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The Legend of Sword and Fairy
速度一【字数：331】
The Legend of Sword and Fairy is an action RPG developed by Taiwan's Softstar Entertainment. Set in ancient China, the game is based on the Wuxia genre with elements of fantasy. With the first of the series released in 1995, the game became one of the most successful video game franchises in both Taiwan and mainland China.
There are many subtle differences between the numerous versions of the game. The plot provided in this section is based on the video game versions for Windows 95 and 98.
The protagonist, Li Xiaoyao, is an ordinary 19-year-old boy who lives in a small fishing village near Suzhou, China. During a quest to seek a cure for his ill aunt, he travels to a strange island out at sea, where he meets a fairy named Zhao Ling'er. He is forced to marry her and remain on the island forever, but manages to escape home with the cure for his aunt. However, he loses memory of his adventure on the island and does not remember Zhao when he meets her again. This time, Zhao's home has been destroyed by some enemies and Li decides to accompany her to southwestern China to find her mother, who may still be alive.
Li and Zhao arrive in Suzhou and meet Lin Yueru, the spoiled daughter of a wealthy martial artist. Unexpectedly, Li emerges as champion in a martial arts contest and wins Lin's hand-in-marriage. Li and Lin are engaged but Zhao disappears mysteriously on their wedding night and they set of to find her. Their search brings them to Sichuan, where the Mount Shu Sect, a powerful martial arts clan, is based. They learn that Zhao is actually a half-serpent spirit and has been imprisoned inside the Demon Prison Tower by the sect's elders. Li and Lin break into the tower and succeed in rescuing Zhao after making a perilous descent to its lowest level, but suffer grave injuries when the tower collapses on itself during their escape.
速度二【字数：337】
The trio are saved by a herbal medicine guru, who tells Li that Zhao is pregnant with his child, and that Lin has died from her wounds. Li is deeply saddened but he has a more important task to do, which is, to retrieve two rare items to save Zhao and his baby's lives. During his quest, he meets and befriends A'nu, a white Miao princess. They are currently in southwestern China, where the Miao people live. The land is plagued by a prolonged drought and the white and black Miao are at war over scarce resources. Li completes his mission and Zhao recovers, after which she calls for a rainstorm and restores peace to the land. They discover that the drought is orchestrated by an evil black Miao cleric. Li, Zhao and A'nu confront him and manage to defeat him after a battle, but Zhao sacrifices herself to destroy a monster summoned by the cleric.
Li is traumatized by the loss of his two close friends, who are also his love interests. He bids A'nu farewell and walks away alone. Just then, he sees Lin, carrying his child. Lin's reappearance at the end of the game is often disputed, but the official story released by the producers claim that Lin is indeed dead and cannot be resurrected. However, her body may be brought back to life, but she will never be the same as before because her soul is dead.
The player guides the characters through southern China in landscapes consisting of cities, mazes, and wilderness. The game has no overland map; entry points to subsequent locations can always be found on the current location's screen. The story is mostly linear. Once the player completes the quest associated with a particular location, there is usually no reason to return (In most cases, return is impossible, as either the entrance is destroyed or you travel to the new location via a game mechanic). Hidden items and quests are available, but they do not affect the story's progression.
速度三【字数：327】
When the characters engage in combat, they are taken to a separate combat screen. Battles are purely turn based. Certain ability scores of the combatants determine which party acts first, and then actions alternate between the player characters and the enemies. The actions taken during battles mainly consist of normal attacks and casting spells. The players may also defend, throw and use items, and steal from the enemies. Once the appropriate equipment is obtained, the player may also capture monsters to later turn them into beneficial items. The magic system contains the five elements of wind, lightning, ice, fire, and earth, which form the descriptors for the offensive spells, each type able to counter another. There are also spells of no elemental type, such as Li's Wanjian Jue (incantation of ten thousand swords).
The player's equipment is primarily upgraded through treasures gained in mazes and acquisition from shops. Defeating monsters usually make negligible contributions to the player's inventory, but it is the primary source of money. Healing and combat support items can be made from captured monsters as well as bought. The player can also make poison-based weapons using certain types of venomous insects as raw material.
The Legend of Sword and Fairy is developed by the Kuangtu production team of Softstar Entertainment Ltd. with concept work beginning as early as 1991. The group consisted at that time approximately 12 members, some being very young with little experience in game design. The Legend of Sword and Fairy was their first major RPG project. The production manager was Yao Zhuangxian, who was 22 years old at the time. The game's music was composed by Lin Kunxin, whose most memorable titles include The Butterfly's Love, Martial Arts Contest for Marriage, and Drunken Sword Master. Lin Jiawen, a graphics artist on the team, was the major contributor to character portraits and animation. She also enthusiastically participated in the designing of the mazes, but her expertise in that area was limited.
速度四【字数：282】
Yao faced some turmoil in his love life during the game design process. This influenced him to integrate his own views of love into the game. Yao said, the three female protagonists are based on reality; Zhao Ling'er is like a girlfriend; Lin Yueru is like a lover and A'Nu is like a mate. At some point, there arose a dispute regarding to the fate of two of the female characters in the end. In the finished game, this matter was intentionally made ambiguous where Lin is shown standing under a tree in the ending cinematics even though she is supposedly dead. Yao commented that he invested a great deal of feeling into the story, and the unclear ending was meant to leave events open to the players' imagination. In the years that followed the game's release in 1995, Yao did not wish to openly address questions regarding the game’s ending. (There was an anecdote about the ending: Yao was in favor of Zhao while another producer Xie Chonghui inclined towards Lin. In Yao's blueprint of the whole game, the ending is that Lin's body is intact but her soul is destroyed while Zhao's body has disappeared but her soul exists. However, Xie disagreed with this setting. Eventually, this setting was broke by some final changes and the next version that indicated Lin's body was preserved by a special type of insect.
The Legend of Sword and Fairy is praised to be the pioneer of Chinese RPG. It has deeply affected a whole generation of Chinese, and established a particular Chinese style of story-telling and maze-running RPG. Many Chinese consider it to be one of the most classical RPG games ever made.
速度五【字数：288】
In the first month following the game's release in Taiwan, The Legend of Sword and Fairy sold over 100,000 copies. Sales reached 350,000 copies in mainland China a month after the game's release there. The game's sales totaled about two million copies, but as many as 20 million copies may be in circulation due to piracy.
The Legend of Sword and Fairy won numerous awards. The game was recognized in 1995 by the Best Role Playing Game award from CEM STAR magazine and the Golden Bag Game award from KING TITLE. The Legend of Sword and Fairy was also on the top of the Best PC Game List of the New Gaming Era magazine until October 1996, for 14 consecutive months; and topped the "My Favorite Singleplayer PC Game" list in the Pop Software magazine for ten years.
The Legend of Sword and Fairy is best characterized as a very memorable tragedy. Its plot, especially the ending, has moved many players to tears. Zhao Ling'er's death and the question of whether or not Lin Yueru was successfully resurrected have fuelled an abundance of forum discussions and fan fiction. Yao Zhuangxian became reputed as the "Father of Xianjian", and many players reverently refer to him as "Immortal Yao".
Due to popular demand, the Kuangtu production team released New Legend of Sword and Fairy in 2001. Minor changes were made to the storyline; and the graphics was greatly improved using better technology (new visual effcts, reproduced music, some additional storyline details, etc.). The most significant and most requested addition was two new hidden endings. The game's success eventually led to the creation of the subsequent titles in The Legend of Sword and Fairy series, even somewhat against Yao's wishes.
越障
Thus Spoke Zarathustra
Thus Spoke Zarathustra: A Book for All and None (also translated as "Thus Spoke Tharathustra"; German: Also sprach Zarathustra: Ein Buch für Alle und Keinen) is a philosophical novel by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the Übermensch, which were first introduced in The Gay Science.
Described by Nietzsche himself as "the deepest ever written," the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized prophet descending from his mountain retreat to mankind, Zarathustra.
Zarathustra has a simple characterisation and plot, narrated sporadically throughout the text. It possesses a unique experimental style, one that is, for instance, evident in newly invented "dithyrambs" narrated or sung by Zarathustra. Likewise, the separate Dithyrambs of Dionysus was written in autumn 1888, and printed with the full volume in 1892, as the corollaries of Zarathustra's "abundance".
Some speculate that Nietzsche intended to write about final acts of creation and destruction brought about by Zarathustra. However, the book lacks a finale to match that description; its actual ending focuses more on Zarathustra recognizing that his legacy is beginning to perpetuate, and consequently choosing to leave the higher men to their own devices in carrying his legacy forth.
Zarathustra also contains the famous dictum "God is dead", which had appeared earlier in The Gay Science. In his autobiographical work Ecce Homo, Nietzsche states that the book's underlying concept is discussed within "the penultimate section of the fourth book" of The Gay Science (Ecce Homo, Kaufmann). It is the eternal recurrence of the same events.
This concept first occurred to Nietzsche while he was walking in Switzerland through the woods along the lake of Silvaplana (close to Surlej); he was inspired by the sight of a gigantic, towering, pyramidal rock. Before Zarathustra, Nietzsche had mentioned the concept in the fourth book of The Gay Science (e.g., sect. 341); this was the first public proclamation of the notion by him. Apart from its salient presence in Zarathustra, it is also echoed throughout Nietzsche's work. At any rate, it is by Zarathustra's transfiguration that he embraces eternity, that he at last ascertains "the supreme will to power". This inspiration finds its expression with Zarathustra's roundelay, featured twice in the book, once near the story's close:
O man, take care!
What does the deep midnight declare?
"I was asleep—
From a deep dream I woke and swear:—
The world is deep,
Deeper than day had been aware.
Deep is its woe—
Joy—deeper yet than agony:
Woe implores: Go!
But all joy wants eternity—
Wants deep, wants deep eternity."
Another singular feature of Zarathustra, first presented in the prologue, is the designation of human beings as a transition between apes and the "Übermensch" (in English, either the "overman" or "superman"; or, superhuman or overhuman. English translators Thomas Common and R. J. Hollingdale use superman, while Kaufmann uses overman, and Parkes uses overhuman. Martin has opted to leave the nearly universally understood term as Übermensch in his new translation). The Übermensch is one of the many interconnecting, interdependent themes of the story, and is represented through several different metaphors. Examples include: the lightning that is portended by the silence and raindrops of a travelling storm cloud; or the sun's rise and culmination at its midday zenith; or a man traversing a rope stationed above an abyss, moving away from his uncultivated animality and towards the Übermensch.
The symbol of the Übermensch also alludes to Nietzsche's notions of "self-mastery", "self-cultivation", "self-direction", and "self-overcoming". Expounding these concepts, Zarathustra declares:
"I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?
"All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood and even go back to the beasts rather than overcome man? What is the ape to man? A laughingstock or a painful embarrassment. And man shall be just that for the overman: a laughingstock or a painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape.
"Whoever is the wisest among you is also a mere conflict and cross between plant and ghost. But do I bid you become ghosts or plants?
"Behold, I teach you the overman! The overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth! I beseech you, my brothers, remain faithful to the earth, and do not believe those who speak to you of otherworldly hopes! Poison-mixers are they, whether they know it or not. Despisers of life are they, decaying and poisoned themselves, of whom the earth is weary: so let them go!"
— Thus Spoke Zarathustra, Prologue, §3, trans. Walter Kaufmann
The book embodies a number of innovative poetical and rhetorical methods of expression. It serves as a parallel and supplement to the various philosophical ideas present in Nietzsche's body of work. He has, however, said that "among my writings my Zarathustra stands to my mind by itself".
Since, as stated, many of the book's ideas are also present in his other works, Zarathustra is seen to have served as a precursor to his later philosophical thought. With the book, Nietzsche embraced a distinct aesthetic assiduity. He later reformulated many of his ideas, in his book Beyond Good and Evil and various other writings that he composed thereafter. He continued to emphasize his philosophical concerns; generally, his intention was to show an alternative to repressive moral codes and to avert "nihilism" in all of its varied forms.
Themes
Nietzsche injects myriad ideas into the book, but there are a few recurring themes. The overman (Übermensch), a self-mastered individual who has achieved his full power, is an almost omnipresent idea in Thus Spoke Zarathustra. Man as a race is merely a bridge between animals and the overman. Nietzsche also makes a point that the overman is not an end result for a person, but more the journey toward self-mastery.
The eternal recurrence, found elsewhere in Nietzsche's writing, is also mentioned. The eternal recurrence is the idea that all events that have happened will happen again, infinitely many times. Such a reality can serve as the litmus test for an overman. Faced with the knowledge that he would repeat every action that he has taken, an overman would be elated as he has no regrets and loves life.
The will to power is the fundamental component of human nature. Everything we do is an expression of the will to power. The will to power is a psychological analysis of all human action and is accentuated by self-overcoming and self-enhancement. Contrasted with living for procreation, pleasure, or happiness, the will to power is the summary of all man's struggle against his surrounding environment as well as his reason for living in it.
The book in several passages expresses loathing for sentiments of human pity, compassion, indulgence and mercy towards a victim, which are regarded as the greatest sin and most insidious danger. Part of Nietzsche's reactionary thought is also that the creature he most sincerely loathes is the spirit of revolution, and its hatred for the anarchist and rebel.
Many criticisms of Christianity can be found in Thus Spoke Zarathustra, in particular Christian values of good and evil and its belief in an afterlife. Nietzsche sees the complacency of Christian values as fetters to the achievement of overman as well as on the human spirit.
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发表于 2012-1-28 00:32:08
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楼主
希望不要太难啊~ 昨天睡晚了, 现在还迷迷糊糊的...
发表于 2012-1-28 10:02:04