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Cyberpunk 2077: You Have My Word

為了解決Cyberpunk movie的問題，作者Sztybor, Bartosz 這樣論述：

Bartosz Sztybor was born in the summer of 1984 in Warsaw, Poland. He is a writer of both comic books and movie scripts, a scriptwriter of TV shows and documentaries, and an author of children’s books. He has written dozens of comic books and graphic novels in Poland, including the series for teens N

iezla draka, Drapak! with art by Tomasz Kaczkowski; the award-winning autobiographical graphic novel Come Back to Me Again, with art by Wojciech Stefaniec, and a few works without words illustrated by Piotr Nowacki (Tainted, It’s Not About That and Options). His short comics and strips have been pub

lished in almost every comic book magazine and most major newspapers in Poland. He has won many awards for his comics and his movies at various festivals all around the world (including best writer awards in Brazil, Spain and Poland). His movies have been shown, and his books published, in many othe

r countries. He debuted in the United States in 2010 with a few short comics published in the comics publication Zombie Terror, and in 2016, he published his first story in France, Unlucky, with art by Ivan Shavrin (published in Doggybags vol. 10).

Cyberpunk movie進入發燒排行的影片

A Qualitative Study of Video Game Trailer and User’s Purchase Intention

為了解決Cyberpunk movie的問題，作者曾家祥 這樣論述：

The exponential rise of video game industry has thrived into a multibillion-dollar industry due to its record as one of the fastest growing industry in the world. In order to enhance the growth of the video game industry, trailer is used as an advertising tool. This study aims to analyze the major

factors in creating an effective video game trailer that affects user’s purchase intention. To gather qualitative information, this research used in-depth interview technique where the participants are considered as experts in PC gaming. Grounded theory is adopted in this study to explore the experi

ence of pc gamer. There are five pc gamers interviewed in two genres of video game, RPG and FPS. Eight categories emerged from the data, which are understand the story, understand the mechanic, impressed by the aesthetic, perceived quality in technology, good impressions, brand familiarity, perceive

d value and perceived risk. The result of this study reveals that in order to create an effective video game trailer, both of the cinematic trailer and gameplay trailer must showcase all of the video game elements in order to leave a deep impression over its viewers to create the ultimate intents to

purchase.

Cyberpunk 2077: Big City Dreams

為了解決Cyberpunk movie的問題，作者Sztybor, Bartosz 這樣論述：

Bartosz Sztybor was born in the summer of 1984 in Warsaw, Poland. He is a writer of both comic books and movie scripts, a scriptwriter of TV shows and documentaries, and an author of children’s books. He has written dozens of comic books and graphic novels in Poland, including the series for teens N

iezla draka, Drapak! with art by Tomasz Kaczkowski; the award-winning autobiographical graphic novel Come Back to Me Again, with art by Wojciech Stefaniec, and a few works without words illustrated by Piotr Nowacki (Tainted, It’s Not About That and Options). His short comics and strips have been pub

lished in almost every comic book magazine and most major newspapers in Poland. He has won many awards for his comics and his movies at various festivals all around the world (including best writer awards in Brazil, Spain and Poland). His movies have been shown, and his books published, in many othe

r countries. He debuted in the United States in 2010 with a few short comics published in the comics publication Zombie Terror, and in 2016, he published his first story in France, Unlucky, with art by Ivan Shavrin (published in Doggybags vol. 10).

押井守《攻殼機動隊》中的東亞文化想像

為了解決Cyberpunk movie的問題，作者黃彥方 這樣論述：

本文討論1995年押井守導演的科幻動畫電影《攻殼機動隊》，分析這部片的東亞文化想像。《攻殼》以香港為背景，表演出城市新舊並立與資訊繁雜的景象，然則這樣看似混雜的香港演出，實際上是藉貶低他者以彰顯自身優越性的手法。這是「東方化」的手段，藉香港的陳舊與雜亂對比日本的現代與進步，而在細節上《攻殼》怎麼表現香港，為什麼要這麼表現，它真正關注的文化是什麼，以及真正的香港是什麼，這些問題是本文欲處理的對象。 本文從電影《銀翼殺手》談起，《攻殼》導演押井守曾明言電影裡的城市參考了《銀翼殺手》的洛杉磯城，該城也成為科幻作品cyberpunk（賽博龐克）類型中的經典。文章從電影室內外空間塑造的文化區隔，分析

當年美國因日本經濟與文化上的挑戰，藉區分彼此凸顯美國文化上的地位。《攻殼機動隊》則複製了《銀翼殺手》的手法，以城市新舊兩側區隔出日本與香港，然而在這座城市中日本站上管理者的位置，以日本的聲音為香港發聲。美國和日本為何區隔它者，又是怎樣的歷史因素讓它們選擇這樣的方式演出。 從導演的言論與他的作品，可以更清楚看到《攻殼》慾望的日本，也就是押井守版本「大東亞共榮圈」的全貌，這和日本人對國家的期望相似，但也有所差異。導演如何受時代影響，並以此創作出怎樣的作品。而在此之下，「香港」本身又是什麼模樣？文章接下來回到香港本身，試著從歷史分析1990年代的香港人關心的事務。《攻殼》以扁平化的方式演出香港，本

文則試圖讓扁平的香港立體化，以此關注香港「真實的」樣貌。值得注意的是論文全文站在台灣的視角，從台灣的立場出發，談的雖然是日本、美國與香港，實際上是台灣的筆者如何看《攻殼》大日本主義下的歧視、日本超越美國的慾望，以及想像香港如何面對中國。香港自有它複雜的歷史脈絡，本文單單從台灣的視角，想像香港人受歷史影響下在意的事務。 如果香港在片中是無聲的，那這部片所發聲的是誰以及是什麼？文章最後論述《攻殼》在文化上關注的對象，如同導演參考了美國電影，《攻殼》所在乎的也只有美國。文章從電影裡三個美國角色：外務大臣的翻譯官、威利斯博士以及反派傀儡師，分析電影中的美日關係。這部片是站在日本的視角，從日本的角度思

索著美國。影片裡展現的是日本戰後以來趕上甚至超越美國的慾望，然而面對國力不足以及經濟泡沫化後一蹶不振的現實，又必須承認日本不如美國。這樣對美國兩面的想像在素子與傀儡師的融合得到方法，以美國的技術與日本結合，成為超越現有國家的存在。