異軌與地下城 Dungeons & Détournement

#ZS 1: Impermanism at Wit's End

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，請按貼文標題中的主題標籤。

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 in the post title.

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.

(這裡免費取 get for free here)

《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:

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.

(這裡免費取 get for free here)

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：
  • 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:
  • 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.

啊！姑娘再見 (2024) 設計的異軌 A détournement by Bella Ciao (2024)

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.

(這裡免費取 get for free here)

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.

“I Now Cast My Judgment:” Analyzing The Four Agonist Archetypes – Postscript

「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.

#ZS 2: What Do the Slimes Want?

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，請按貼文標題中的主題標籤。

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 in the post title.

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.