰。」

The Ancestern and Kal's discourse is about deconstructing antagonism. At the beginning, The Ancestern wants Kal to reflect on the nature of the enemy's authoritarian praxis. “What do you think it takes to have complete control over someone?” Kal answers: lots of force. The Ancestern argues that the goal of this force is not to make someone feel too scared to fight back, but to “mak[e] it impossible for their sense of self to exist. That makes it impossible for them to possess any sense of self beyond the dominator's limits, and when they try to transgress those limits, makes it impossible for them to stop their sense of self from completely falling apart.”

在這一時刻，祖燀用血光的法力把自己裝扮成禍義而，說如果靠真的想當俠的話，他「必須先修改［他］的界定」，學習放棄過度的信任。說完後，他突然攻擊靠。就跟卡拉在會議中聽到疤茲英名要為了大家的生存處死自己的哥哥一樣，這種情緒恐怖主義實踐的教訓也對靠產生反效果。靠拒絕回擊或保護自己，抗議決鬥虛假的前提，說祖燀「不是［他］真正的敵人」。祖燀反駁真正的敵人不會給靠這種猶豫的機會，而且所謂的「同志」如果認為你的行為背叛了革命、解放、群眾、幹部、同志個人等等（這些也有可能都被他們混合成同一樣的東西），他們動不動就會以對待真正敵人的態度去處理你。

At this point, The Ancestern uses bloodlight magic to disguise himself as Waryor, telling Kal if he really wants to be a Lantern, he's “going to need to work on [his] limits” and learn to let go of excessive trust. After this, he suddenly attacks Kal. Just like with Kara hearing Bazsim justifying the execution of their brother for the sake of everyone else's survival, this praxis of discipline through emotional terrorism also backfires on Kal. He refuses to counterattack or defend himself, protesting against the false premise of the battle, saying that The Ancestern is “not [his] real enemy.” The Ancestern retorts that a real enemy wouldn't give Kal this kind of opportunity to hesitate, and that if so-called “comrades” believed that your conduct betrayed the revolution, liberation, the masses, the cadre, individual comrades themselves, etc. (and sometimes these would all be conflated as the same thing), they would deal with you like a real enemy at the drop of a hat.

祖燀說測驗的目的不是看靠的決鬥能力，而是「明白當同志的意義。」一個同志必須有能力處理壓迫性、反動份子和追逐私利的敵視，並且在過程之中不要讓自己的自我意識崩潰。同時，一個同志也必須在敵視對方的時候避免要求對方的自我意識為 ta 或 ta 事業崩潰。靠該有的反應是什麼？當然是好鬥地還擊，而不是窩囊地像自由主義者一樣請求和平談判。

The Ancestern says the goal of the test wasn't to see how well Kal could fight, but to “understand what it means to be a comrade.” A comrade must have the ability to deal with oppressive, reactionary, and self-serving antagonisms without letting their sense of self fall apart. At the same time, a comrade must be able to antagonize without demanding that other people's sense of self fall apart for them or their cause. What should Kal's reaction have been? To fight back militantly, instead of pathetically begging for peace talks like a liberal.

但靠不願意放棄需要大家同意什麼是對和錯的夢。他認為有真的是對和真的是錯的原因敵視對方，問題只不過是把真實搞懂。對他來說，這就是正義：真正「錯誤的改正」，按照自己有道德的標準來辦。

But Kal refuses to let go of his dream of everybody agreeing on what is right and wrong. He believes there are truly right and truly wrong reasons to antagonize someone, and the problem is only figuring out the truth. To him, this is justice: truly “righting wrongs” according to one's own moral standards.

但對祖燀來說，道德的標準其實是從壓迫者導出來自我規定的限制。要有大家該順從的道德規範，需要大家把自治力交給那規範的界定者，聽從那些界定者對使用自治力的「標準」方法的威權。因為這理想的道德規範是普遍的，這些界定者永遠不能錯。「永遠不能錯」的位置也就是權威主義者佔用的位置。

But to The Ancestern, moral standards are actually self-imposed limits derived from the oppressor. To have a moral code that everyone must follow requires people to give up their autonomy to the delimiters of that code, deferring to their authority on what the “proper” use of autonomy is. Because this ideal moral code is universal, these delimiters can never be wrong. And the position of “never being wrong” is exactly the position that authoritarians occupy.

靠問：那如果你認為別人是在無理地敵視你的話，是不是在跟壓迫者做同一樣的事？祖燀說必須接受這樣的可能性。不，靠說，必須要有一方的敵視在道德方面算正確的。不然為了什麼戰爭？

Kal asks: then if you're convinced that someone else has no good reason to antagonize you, are you acting like an oppressor? The Ancestern says you have to accept that possibility. No, says Kal, somebody's antagonism has to be morally correct. Otherwise what are you fighting for?

你可以為了從剝削者奪回權力而鬥爭，但不必把這個鬥爭變成道德優勢的證明。你可以認為世界不該有壓迫，但不需要證明自己的看法是對的。除了按照自己的看法行動，祖燀什麼都不保證。「正義，」他說，「跟對和錯，是我們管大家去死來決定的東西。」革命發展到哪時候才算完畢、壓迫消失哪個地步才算結束，一切都是我們決定。鬥爭的結果就是我們唯一對和錯的證明，而這對和錯不是按照什麼個人理想判斷的，而是按照被創造跟被計劃的結果的差別來辦。

You can struggle to seize back power from your exploiters without turning it into a struggle to prove your moral superiority. You can believe that the world should not have oppression without proving that your belief is correct. Besides moving according to his beliefs, The Ancestern promises nothing. “Justice,” he says, “like right and wrong, is whatever the hell we want it to be.” When the revolution has gone far enough to end and when oppression has vanished enough to be over is entirely our decision to make. The results of struggle are our only proof of correctness, which is not determined according to personal ideals, but to the discrepancy between the results that were created versus the results that were planned.

在這時候，靠不再考慮祖燀的話，說他是個認為強權就是真理不為人知的權威主義者，在向世界投射思維。對他來說，祖燀的想法是基雅維利主義的—你必須要有真理，不然你唯一有的是強權。但是惡就是認為不需要真理實現革命。如果人家認為你的革命完全不合理、認為你的革命只不過是恐怖分子邪教使用的賊般強權，那你就必須當他們的敵人。革命者的確是「註定是犧牲」的人—註定接受這種敵視。因此，依我之前說過的話：解性派是想結束英雄的人、結束當好人的實踐。

At this point in time, Kal has dismissed The Ancestern as a closeted authoritarian who is projecting his view of might makes right onto the world. To him, The Ancestern's views are Machiavellian—you must have right, otherwise you only have might. But the scourge is convinced you don't need right to realize revolution. If others believe you have no good reason for revolution, that your revolution is merely the thuggish might of a terrorist cult, then you must be their enemy. The revolutionary is indeed a doomed man—doomed to be regarded as an enemy like this. Hence, as I've said before: agonists are those who seek to end heroes, end the praxis of being good guys.

在文章的開頭，我說目的是探索自己對革命者的看法被景觀化的發展。最後，我不確定這樣的景觀化到底能不能避免。在《血光俠》的最後一段，我發覺虛構永遠只能是現實的景觀，因為作者完全控制虛構世界中的人物和現實狀況。因此虛構世界永遠不能代表現實，只能代表作者對現實的看法和希望。

At the start of this essay, I said the goal was to explore how my own perspective on revolutionaries became spectaclized. In the end, I'm uncertain whether the spectaclization is unavoidable. In the last section of “Blood Lanterns,” I realized fiction could only ever be a spectacle of reality, because the author completely controlled the characters and conditions of reality in the fictional world. Therefore the fictional world could never represent reality, only how the author perceived it and wanted it to be.

主觀的現實感知對我來說也是一樣。我的現實感知不是實際現實的代表，而是不能跟我對現實的希望分開。在童年中我感知到的虐待對我的虐待者來說只是正常的養育。我希望擺脫他們的控制；他們希望我繼續被他們控制。為什麼我沒有跟我秘密法西斯主義者的弟弟變得一模一樣，跟他們站在同一邊？為什麼我們從同樣的創傷導出相反的結論？因為他跟禍義而‧恩爪戈一樣存心做了要支持壓迫的選擇。而當他做了這選擇之後，一切的權力動態就消失，滅絕在自然秩序。他感受到的不是虐待，而是父母因為關心做的事。那就是他實際上的現實。我無法同意。

Subjective perception of reality to me is very much the same. My perception was not a representation of how reality was, but inseparable from how I wanted reality to be. The abuse I perceived in childhood was just normal parenting to my abusers. I wanted to be free from their control; they wanted me to remain under it. Why didn't I turn out like my cryptofascist brother who sided with them? Why did we derive the opposite conclusions from the same trauma? Because like Waryor Endrag he consciously made the choice to support oppression. And once he did, all power dynamics disappeared, vanishing into natural order. What he experienced wasn't abuse, but what our parents did out of care. That was reality as it was for him. I couldn't agree.

我無法同意。這消不掉的拒絕就是「自我」。一個粗糙的實體，我是從這個「自我」導出關於解放的一切。四大解性遊原型也就是我如何拒絕的模式。我不希望假裝這樣個人的拒絕是跟革命性的抵抗一樣。但我也無法假裝我對革命性抵抗的看法不是從個人拒絕開始的。但除了相信客觀現實的存在和認為自己的主觀是集體感知那現實能力的污染，誰會覺得這是問題？

I couldn't agree. This unvanishing refusal was “self.” A crude entity, this “self” was the source from which I derived everything to do with liberation. The four agonist archetypes are also how I refuse. I will not pretend that this personal refusal is the same as revolutionary resistance. But I also cannot pretend that my perspective on revolutionary resistance does not start from personal refusal. But besides people who believe in objective reality and also believe that their subjectivity has contaminated the collective's ability to perceive it, who would think that this is a problem?

反正我就是會。根據定義，完美完全不可能有問題—它是好到沒人會拒絕的東西。所以它的追求也是不可能有問題；問題是追求的方式。我不想放棄我的完美主義。讓我一切的政治思想向它的傾向發展。只是我自己註定的命。尼采說殺死上帝，隨心所欲。我對你說：忘了我存在之後，去攻擊。

In any case, I do. By definition, perfection is completely unproblematic—it's something that's so good, no one would refuse it. So by extension, pursuing it is also unproblematic; the problem is the method of pursuit. I have no intention of giving up my perfectionism. Let all my political thought develop in its direction. It's only my life to doom. Nietzsche said kill God and do what you will. I say to you, forget that I exist, and attack.

附言 Postscript

(2025-01-31 23:54:53)

「我們並不討厭職權，只是討厭那些沒有資格但還去使用職權的人。」

—國民暴風主義協調組織，Velkan Corvinus 譯，〈無治法西斯主義宣言〉

“We do not hate authority, but those who exercise it without being worthy of it.”

—National Tempestist Coordination, translated by Velkan Corvinus, “The Anarcho-Fascist Manifesto”

「雖然我是無治者，我不是反權威主義者。其實是相反：我需要職權，雖然我不相信它的存在。」

—恩斯特·榮格，《尤姆斯維爾》

“Although I am an anarch, I am not anti-authoritarian. Quite the opposite: I need authority, although I do not believe in it.”

—Ernst Jünger, Eumeswil

「我們不應該推翻我們置身其中的例外狀態，而是利用它們來反抗權力本身。」

—隱形委員會，鄧逸晴 譯，《致我們的朋友》

“The state of exception in which we are living shouldn’t be denounced, it should be turned back against power itself.”

—The Invisible Committee, To Our Friends

「因為最後，對隱形委員會來說，一切都能被簡化成看法和理解方法的小問題。」

—匿名，〈致顧客〉

“Because, ultimately, according to the Invisible Committee itself, everything is reduced to being a mere question of perception and sensibility.”

—Anonymous, “To the Customers”

在這篇文章的結尾，我完全缺乏自我意識地問：為什麼我沒有跟我秘密法西斯主義者的弟弟變得一模一樣，強迫自己改變我的看法，跟我們的虐待者們站在同一邊？過了快半年後，我發覺其實跟他沒差兩樣，只是傾向不同而已：不是古典法西斯主義，而是融合左右翼第三位置主義風格的無治法西斯主義。我是剛才在研究國家工團主義的時候發現無治法西斯主義的存在，但越讀越發先自己在這個文章寫的內容太像是來自無治法西斯主義的同路人，認為有必要馬上補個附言做正式的自我批評。

At the end of this essay, I asked with a complete lack of self-awareness: why didn't I turn out like my cryptofascist brother and force myself to change my perspective in order to side with our abusers? After nearly half an year, I've realized I actually did, just under a different tendency: not classical fascism, but the politically syncretic Third Positionist anarcho-fascism. I only discovered the existence of anarcho-fascism while researching national syndicalism just now, but the more I read about it the more I realized the things I had written in this essay sounded too much like it was coming from a fellow traveler of anarcho-fascists, and felt that it was necessary to immediately add a post-script with formal self-crit.

無治法西斯主義不只是一種。在這個附言之中，我只會注意跟解性主義和這個文章有相同的部分。附言開頭的第一個引文來自暴風主義派，他們跟隱形委員會的召喚主義的雄辯很像。雙方都支持一種任何人都能加入的去集中化的革命上層先鋒和為奪取權力而完全不擇手段的實踐。「任何行動，不管多麼矛盾，在暴風主義之中都算是合理。」隱形委員會同意：「我們有絕對自由的空間去做決定，發展策略，如果這些都是對於處境的認真回應的話。」我說：有正當理由使用「情緒恐怖主義」來規訓有革命潛力的人接受最真正義的覺悟，也就是大家—而「正義，跟對和錯，是我們管大家去死來決定的東西。」一切支持最真正義、完全的革命、壓迫完全的結束、革命涅槃的最真同志就是組成我「有機和自然共同體」的非國家民族、我「想像的政黨」的「勇敢散漫軍人」。

There's more than one type of anarcho-fascism. In this post-script, I will only be focusing on the parts that are similar to agonism and my essay. The first quote at the start of this post-script comes from the Tempestists, whose rhetoric is very close to that of the appelist Invisible Committee. Both support a decentralized revolutionary elite vanguard that anybody can join and a praxis of pure Machiavellianism. “Any action, however contradictory it may be, makes sense within Tempestism.” “We have an absolutely clear field for any decision, any initiative, as long as they’re linked to a careful reading of the situation,” agree the Invisible Committee. I said it's justified to use “emotional terrorism” to discipline anyone with revolutionary potential, which is everyone, into accepting the enlightenment of The Truest Justice—and that “Justice, like right and wrong, is whatever the hell we want it to be.” The Truest Comrades who supported The Truest Justice, The Perfectly Complete Revolution, The Perfect End of Oppression, and Revolutionary Nirvana were the “brave undisciplined soldiers” who formed my “organic and natural community” of the stateless nation, my “imaginary party.”

因此「決鬥」是解性遊的中心。在解性遊的「決鬥」之中，玩家們形成一個本體論的鬥陣俱樂部，之中我們互相要求彼此盡全力打我們，為了引起暴風主義的「上級自由」和「上級風紀」，為了創造完美的無治者。「這些革命的精英將會在鬥爭、在改造存在的長征之中被鍛鍊出來。」「這純粹、原始的男子氣概只能在壓力之下被發展。它只能從混亂之中崛起，作為對外力的反應。從那點它將會變成熟，經過時間的塑造，變成名譽文化，而那個文化—那個給一個民族特性的集體歷史和習俗的組合—就是偉大傳統的來源。我認為男子和男子氣概所有該保留的好處都是在介於武士幫的純淨和複雜商人文化被寵壞、暗算他人的墮落之間的最佳點之中得到興旺。」

Which is why “decisive struggle,” drawn from the Mandarin word for combat, lies at the center of agonist play. In the “decisive struggle” of agonist play, players form an ontological Fight Club, where we mutually demand that we hit each other as hard as we can, to induce the Tempestist “superior freedom” and “superior discipline,” to create perfect Anarchs. “This revolutionary elite will be forged in the struggle, in the long march towards the renovation of the being.” “This pure, primal manliness can only be realized under stress. It can only rise out of chaos, as a reaction to external forces. From there it matures, shaped by time, into an honor culture, and from that culture–that combination of collective history and custom that characterize the identity of a people–comes Tradition. Everything I recognize as good and worth saving about men and masculinity thrives in this cultural sweet spot between the purity of the warrior-gang and the spoiled, conniving depravity of complex merchant-based cultures.”

剛才那是無治法西斯主義者 Jack Donovan 說的話。的確，解性主義從來都沒有明確地論證解放是完全該屬於男人的領域。但把上面引文的「男子」改成「革命」（或「無治者」）的話就完全沒差別。解性主義認為革命的精神只能在壓力之下被發展。它只能從混亂之中崛起，作為對外力的反應。從那點它將會變成熟，經過時間的塑造，變成名譽文化，而那個文化—那個給一個民族特性的集體歷史和習俗的組合—就是偉大傳統的來源。解性主義認為革命和革命精神所有該保留的好處都是在介於武士幫的純淨和複雜商人文化被寵壞、暗算他人的墮落之間的最佳點之中得到興旺。

That was from anarcho-fascist Jack Donovan. True, agonism never explicitly argues that liberation should completely be the province of men. But if you change “man” in the above quote to “revolution” (or “Anarch”) then the discrepancy disappears. Agonism believes the revolutionary spirit can only be realized under stress. It can only rise out of chaos, as a reaction to external forces. From there it matures, shaped by time, into an honor culture, and from that culture–that combination of collective history and custom that characterize the identity of a people–comes Tradition. Everything agonism recognizes as good and worth saving about revolution and the revolutionary spirit thrives in this cultural sweet spot between the purity of the warrior-gang and the spoiled, conniving depravity of complex merchant-based cultures.

回到暴風主義派的宣言，解性主義「妄想和堅決的職權堅持」來自這需要拯救革命（精神）的願望。解性主義希望能創造能結束一切革命的偉大革命，能擺脫一切職權的權力。而那就是先鋒化、景觀化和極權主義化的起點。跟恩斯特·榮格說得一樣，我不是真正的反威權主義者，「不是反權威主義者。其實是相反：〔他們〕需要職權，雖然〔他們〕不相信它的存在。」解性主義要對現實有最後的決定權，因此過分地尋找「最真」、最有資格繼承革命、「最上層貴族」的同志和革命實踐。

To go back to manifesto of the Tempestists, agonism's “delusional and determined assertion of authority” comes from this desire to save the revolution(ary spirit). Agonism wants to create The Revolution that will end all revolutions, the power to end all Power. And that's where the vanguardization, spectaclization, and totalitarianization start. Just as Ernst Jünger says, the agonists “[are] not anti-authoritarian. Quite the opposite: [they] need authority, although [they] do not believe in it.” Agonism wants the last word on reality, hence the obsessive search for the “truest” comrades and revolutionary praxis, the ones who most deserve to inherit revolution, the “most high aristocracy.”

解性主義、無治法西斯主義、召喚主義以及諸如此類的傾向希望異軌的是職權的本身。「因為最後」，來使用隱形委員會的匿名批評者的話來說，「一切都能被簡化成看法和理解方法的小問題。」在這篇文章的第一部分，我承認自己的認識論唯我論。我說：

What agonism, anarcho-fascism, appelism and their ilk hope to détourn is authority itself. “Because, ultimately,” to quote an anonymous critic of the Invisible Committee, “everything is reduced to being a mere question of perception and sensibility.” In the first part of this essay, I confessed to my own epistemological solipsism. I said:

「我無法完全確定所謂『實際上的現實』的存在；我唯一有的是透過主觀感知的中介創造的實際現實景觀。主觀的存在就是問題。主觀的存在破壞得到完全確定的能力。主觀的存在註定你無法真的是對或真的是錯—你對當革命者或是正義—真的完成的革命和真的結束的壓迫，無法做任何真實的斷言。唯一有的是判斷的權力和無法避免被人家判斷的可能性。」

I have no absolute certainty that so-called 'reality as it is' exists; I only have the spectacle of 'reality as it is' constructed through the mediation of subjective perception. The subjectivity is the problem. Subjectivity destroys the ability to reach absolute certainty. Subjectivity dooms you to never be truly right or wrong—you cannot make any true claims about being a revolutionary, or about justice—the true completion of revolution and true end of oppression. You only have the power to judge and the unavoidable possibility of being judged.

前提不同但是跟隱形委員會一樣的問題。匿名批評者說：「到了此刻讀者感到興奮和滿足和做任何事情的自由」，一切的行動都能使用革命的名義。給自己一點讚揚，與其跟無治法西斯主義者和召喚者一樣地慶祝這狀態，我辯證的反應是對一切疑神疑鬼。沒錯，我們有能以革命的名義解釋任何行動的自由，但我們有資格使用我們的自由嗎？我一直重複說：有時候你就是敵人。我活在一種侵入性最後通牒的自我暴政之下：證明你有資格使用自己的自由、證明你有革命的精神、證明你不是敵人，不然你必須把自己除掉。

Different premises but the same problem as that of the Invisible Committee. As the anonymous critic says: “at that point the readers feel stirred up and gratified and free to do anything whatever” in the name of revolution. To give myself credit, instead of celebrating this state like the anarcho-fascists and appelists, I argue for reacting with total paranoia. True, we have the freedom to justify any action in the name of revolution, but do we deserve to use it? I keep repeating that sometimes you are the enemy. I live under the self-tyranny of an intrusive ultimatum: prove you deserve to use your freedom, prove you have a revolutionary spirit, prove you are not the enemy, or take yourself out.

但「敵人」的定義到底是什麼？最保守的定義：敵人是該被除掉的威脅。我認為跟法西斯主義有太多雷同的定義：敵人是該被除死的人、敵人是沒有革命精神的人、敵人是沒有資格使用自由的人。意味是必須要靠某種集中或是去集中化的革命權威人士來做出這些判斷。如果你認為問題出在「敵人」這分類的存在—如果你認為我們該沒有「敵人」的定義、認為不管怎麼樣，大家都該算是可能的同志，那麼恭喜，你是召喚主義的同路人。我還是認為大家有革命的潛力，我只是不認為可能成為革命者的潛力該比真正製造出來的結果更重要。我們不是佛陀，我們無法在神話時空之內花個十百千萬年等待一個靈魂的改變。

But how is “the enemy” being defined? The most conservative definition: an enemy is a threat to be taken out. Definitions I think that have too much affinity with fascism: an enemy is someone who deserves to die, an enemy is someone who has no revolutionary spirit, an enemy is someone who does not deserve to use their freedom. The implication is that we can rely on some centralized or decentralized revolutionary authority to make these judgments. If you think the problem comes from the category of “enemy” existing—if you think we should have no definition of “enemy,” if you think that no matter what, everyone should be considered potential comrades, then congratulations, you're a fellow traveler of appelism. I still think that everyone has revolutionary potential, I just don't think that the potential of becoming revolutionary should outweigh actually produced results. We are not the Buddha, we do not have the ability to spend several tens or hundreds or thousands of years waiting for one soul to change in mythical spacetime.

在物質世界之中生存無法逃避的條件可能是唯一能使用來判斷敵人的非秘密法西斯主義標準。我不認為自然狀態是全對全戰。我認為法西斯主義者和其他的壓迫者是故意宣戰的幫派，而我們必須好好搞清楚誰在使用暴力和誰在使用反暴力。敵人是威脅生命的實體。除非你認為某些人沒有資格生活，要求自己的生存不可能算是威權主義的要求。能算是威權主義的只有在暴力之下要求別人的死亡。在反暴力的自衛情況之下要求別人的死亡不算。除非「一切都能被簡化成看法和理解方法的小問題。」除非你認為自己或許是該死的傢伙。

Perhaps the unavoidable conditions of material survival are the only uncryptofascist standards by which we can use to determine the enemy. I do not believe the state of nature is a war of all against all. I believe that fascists and other oppressors deliberately make war, and we must be clear on who is using violence and who is using counterviolence. The enemy is that which threatens life. Unless you believe some people don't deserve to live, it is not authoritarian for people to want to live. The only thing that qualifies as authoritarian is demanding the death of others through violence. It doesn't count when the demand of death occurs in a situation of self-defense against violence. Unless “everything is reduced to being a mere question of perception and sensibility.” Unless you think maybe you do deserve to die.

但我就是有這個懷疑。我認為我沒有資格活下去，但我還是有活下去的能力和願望。我認為我是革命的騙子、認為自己沒有資格去作出實現革命的實踐，因為我永遠不會得到偉大革命的批准、因為偉大革命是個先鋒主義的無根據觀念，但是我還是去做。我認為我沒有資格擁有自治力因為不管我多麼對自己疑神疑鬼，狂熱地追求完全的謹慎，我還是在再生產壓迫。我覺得堅持讓自己保持自治力，因為我也有做出讓壓迫無法運行的事、因為我寫了一大堆像者種附言的自我批評文章，因為我可以改變，只是在做自我安慰—說難聽一點，是在幫自己找藉口，甚至在幫跟我的思想有雷同的無治法西斯主義、召喚主義等等的傾向找藉口。

But that is what I think. I think I don't deserve to live, but I still have the ability and desire to continue living. I think I'm a revolutionary fraud, and that I don't deserve to carry out praxis that realizes revolution, because I will never get approval from The Revolution, because The Revolution is a vanguardist myth, but I still do it anyway. I think I don't deserve autonomy because no matter how paranoid I am against myself, no matter how fanatically I pursue complete scrupulosity, I am still reproducing oppression. I feel like insisting that I keep my autonomy, because I've also done things to render oppression inoperable, because I've written so many self-crit essays like this one, because I can change, is just a move to comfort myself—to be meaner, a way of making excuses for myself, of even making excuses for anarcho-fascism, appelism and other tendencies that my work has had affinity with.

所以我不會在這裡做藉口。解性主義和這篇文章有無治法西斯主義和召喚主義的辯護。我認為自己因為這件事應該被取消。我認為如果自己知道自己是垃圾，就該把自己倒出去，而不是把最先嗆聲的責人推給別人。秘密法西斯主義完全沒有理由出現在一個自稱是「解放派」份子的實踐之中。我就是敵人。我不知道問責在這情況之下會有什麼樣的面貌。

So let me not make excuses. Agonism and this essay have anarcho-fascist and appelist apologia. I think I should be cancelled for this. I think that if you know you're trash, you should take yourself out, and not make it other people's responsibility to call you out first. There is no excuse for cryptofascism to show up anywhere in a self-proclaimed “liberationist's” praxis. I am the enemy. I don't know what accountability in this situation would look like.

最近我讀了 Phil A. Neel 跟 Nick Chavez 寫的〈森林和工廠：共產的科學與幻想〉；此中他們批評一種對想像未來烏托邦似的傾向。因為它拒絕考慮現存的物質限制，這烏托邦似的傾向不只失敗脫離資本主義的現狀，反而導致了現狀的接受和延續。在剩下的文章之間，他們試圖認真考慮那些物質限制，包括基本生活需要的工業基礎建設以及維修那基礎建設的需要，探索共產的世界到底需要什麼樣的生產系統改變。他們的評論完全轉換了我對 TRPG 設計的處理方式，尤其是關於裝備單跟世界設定背景的用處。

Recently I finished reading “Forest and Factory: The Science and the Fiction of Communism” by Phil A. Neel and Nick Chavez, in which they criticize a utopian tendency towards imagining the future. Because it refuses to consider existent material limits, this utopian tendency not only fails to break away from the capitalist status quo, but leads to the status quo's acceptance and continuation. In the rest of the essay, they attempt to seriously consider those material limits, including the industrial infrastructure needed for basic life needs and the needs to maintain that infrastructure, exploring how systems of production need to change in a communist world. Their observations completely transformed my approach towards TRPG design, particularly with regards to the usefulness of equipment lists and setting lore.

至今，我是完全拒絕在自己設計中利用裝備單或超越最低限度的世界設定背景，因為我在自己的跑團經驗中學到玩家就是不想管那些事。玩家寧願臨時想要有什麼就擲個骰子或花個點數去取，寧願完全按照自己的希望臆造世界。除了自己想像力的限制，玩家什麼限制都不想有—不想有物質限制、不想有歷史限制、不想有社會限制、什麼都不想有。換言之，玩家就是烏托邦似的—我也是。因為遊戲世界中的現實就是我們完全能控制的領域。在遊戲的現實之中，我們就是完全不必需要管真正世界會需要我們管的限制，因為我們可以直接用想像力廢除那些限制。在遊戲的現實之中，什麼願望決都能實現。烏托邦不是「沒有的地方」，而是「除了我們沒有任何人控制的地方」。

Until today, I was completely against using equipment lists or setting lore beyond the minimum amount, because my experience in running games taught me that players just don't want to care about those things. Players wanted to just roll some dice or spend some points to get something whenever they needed it in the moment, to construct the world completely according to their own wishes. Besides the limits of their own imaginations, players wanted to have no limits at all—no material limits, no historical limits, no social limits, nothing. In other words, players were utopian—and I was too. Because the reality of the game world was completely under our control. In the reality of a game, we didn't need to consider any limits we'd have to consider in the real world, because we could just immediately abolish those limits with our imagination. In the reality of a game, all wishes could come true. Utopia wasn't “no place,” but “nobody's place but ours.”

正如我在〈映像之龍〉中做的評論，這種烏托邦的存在需要遊戲團在政治方面的同質。這是個保守的同質，為了保存團內人的政治理解問題化任何對那些想法的激進或革命性挑戰。沒錯，什麼願望決都能實現，只要是剩下團內的人能接受你的願望。沒錯，什麼限制都能廢除，只要是你認為該廢除或不廢除的東西跟其他人一模一樣。

As I observed in “The Dragon in the Mirror,” this kind of utopia required the political homogeneity of the playgroup in order to exist. This is a conservative homogeneity that, for the sake of conserving the political understanding of people within the group, problematizes any radical or revolutionary challenges to those ways of thought. That's right, all wishes could come true, as long as your wish was accepted by the rest of the group. That's right, all limits could be abolished, as long as the things you wanted or didn't want to be abolished were the same as that of everyone else.

對烏托邦似的玩家來說，一切妨礙自我表現，從個人情緒到政治看法，都是該廢除的限制。遊戲的正文是個限制。GM 是個限制。其他的玩家也是限制。或許烏托邦似的遊戲設計師就是試圖為了一切的廢除鋪平場地的人，包括自己的廢除。可是這種一切的廢除不是共產對現存狀況的廢除，因為它跟為了結束資本主義異化的現實共產運動並沒有關係。相反，這只是個人或少數人為了自己娛樂的主觀主義行動。它和資本系統的無干涉主義更有雷同。

To the utopian player, all that stands in the way of self-expression, from personal feelings to political views, are limits that should be abolished. The game's text is a limit. The GM is a limit. Other players are also limits. Perhaps a utopian game designer is one who sets the stage for the abolition of everything, including the abolition of themselves. But this abolition is not communism's abolition of the current state of things, because it has nothing to do with a real communist movement to end capitalist alienation. On the contrary, it's the subjectivist endeavor of one person or a few for personal entertainment. It has more affinity with capitalist laissez-faireism.

那麼，把烏托邦派在遊戲中對現實的廢除改變成共產現實運動對現存狀況的廢除倒底需要什麼？我們必須重新評估彼此廢除限制的目的，按照更嚴謹的政治標準來做出決定。直接想像出反資本主義的世界是不夠的事。我們必須在遊戲的細節之中搞清楚虛構跟現實世界的物質生產差別如何能導致我們想像出來的反資本主義社會。我們必須把這些差別的設計視為攻擊現存狀況的機會，暴露實現共產的可能性的機會。

So what would it take to transform the utopians' abolition of reality in games to the communist real movement's abolition of the current state of things? We must reevaluate the purpose behind each other's abolition of limits, and make decisions according to more rigorous political standards. It is not enough to simply imagine anticapitalist worlds. We must make it clear in the details of the game how differences between material production in the fictional versus real world can lead to the anticapitalist societies we've imagined. We must see the design of these differences as an opportunity to attack the current state of things, an opportunity to expose the possibility of communism being realized.

從這個角度來看，裝備單跟世界設定背景變成革命性的武器。他們不再是純粹妨礙反抗現狀的限制，而是透過玩家角色的工具跟虛構的歷史了解一個遊戲世界中物質跟社會再生產的圖例。正如 Iggy 所寫的話：「所有的工具在生產的起點都有預期的用途。所有的工具被用在世界之中的時候都有被實現的用途。所有的工具都會影響我們如何跟世界建立關係，就算是效果不大。無法把一個工具跟它產生的關係分開，也沒有『中立』的關係這回事。」在裝備單上的每一個物品不只代表遊戲角色跟遊戲世界的一種關係，也同時代表遊戲設計師希望產生的玩家跟遊戲關係。世界設定背景通常會更詳細地解釋這些關係的特性和發展，提供豐富的異軌資料。

From this angle, equipment lists and setting lore become revolutionary weapons. They are no longer purely limits that obstruct rebellion against reality, but keys to understanding a game world's material and social reproductions through the player characters' tools and fictional history. As Iggy writes: “All tools have some intended use at the point of their production. All tools have realized uses once they are employed in the world. All tools affect the ways we relate to the world around us, even if their effects are small. There is no separating a tool from the relations it engenders, and there is no such thing as a 'neutral' relation.” Every item on an equipment list not only represents a relation between an in-game character and the in-game world, but also the relation that the game designer hopes to engender between the player and the game. Setting lore often elaborates on the nature and development of these relations in greater detail, providing rich material for détournement.

最後，我想提出一些協助為了廢除現存狀況的遊戲分析、遊玩與設計的問題。這些問題的目的是闡釋遊戲的「基礎」（設計、虛構世界的物質生產系統）如何影響「上層建築」（遊玩風格、虛構角色的社會關係）。

In closing, I'd like to suggest a couple questions to aid in the analysis, playing, and design of games for the purpose of abolishing the current state of things. The purpose of these questions to clarify how the game's “base” (design, systems of material production in the fictional world) impacts the “superstructure” (playing style, social relations among fictional characters).

• 哪些資源最重要（描述更多、種類更多、在背景或機構中有特別的角色）？哪些最不重要？這對玩家角色跟遊戲世界的關係有什麼樣的意味？那種關係又對遊戲世界在社會和經濟方面的組織方式有什麼樣的意味？對玩家該如何使用遊戲的意味？玩這個遊戲時會在現實中再生產什麼樣的社會關係？

• What resources are most important in the game (more description, more varieties, special roles in lore or mechanics)? The least important? What does this imply about the relationship between the player character and the game's world? What does that relationship imply about how the game's world is socially and economically organized? About how the player should be using the game? What social relations are reproduced when the game is played?

• 玩家角色如何獲取生存需要的資源？那些資源跟獲取方式跟非玩家角色的差別多大？有某些非玩家角色的情況比其他人的更好嗎？為什麼？這對遊戲世界在社會和經濟方面的組織方式有什麼樣的意味？玩這個遊戲時會在現實中再生產什麼樣的社會關係？

• How are resources the player character needs for survival sourced in the game? How different are those resources and the sourcing process from that of non-player characters? Do some non-player characters have it easier than others? Why? What does that imply about how the game's world is socially and economically organized? What social relations are reproduced when the game is played?

• 角色在遊戲中能使用的物品是如何被生產的？那生產系統是如何地被維修或持續？玩家角色跟那生產系統有什麼樣的關係？非玩家角色呢？有沒有誰剝削或是被剝削？這對遊戲世界在社會和經濟方面的組織方式有什麼樣的意味？玩這個遊戲時會在現實中再生產什麼樣的社會關係？

• How are items usable by characters in the game produced? How is that system of production maintained or perpetuated? What is the relationship of player characters to that system of production? Of non-player characters? Is there anyone who expropriates or is expropriated? What does that imply about how the game's world is socially and economically organized? What social relations are reproduced when the game is played?

• 遊戲中有錢這回事嗎？有的話，你會如何廢除（在虛構世界中有什麼物質和社會關係需要改變，而且你會如何想像這些改變的發展）？

• Does money exist in the game? If it does, how would you abolish it (what material and social relations in the fictional world would need to change, and how would you imagine those changes developing)?

這遊戲的靈感來源是我在象站上看到的 Dungeons 機器人帳號，它利用投票的方式來進行隨機創造的冒險。我看到其中一個在冒險開始的投票可以投「退休」，覺得如果大家一起在每個冒險開始的時候都投「退休」會很好笑，而且因為阻止了冒險同時也能讓每個冒險家完全避免死亡。因此我被《躺平與地下城》這點子引誘，雖然那不是我想為遊戲取的名字。

The inspiration for this game came from a bot account I saw on Mastodon called Dungeons, which used polls to advance randomly generated adventures. When I saw that you could vote to “retire” at the start of an adventure, I thought that it would be funny if everyone banded together to vote “retire” at the start of every adventure, and also let every adventurer completely avoid death by preventing adventure in the first place. So I was hooked by the idea of doing a game of Dungeons & Dropouts, although that wasn't what I wanted to name the game.

《歸真之旅》這遊戲名是《歸家之旅》的異軌，該烏托邦似的遊戲描述在擺脫暴力的戰後世界中的共同旅行。相反，《歸真之旅》是個反烏托邦似的遊戲，描述在資本主義和殖民主義製造的世界之中無法逃離的暴力和異化。《歸家之旅》是創造共同體的遊戲。《歸真之旅》是創造階級意識的遊戲。共產，依 prole.info 的辯論，其實需要克服共同體的鬥爭—需要克服分開或否認無產階級的資產階級共同體。《歸真之旅》是個除了在廢除被剝奪財產階級之中創造的共同體之外，什麼共同體都不承認的遊戲。此外，《歸真之旅》疑問在時空被工作和國界殖民化的世界裡為什麼要把共同旅行作為烏托邦。在遷移本質上就是被殖民力生產的情況之下，為何把暴力的擺脫處於移動的自由？

The title of Wanderhell is a détournement of Wanderhome, which is a utopian game about communal journeys in a post-war world free from violence. In contrast, Wanderhell is a dystopian game about the inescapability from violence and alienation in a world created by capitalism and colonialism. Wanderhome is a game of creating community. Wanderhell is a game of creating class consciousness. Communism, prole.info argues, actually requires a struggle of overcoming community—the bourgeois community that divides or denies the proletarian class. Wanderhell is a game that refuses to recognize any community except the community created by abolishing the dispossessed class. In addition, Wanderhell questions the utopianism of communal journeys in a world of time and space colonized by work and borders. When migration is inherently produced by colonial forces, why locate freedom from violence in freedom of mobility?

因此，移動的自由在《歸真之旅》之中具有暴力的功能。你扮演的是聲名狼藉的遊盪怪獸，就是在傳統 TRPG 中冒險家隨機能碰到的怪獸。在遊戲設計方面，遊蕩怪獸的目的通常就是要讓玩家感覺到冒險自然的危險，或是讓隨機的骰數創造新奇的遊戲狀況。總之，怪獸遊蕩的原因就是為了遊戲團扮演的冒險家的獨佔利益。

Hence, freedom of mobility in Wanderhell serves a violent function. You play as an infamous wandering monster, a monster that adventurers randomly encounter in traditional TRPGs. In terms of game design, the purpose of wandering monsters is often to let players feel the danger of adventuring in a natural way, or to let the randomness of dice create new and interesting game conditions. In short, the monster only wanders for the exclusive benefit of the adventurers played by the group.

這獨佔利益體現於《歸真之旅》地下城的經濟功能。你扮演的遊盪怪獸是黑耀公司的僱工；黑耀是我在《下世萬敵》之中創造的人類殖民地開拓者的重生點。黑耀公司創造的地下城不只是你的工作地，也是人類的殖民地—而且這次被殖民的不一定是非人的怪獸，可能是通過非人化被視為是怪獸的人。地下城是某個被指定剝削的地區—地下城化也就是與工業化和無產階級化相似。在地下城的怪獸就是為了玩家、冒險家、至上主義種族及帝國的獨佔利益而多層被剝奪財產的人。

This exclusive benefit is embodied in the economic function of dungeons in Wanderhell. You play as a wandering monster who is the employee of the Blackbright Company; Blackbright is the spawn point for human colonizers I created in Future Only Enemies. The dungeon created by Blackbright Company is not only your worksite, but a site of human colonization—and this time the colonized may not necessarily be nonhuman monsters, but humans regarded as monsters through dehumanization. A dungeon is an area designated for exploitation—dungeonization is meant to parallel industrialization and proletarianization. A monster in a dungeon is one who is multiply dispossessed for the exclusive benefit of players, adventurers, supremacist races, and empire.

《歸真之旅》之中的遊蕩不是在體現移動的自由，而是在體現這些宰制與剝削造成的移動強迫。遊蕩這行業處於的零工經濟以自由移動的幻想為前提。就跟 Uber 一樣，黑耀吹捧控制自己為工作在時空移動的自由，把自由定義為自我管理的殖民化。在你遊蕩的每一階段，你意識到這宣傳的真面目、意識到靠工作生存的意義—就是必須再生產殖民化才能繼續活下去。在這個系統當中，任何關於工作自由的選擇—無論是工作時間、地點或職業—都只是剝削方式的選擇，都是暴力的自由。

Wandering in Wanderhell does not embody freedom of mobility, but the mobility forced by these dominations and exploitations. The industry of wandering is situated in a gig economy premised on the illusion of free mobility. Just like Uber, Blackbright touts your freedom to control your movement through time and space for work, defining freedom as self-managed colonization. At every stage of wandering, you realize the true nature of this propaganda, realize the meaning of relying on work to survive—it is being required to reproduce colonization in order to continue to survive. In this system, any choice regarding the freedom of work—whether it's in time, place, or profession—is only a choice in method of exploitation, is only a violent freedom.

《歸真之旅》的目的不是要單獨挑出《歸家之旅》來做批評，反而是要批評《歸家之旅》體現的一種逃避現實的烏托邦主義。我知道《歸家之旅》的設計家不是什麼沒體驗過資本主義壓迫的人，知道那設計家其實有當過無房可歸的人、知道設計家是有受到順性別加異性戀主義以及能者宰制壓迫的酷兒殘疾人。我也知道很多跟那設計家一樣被剝削的人是真的能在現實中的逃避找到痛苦解脫的感覺。但我就是不能。對我來說，唯一的解脫就是破壞和重新創造社會。對我來說，《歸家之旅》對社會的破壞實在是不夠。它本來就不是要這麼做。但《歸真之旅》就是。我也是。

The purpose of Wanderhell isn't to single out Wanderhome for criticism, but to criticize a certain type of utopianism embodied by Wanderhome. I know the designer of Wanderhome isn't somebody who has never experienced the oppression of capitalism, know that that designer has been unhoused, know that that designer is a queer disabled person who has been oppressed by cisheterosexism and ableism. I also know that many others exploited like that designer truly do find a sense of relief from suffering through escape from reality. But I can't. To me, the only relief comes from destroying and making society anew. Wanderhome does not destroy enough of society for me. It wasn't meant to. But Wanderhell was. And I am.

延伸閱讀 Further Reading

• 〈躺平主义者宣言〉“The Tangpingist Manifesto”
• 〈解放人民，而不是領土：採訪烏克蘭流亡者〉 “Liberating people, not territories: Interview with a Ukrainian exile
• 〈這位特立獨行的送貨員希望您擺脫這些應用程式〉 “This Maverick Delivery Person Wants You to Break Free of the Apps”
• 〈女人為了逃避付出雙倍的代價〉“When someone can no longer go forward, you carry them.” (Original title: “Women pay double for fleeing”)