逾越於亂倫邊際，耽溺於世界邊陲：初探兩則女性電玩小說

Overstepping the Bounds of Incest Prohibition, Indulging in the Marginal World: A Study of Video Game Fictions by Female Writers on Campus

本文討論兩則校園文學獎獲獎之電玩小說，旨在思考新的類型文學現象，及科技影響文學的例證。一是2003年嘉義大學文學獎佳作周倩如〈戲紅妝〉；二是2008年臺南成功大學鳳凰樹文學獎佳作吳思穎〈潮水〉。二文與經典電玩小說〈降生十二星座〉不同的是均出自女性寫手，小說主人翁也為女性。文中描述的電玩遊戲是角色扮演、尋寶冒險，恰正是現實生活女性玩家最喜歡的電玩類型。二文亦是創作者涉獵電玩遊戲後，吸納電玩元素為文學題材，使用不同電玩型態，鞏固文中女主角被現實世界否定的禁忌。這種禁忌包括亂倫想像與感官枝節化，創作心理產生對應日常理性、機械化、單調乏味生活的特殊反應。

Jiang Sheng Shih Er Xing Zuo (Born into One of the Twelve Star Signs) by LuoYijun is widely known in Taiwan as a classic work of video game fiction, relating the story of a young school dropout who plays a lot of violent video games.This work, written by a male writer, inspired the current study into video game fictions written by female authors and with female characters as the protagonists. This paper examines two such works: Xi Hung Zuang (Playing with Red-clad Lady) by Chou Qian-Ru, which won a literary award at National Chiayi University in 2003, and Chao Shui (Tides) by Wu Si-Ying, which won a Phoenix literary award at National Cheng Kung University in 2008. The video games described in their texts involve role plays and treasure hunts, which are the kind of games that women tend to favor. Both works draw on the culture of video games when presenting various taboo acts of the female characters, such as imagining incest and various sexual scenes, in a way that is counter to the rational, mechanical and monotonous reality of life. This paper figuratively considers that the writers of video game fiction are involved in two kinds of games in the writing process, exercising their writing abilities to create narratives in one, while also fighting in avirtual world in the other.