失落的天堂（2025）
基于网页的叙事游戏
项目
个人
使用的工具
HTML/CSS、node.js、midjourney、Photoshop、After Effects、Premiere Pro
请打开声音观看，以获得最佳体验。:)
灵感
2022年夏天，我读了林怡涵根据自身经历创作的小说《方思琪的初恋天堂》 。林怡涵在2017年出版这本书三个月后自杀身亡，她的文字至今仍令我难以释怀。
Fang Si-chi, a 13-year-old girl with a love for literature, is indoctrinated by her teacher Li Guo-hua's sexual abuse for 5 years. She struggles to live by believing that his abuse was love. Eventually, she suffers a mental breakdown and escapes into hallucinations, all of which are revealed in the diary of her good friend Yi Ting.
书籍概述
人物与情节
象征性暴力
《方思琪的初恋天堂》这个标题用“初恋”和“天堂”等词汇掩盖了暴力，用浪漫和纯真的语言包装了胁迫行为。这反映了皮埃尔·布迪厄所说的“象征性暴力”，即在文化的合法化力量下，伤害被错误地视为爱。
结构隐喻
小说的目录分为三部分，构成了一个结构隐喻：“天堂”、“失去的天堂”和“重获的天堂”。
天堂
开篇章节《乐园》描绘的并非方的世界，而是她“精神孪生”刘亦婷的世界，刘亦婷摆脱了李的控制。在此语境下，“乐园”成为方本应拥有的纯真快乐的青春的隐喻。
失落的天堂
In the Bible, Adam and Eve lose Eden after eating the forbidden fruit as the result of their own choice and sin. “The Lost Paradise” mirrors this “fall,” and Fang Si-Chi is cast as Eve, but with a crucial reversal: Fang Si-Chi does not choose to “eat the fruit.” She is coerced into the fall by her teacher’s abuse. Her “loss” is loss of autonomous self.
重获的天堂
The final section turns to Xu Yi-wen, a young woman who survived domestic violence, is depicted as a metaphorical rebirth of Fang Si-Chi. “The regained Paradise” embodied Fang’s yearning for survival and self-determination, reclaiming autonomy after violence.
案例研究
台湾——小说家林怡涵出道数月后去世
2017
Literary world in shock as Lin Yi-han committed suicide months after releasing Fang Si-Chi’s First Love Paradise. Her family revealed she had suffered abuse by a teacher during adolescence.
中国北京——北京电影学院的指控在网上被压制
2017
2017年6月，一位名叫“阿廖沙”的北京电影学院前学生发表了一封公开信，指控一位教授的亲属性侵了她。此事在网上引发了激烈的讨论，但公众的声音很快被压制：无法联系到作者，相关讨论也被从热门话题列表中删除。
USA - The Larry Nassar Case
2018
前美国体操协会和密歇根州立大学队医拉里·纳萨尔因数十年来以医疗为幌子虐待年轻运动员而被判处40至175年监禁。超过150名幸存者出庭作证，其中包括奥运冠军。
以上案例具有以下共同特征：
利用教育或专业权力进行长期性虐待
受害者大多是未成年人或行业新人。
制度上的容忍还是掩盖
研究
游戏设计
设计目标
揭示了围绕性教育的沉默和权力不平等如何损害未成年人的安全和受害者的心理健康，从而培养了人们的意识、同理心和反思。
概念
The project is designed into an interactive form spanning 7 days, each corresponding to a year in Fang Si-Chi’s life. Players observe from a detached, god-like perspective. Each day begins with dressing the protagonist and continues through a map of her footprints. Interactions with personal objects unveil dialogues and recollections that piece together her story. To avoid consuming or exploiting her suffering, the design deliberately excludes explicit depictions of violence. Instead, events are conveyed through conversational implication.
角色设计
场景设计
游戏流程
编码
