《蝶影》杂志特刊：托蝶幻境千年十佳 Butterfly Shadow's Special Issue: The Ten Best Butterfly Immersias of the Millennium

《蝶影》是仙舟联盟最具权威性的托蝶幻境专门刊物。这是一期特刊，盘点了在托蝶幻境一千年的发展史中，最为优秀的十部作品。 A special issue of Butterfly Shadow, the most authoritative publication in the Butterfly Fantasy industry of the Xianzhou Alliance. It lists

第十名 《袍哥》 No. 10: Robe Brethren

随着仙舟联盟与世界的接触越来越频繁，托蝶幻境这项仙舟独有的艺术类型也越来越为人所知。本期，《蝶影》邀请了三十位幻戏业的资深从业者，由他们票选出托蝶幻境在这一千年间的十部最佳作品，以飨读者。

With the increase in contact between the Xianzhou Alliance and other worlds, the unique art form of Butterfly Immersia was popularized to the masses. In this issue, Butterfly Shadow invited thirty veterans of the craft to vote for the top ten best Butterfly Immersia works within the last millennium to pamper our readers.

无论您来自仙舟联盟还是来自其他的世界，我们都衷心恳求您去欣赏以下十部作品。它们是仙舟当代文艺的结晶，也是一部伟大且辽阔的仙舟精神史。

It matters not if you are from the Xianzhou Alliance or if you hail from a world beyond, we hope you would enjoy the following works. They are the zeitgeist of contemporary Xianzhou art and a great reflection of the Xianzhou's spiritual history.

《蝶影》编辑部

Editor of Butterfly Shadow

第十名 《袍哥》

No. 10: Robe Brethren

导演：万伊

Director: Wan Yi

编剧：纪蓉

Script: Ji Rong

啷个不晓得你生意做得好，家里弟娃些也有出息，不需要我这种哥老官。现在你家幺妹儿叫街娃儿给打咯，你不晓得啷个办，才想起来找我。我啷个晓得自己做了啥子事，让你嫩个没有礼貌，甚至不肯喊我一声「袍哥」。

Everyone knows your business is doing well. Your younger brothers are all successful, and you don't need an older brother like me anymore. Only now, after your little sister got beaten up by street thugs, that you thought about me. You don't know what else you can do. How would I know what I did to offend you? You don't even think to call me "Robe Brethren."

这部幻戏将时代背景设置在三劫时代末期的曜青仙舟，以朱明狐人昱星为主视点，讲述他如何加入了曜青最大的哥老会，并最终以外乡人的身份成为了一代传奇袍哥。万伊是最早一批将托蝶幻境送进艺术殿堂的大师。他在这部作品首次运用了「共情矩阵」技术，使体验者的体感时间大幅度延长，令托蝶幻境正式进入了长篇时代。

This piece is set on the Xianzhou Yaoqing at the end of the Three Sufferings Era. Taking the perspective of a Zhuming foxian man, the piece recounts the story of how he joined the largest Brotherhood in the Yaoqing and became its legendary ringleader as a Yaoqing non-native. The eminent Mr. Wan Yi is one of the first creators who managed to put the art of Butterfly Immersia on the map of artistic appreciation. He pioneered the technology of the Empathy Matrix in this piece, significantly slowing the subjective perceptions of time for experiencers, thus launching Butterfly Immersias into an age of long stories.

在三劫时代，仙舟世界的社会秩序趋于崩溃，有组织的犯罪团伙迅速填补了社会秩序的缺失，变得空前繁盛，建立起了属于自己的地下王国。这些犯罪团伙被统称为「哥老会」，首脑则被称为「袍哥」。

During the Three Sufferings Era, the social order of the Xianzhou was close to collapsing. In the absence of a social order, organized crime rapidly filled the void and quickly rose up to build their own underground kingdoms. These criminal syndicates are collectively called the Brotherhood, with their ringleader being the Robe Brethren.

四千多年过去了，在帝弓司命的庇佑之下，仙舟世界早已重归秩序与安宁之中，「哥老会」和「袍哥」自然也成为了历史名词，消失在了过往的尘埃里。

Four millennia have passed since. Under the protection of the Reignbow Arbiter, the Xianzhou realms had long returned to lawfulness and peace. Terms like the Brotherhood and Robe Brethren had faded into the sands of time, becoming one of the many historical terminologies.

然而，虽然作为社会现象的「袍哥」消失了，但作为文化符号的「袍哥」却永远地留存在了仙舟人的灵魂深处。哥老会的部众们往往讲着一口凶蛮但优雅的曜青方言，而直到今天，你依然可以看到有些毛头小子，学着荒腔走板的曜青腔，模仿着支离破碎的兄弟义气。

However, as they have disappeared in society, the Robe Brethrens have embedded themselves in the depth of Xianzhou's soul as a cultural symbol. Members of the Brotherhood often speak a frightening but decorous Yaoqing dialect. Even in the modern era, one can still see teens trolling the streets and crudely imitating the Yaoqing dialect and fragments of the Brotherhood's tacit creed.

我想，他们追忆的不是那个残酷的、混乱的、秩序崩溃的年代，而是那群坚忍的、勇敢的、堂堂正正的「袍哥」们。虽然这样的形象，也不过是编剧的美化和演绎罢了。

In my opinion, what they were reminiscing is not the cruel, chaotic, and lawless era, but the resilience, valor, and honor of these Robe Brethrens. However, these portrayals are merely the playwright's romantic interpretations.

第九名《青丘》 No. 9: Verdantia

第九名《青丘》

No. 9: Verdantia

导演：苑渤

Director: Yuan Bo

编剧：巴希尔•巴西特

Script: Bashir Bassett

——老师，我们要离开青丘了，我们再也回不来了……

— Master, we will soon depart Verdantia to return nevermore...

——我们从未离开。青丘不在那里，而在这里。我们所在之地，就是青丘。

— We have never left. Verdantia is not elsewhither, but here. Verdantia is wherever we stand.

这部幻戏以狐人的创世传说为蓝本，讲述了一个波澜壮阔的史诗故事。在《青丘》之前，托蝶幻境往往只能以单一主视角进行叙事。然而青丘却开创性地采取了多视角叙事，让体验者可以从清正、曼枝、立思三位先贤的视角，体验狐人历史初期的战争与和平、安定与流亡。

This piece is based on the foxian creation myth and tells an epic story of monumental proportion. Before Verdantia, works of Butterfly Immersia tend to narrate using only one main perspective. Verdantia pioneered a multi-perspective narrative that allows the experiencer to live through the wars, peace, stability, and exile at the beginning of the foxian history, as told from the perspective of the three sages Qingzheng, Manzhi, and Li Si.

仙舟联盟与星际和平公司之间曾有深入的文化交流时期。而《青丘》就是诞生在那个时代的作品。在当时，巴希尔•巴西特可能是星际和平娱乐最为炙手可热的编剧，而这部《青丘》的剧作也的确展现出了她深厚的笔力。

There was a period of in-depth cultural exchange between the Xianzhou Alliance and the Interastral Peace Corporation, and Verdantia is a work born in that era. At that time, Ms. Bashir Bassett was probably the most popular dramatist in Interastral Peace Entertainment, and Verdantia indeed showed her profound dramaturgy.

另一方面，苑渤在本作中对战争场景调度和视点角色转换的处理，也成为了后世无数托蝶幻境的基础教材。

On the other hand, Mr. Yuan Bo's handling of war scenes and perspective switching in this work has also become the basic teaching material for countless Butterfly Immersia students in later generations.

不过，我们依然可以说，这部托蝶幻境是在那个时代才能够诞生的特殊产物。仅凭借仙舟的财力，绝对难以拍摄出那种数百万人相互厮杀的壮丽场面。而星际和平娱乐提供的「自由意志幻像」技术，也使得「让体验者完全代入戏中人」这种魔法般的效果得以实现。

However, we can still say that this Butterfly Immersia piece is a special product that could only be made in that era. With the financial resources of Xianzhou, it would've been difficult to film the magnificent scene in which millions of people fought to the death. The Free-Will Illusion technology provided by Interastral Peace Entertainment also allowed the magical effect of total immersion to be brought to life.

有时我们总会不由得感到，整个银河像是一座又一座的孤岛，岛民们故步自封，且敌视一切外来者。每当这时，我都会让自己再一次沉浸到《青丘》中去，并非为了体验它的情节，而只是为了再一次确认，当两个文明通力合作时，我们可以创造出什么样的奇迹。

Sometimes we can't help but feel that the whole cosmos is one isolated island after another, with self-absorbed and xenophobic islanders. Whenever this happens, I immerse myself once again in Verdantia not to re-experience its plot, but to reassure myself of the kind of miracles we can create when two civilizations work together.

第八名《凯蒙凯》 No. 8: Kaib Mongb Kib

第八名《凯蒙凯》

No. 8: Kaib Mongb Kib

导演：子成

Director: Zi Cheng

编剧：子成

Script: Zi Cheng

凯蒙凯，凯蒙凯，一团寒气肩上游，劝君莫回头。

Kaib mongb kib, kaib mongb kib, when a draft of cold air swirls around your shoulder, do not turn around.

方壶狐人仲思在罗浮留学百年，回到故乡的大寨中时，却发现眼前的一切都和自己记忆中的故乡有着诡异的差别。随着探索的深入，她竟发现寨老早已去世多年，人们正在将一个不可名状的东西奉为新的「寨老」。

When Zhong Si, a foxian lady from the Fanghu, returned to her village after studying on the Luofu for over a century, she noticed everything had become eerily different from the home in her memories. As she dug deeper, she discovered the village elder had passed away years ago, and people were worshipping an indescribable entity as the new village elder.

「凯蒙凯」在方壶狐人的医学体系中，是「被邪祟之物侵入身体」的意思。出身方壶狐人医学世家的子成，也顺理成章地以此为主题制作出了《凯蒙凯》这部作品。

"Kaib mongb kib" is a medicinal concept among the foxians of Fanghu, meaning "being physically taken over by evil entities." Zi Cheng, who grew up in a Fanghu foxian medical family, naturally utilized this concept and created this piece called Kaib Mongb Kib.

《凯蒙凯》是历史上第一部恐惧幻戏。以往的创作者更倾向于将此类元素作为剧情的调剂，而并非主轴，因为在过去的观念中，「恐惧」作为一种极端的负面情感，并不能带来良好的幻戏体验。但《凯蒙凯》的爆火彻底粉碎了幻戏业界的固有观念，掀起了一阵恐惧幻戏的热潮。

Kaib Mongb Kib is the first horror immersia in Xianzhou's history. Previous authors would utilize horror elements in their works to help the plot along and not as the central theme, due to the mindset that extreme negative emotions such as horror would not make for a good entertainment experience. However, Kaib Mongb Kib's viral success utterly shattered the antiquated notion of the entertainment industry and set off a boom for horror-thriller Butterfly Immersias.

值得一提的是，子成在这部幻戏中，利用仙舟人对「岁阳」的恐惧制造出了绝佳的诡异氛围，可如今「岁阳」已经成为了恐惧幻戏的固定模式，逐渐失去了原本的魔力。

It is worth mentioning that Zi Cheng used Xianzhou people's fear of heliobi to masterfully create an eerie atmosphere in this piece. However, heliobi has now become a standard in horror Butterfly Immersias, and gradually lost its original magic.

第七名《透帘细草》 No. 7: Lolling Grass

第七名《透帘细草》

No. 7: Lolling Grass

导演：文广、文娥

Director: Wen Guang, Wen E

编剧：枢宽

Script: Shu Kuan

「枯棋三百，可演千军之将；一木之秤，能绎万国之封。」这就是「对弈之学」的原理。

"With three hundred chess pieces, one can become comparable to a general who leads a thousand armies; With a chessboard, one can deduce and interpret the political changes of a country." This is the principle of The Study of Chess.

这出幻戏以「鸣火」商会创立的真实故事为蓝本，讲述了一个感动一代仙舟人的励志故事。狐人少女映珍是世所罕见的数学天才，却因为一时鬼迷心窍，断送了自己在学宫中的前途。彼时的狐人一族还是仙舟上的游商，而不得已成为游商的映珍则逐渐学会了如何将自己的数学知识运用到商业之中。此后，映珍创立的「鸣火」商会，成为了仙舟上的商业巨擘，她所撰写的《透帘细草》也成为了仙舟上每一位商人的必修教材。

Based on the true story of the founding of the Whistling Flames trading guild, this piece of work tells an inspiring story that has touched a generation of the Xianzhou people. A young foxian girl, Yingzhen, was a rare mathematical genius, but her future in the academy was cut short due to a moment of confusion. foxians of the time were still traveling merchants on the Xianzhou, while Yingzhen, who had to become a traveling merchant, gradually learned how to apply her mathematical knowledge to business. Eventually, Yingzhen founded the Whistling Flames that soon became a business magnate on the Xianzhou, and her book, Lolling Grass, became a compulsory textbook for every merchant on the Xianzhou.

在《透帘细草》之前，列传幻戏这一门类往往以英雄、士兵、飞行士，乃至劫匪或恶棍为主角，讲述他们波澜壮阔（或恶贯满盈）的一生。这些列传幻戏的特点就是，倾向于让体验者去亲身体会历史上的壮阔场面，而不是让人去感受主人公的人生历程。

Before Lolling Grass, biographical immersias usually focus on heroes, soldiers, pilots, and even bandits or evildoers as protagonists, and their plot is usually about their action-packed lives charged with emotions. A characteristic of these biographical immersias is that they tend to allow the experiencers to experience the magnificent historical moments, rather than allowing one to feel the life journey of the protagonists.

《透帘细草》的与众不同之处在于，它作为一部以商业为主题的列传幻戏，却并没有将重点放在商业发展的勾心斗角和尔虞我诈之上，而是将数学和商学这两个晦涩枯燥的学科作为剧情主轴，让体验者代入到映珍的视角中，亲身体验她在这些学科上实现概念突破的心路历程。

Lolling Grass changed the industry in that it is a biographical immersia with a core theme on commerce, but moved away from the rivalry and intrigue of business development, instead focusing on the dry disciplines of mathematics and business as the main axis of the plot, allowing the experiencers to step into Yingzhen's perspective and experience her journey firsthand to achieve conceptual breakthroughs in these disciplines.

还记得三百年前，我和学宫里的同学们一起去体验《透帘细草》——我们都是学幻戏学的，普遍不太懂这些晦涩的数学——但当映珍领悟出「对弈之学」时，我们每个人都被那种领悟真理的喜悦（甚至是战栗）震撼到全身颤抖。这恐怕也是托蝶幻境这门艺术无法取代的独特魅力吧。

I remember three hundred years ago, when my fellow students and I went to experience the Lolling Grass, we were all students of immersias, so our grasp on the esoteric arts of mathematics is not good. But when Yingzhen intuited The Study of Chess, we were all overcome by the ecstasy (and shock) of grasping the truth, to the point that we were quaking in our boots. This unique charm might be why the art of Butterfly Immersia cannot be replaced.

另有一则趣闻：《透帘细草》使得导演文氏姊妹声名鹊起，以至于在那一百年间，仙舟涌现出了无数导演「兄弟」、「姊妹」、「兄妹」和「姊弟」。很可惜，大多数都只是蹭热度的小人物罢了。

Another trivia: The popularity of Lolling Grass caused the Wen Sisters to soar in celebrity. This was why many sibling duo directors mushroomed in the Xianzhou within that century. It's a shame that few can reach the height that the Wen Sisters did.

第六名《饮膳正要》 No. 6: Life on a Plate

第六名《饮膳正要》

No. 6: Life on a Plate

导演：宝昌

Director: Bao Chang

编剧：宝昌、雪榭

Script: Bao Chang, Xue Xie

在「烹饪」的艺术中，始终存在着一个悖论：只有当你意识到「烹饪」永远也不会是艺术的时候，你才有可能成为一个艺术家。

In the art of gastronomy, a paradox exists: Only when you understand that gastronomy is not an art can you become an artist.

《饮膳正要》是唯一一部入选的实录幻戏。在这部幻戏中，体验者得以成为一名幸运的食客，享受传奇大厨雪榭的私人服务。

Life on a Plate is the only veritable-records styled immersia that is chosen for this list. In this immersia, experiencers take the perspective of a lucky epicurean who gets to enjoy an exclusive dining experience with the legendary chef, Xue Xie.

雪榭创立了玉阙仙舟上最有名的餐馆之一——「神雪庐」。在她活跃的年代，「雪榭」几乎可以成为「厨神」的代称。宝昌抓住了这个机会，拍摄了《饮膳正要》，缔造了托蝶幻境史上最为夸张的票房奇迹。

Ms. Xue Xie founded one of the most celebrated restaurants on the Xianzhou Yuque — the Hallowed Snow Chalet. In her years of activity, "Xue Xie" could almost become a synonym for "God of Culinary." Bao Chang took the opportunity and captured Life on a Plate, creating one of the most over-the-top miracles of Butterfly Immersia history.

我很难从幻戏学的角度上说出这部作品有任何特殊的创新，使它有资格跻身于「千年十佳」的序列之中。不妨让我们抛开那些无聊的专业知识…又有谁会不喜欢《饮膳正要》呢？在这部幻戏中，体验者可以去到雪榭的家中，一边和她一起准备菜肴，一边听她向你娓娓道来自己的烹饪哲学。请容我再重复一边：又有谁会不喜欢《饮膳正要》呢？

I would be hard-pressed to pinpoint a particular innovation in this work in terms of the study of immersias for it to qualify for the Millennium Top Ten list. So let's do away with those boring technicalities... Why wouldn't anyone like Life on a Plate? In this immersia, experiencers are invited to the abode of Xue Xie, listening to her recounting of her culinary philosophy while preparing food with her. Allow me to repeat: Why wouldn't anyone like Life on a Plate?

宝昌在暴得大名后以狂妄著称。他曾在公开场合羞辱那些批评《饮膳正要》的老学究：「不喜欢其他幻戏，说明你不喜欢那部作品。但不喜欢《饮膳正要》，只能说明你不喜欢你的人生。」几百年后回头看，我竟发现他似乎所言非虚。

Bao Chang was infamous for his egotistical persona after his celebrity. He had publicly shamed pedants who critiqued Life on a Plate. "If you don't like other immersias, it just means you dislike those works, but if you don't like Life on a Plate, it shows your distaste toward your own life." Looking back after centuries, it surprised me to realize the truth in his words.

《饮膳正要》的主角雪榭，享寿三百八十四岁，无疾而终。据说她晚年很孤独，一遍遍重复体验这部讲述她自己的幻戏，直到在充满青春活力的幻梦之中溘然长逝。

The protagonist of Life on a Plate, Ms. Xue Xie, enjoyed a lifespan of 384 years and passed without major diseases. It was said that loneliness was prominent in her later years as she continued to re-experience this immersia that starred herself until the eternal slumber finds her among the vivacity of this fantasy.

第五名《深水长眠》 No. 5: Deep Water

第五名《深水长眠》

No. 5: Deep Water

导演：永正

Director: Yong Zheng

编剧：福荣

Screenwriter: Fu Rong

别碰它，别出声，慢慢后退，那玩意儿不是水草……

Don't touch it, don't make a sound, back away slowly, that thing is not a waterweed...

在鳞渊境，持明族的蜕生之地，存在一个特殊的职业：「护珠人」。在持明蜕生为卵时，没有任何抵抗外界威胁的手段，所以需要这群护珠人来守护脆弱的同胞。小鹤曾是一位云骑兵，在退役后回到鳞渊境，成为了一名护珠人。某日，在例行巡查中，小鹤突然发现了一些不寻常的迹象，此时她还不知道，那是因为一头长眠水中数千年的恶兽苏醒了…小鹤不得不与伙伴们通力合作，在幽暗的古海中与恶兽战斗，保护鳞渊境这片脆弱的圣地。

In the Scalegorge Waterscape, the birthplace of the Vidyadhara race, there is a special profession: "Pearlkeeper." During Vidyadhara's stage of hatching rebirth, they had no means of resisting external threats. Thus, the Pearlkeepers were needed to protect their vulnerable compatriots. Crane used to be a Cloud Knight, but returned to Scalegorge Waterscape to be a Pearlkeeper after retiring. One day, during a routine inspection, Crane came upon some unusual signs. At that time, she didn't know that it was because an evil beast that had been sleeping underwater for thousands of years had awakened... Crane had to join forces with her comrades to battle the evil beast in the dark ancient sea, and protect the vulnerable sacred land of Scalegorge Waterscape.

《深水长眠》可以是恶兽幻戏的鼻祖，导演永正和编剧福荣甚至称得上是发明了恶兽幻戏的两个人。除了本作之外，他们合作的《罗浮怪兽》、《岁阳机巧》和《仙舟铁血人》也同样是被爱好者奉为经典的恶兽幻戏。

Deep Water is possibly the first immersia of the evil beast genre. Director Yong Zheng and screenwriter Fu Rong could even be called the inventors of the said genre. In addition to this, Luofu Monster, Heliobus Ingenia, and Xianzhou Predator that they collaborated on are also widely regarded as classic evil beast immersias.

如何渲染恶兽的压迫感、如何利用晦暗未明的环境渲染恐怖（譬如《深水长眠》中的鳞渊境古海）、如何塑造面对恶兽时人类陷入恐惧和爆发出勇气的瞬间…也难怪学宫中那些教幻戏学的学者都会说：「把永正的幻戏都背下来，你就学会怎么拍恶兽幻戏了。」

How to impart the sense of overwhelming oppression of evil beasts, how to use the dark and mysterious environment to invoke terror (such as the ancient sea of Scalegorge Waterscape in Deep Water), and how to shape the moment when human beings fall into fear and burst into courage when facing evil beasts... It is no wonder that scholars of the immersia genre have a saying: "Memorize all the immersias of Yong Zheng, and you will master evil beast immersias."

关于《深水长眠》，另有一点值得一提：

Another point worth mentioning about Deep Water:

虽然说托蝶幻境是仙舟联盟各个民族都热爱的艺术形式，但几乎所有幻戏的导演都是狐人。

The art of Butterfly Immersia is loved by all races in the Xianzhou Alliance, the directors of almost all immersias are foxians.

这也再所难免…毕竟托蝶幻境的拍摄制作，需要仰仗狐人天生敏锐的精神力。对幻境的专注与调控，需要过人的细腻力量，没有这份才具想要摄制幻戏，无异于听障者创作音乐、视障者创作绘画——严格来说并非不可行，但想必十分困难。

This is inevitable... After all, the filming and production of Butterfly Immersias rely on foxians' innately keen mental prowess. Focusing on and regulating the fantasy world requires extraordinary meticulousness and ability. Without this ability, making a immersia is tantamount to creating music for the hard of hearing or painting for the hard of seeing... Strictly speaking, it is not impossible, but very difficult.

而永正毫无疑问是一个异数。他身为持明，却成为了托蝶幻境史上最伟大的导演之一。我们难以想象他克服了多少困难，才实现了这样伟大的成就。

Yong Zheng is undoubtedly an exception. As Vidyadhara, he has become one of the greatest directors in the history of Butterfly Immersia. It is hard to imagine how many difficulties he had overcome to achieve such great success.

幻戏业界的狐人导演占绝对多数，也导致了另一个问题：在永正出道之前，大多数托蝶幻境，都是以狐人为主视角，讲述狐人的故事。毕竟人们更擅长塑造自己熟悉的角色，也更愿意塑造自己熟悉的角色。但是，永正创作生涯中的全部作品，都是以持明为视角。

foxian directors account for an overwhelming majority in the immersia industry. This also leads to another problem: Before Yong Zheng debuted, most of the Butterfly Immersias told the story of foxians from the perspective of foxians. After all, people are better at and more willing to create characters they are familiar with. However, all of Yong Zheng's works in his creative career are from a Vidyadhara's perspective.

无论是《深水长眠》中勇敢无畏的护珠人小鹤，还是《仙舟铁血人》中被自己的疯狂研究反噬的持明科学家麟达，都已经成为了幻戏史上的经典角色。永正成为了名导之后，也开始有越来越多的作品开始勇敢地选择采用非狐人视角来讲故事了。

Be it Crane, the brave and fearless Pearlkeeper in Deep Water, or Linda, the Vidyadhara scientist who was attacked by their own crazed experiment in The Xianzhou Predator, they have all become classic characters in the history of immersia. After Yong Zheng became a household name, more and more works began to bravely choose to tell stories from the perspective of non-foxians.

第四名《计程槎飞行士》 No. 4: Starskiff Pilot

第四名《计程槎飞行士》

No. 4: Starskiff Pilot

导演：赛鸿

Director: Sai Hong

编剧：苏琴

Screenwriter: Su Qin

坐稳扶好，即刻起飞！

Sit tight and hold on, get ready for lift-off!

一位神秘的计程槎飞行士，看似平平无奇，实则身怀绝技。每当有客人遇到难以解决的难题——小到上班即将迟到，大到追击歹徒，他都会带着标志性的微笑说上一句：「坐稳扶好，即刻起飞！」然后启动那台来路不明的战斗星槎发动机，用极为高超的驾驶技术完成任务、解决难题。

A mysterious starskiff pilot who seems to be unremarkable, but in fact has a peculiar skill. Whenever a customer encounters a difficult problem — as small as being late for work, or as big as catching hoodlums, he will say with his signature smile: "Sit tight and hold on, get ready for lift-off!" After which, he starts up that mysterious combat starskiff and uses his superb piloting skills to complete the mission and solve the problem.

《计程槎飞行士》至今已经拍摄了九百二十七部，换了三任导演，每一部都有着不俗的票房表现。坦白来说，本作和所有飚速幻戏一样，没有剧情深度、缺乏情节逆转、鲜少人物弧光，只有飙升的肾上腺素。但正是这种简单、直白、重视感性体验的作品，成为了仙舟上最为长寿的系列幻戏。

The Starskiff Pilot franchise has released 927 films so far across three directors. Each film has had a good box office reception. Frankly speaking, this work, like all fast-paced immersias, has no plot depth, no twists, and few character arcs, only rushing adrenaline. But it is this simple, straightforward, and raw type of experience that has become the longest-running immersia series on the Xianzhou.

不过，请原谅我刻薄一次——本刊邀请的大师们将这部幻戏送入「千年十佳」的序列（甚至送到了第四名），恐怕也是为了彰显自己并非只钟爱曲高和寡的「高雅艺术」，也同样能欣赏市井百姓喜闻乐见的飚速幻戏。

However, please forgive me for being curt, but the experts invited for this issue put this immersia in the "Millennium Top Ten" list (at fourth place no less) to show that they are not biased toward the "sophisticated" and "avant-garde," but are also able to enjoy the fast-paced immersias that general fans love to see.

第三名《罗浮上最后的夜晚》 No. 3: Last Evenings on Luofu

第三名《罗浮上最后的夜晚》

No. 3: Last Evenings on Luofu

导演：武赫

Director: Wu He

编剧：武赫

Screenwriter: Wu He

——我有时候觉得，生命就是三分失望、三分惊惶、三分无助，再加上半分苦难和半分爱。

— I sometimes feel that life is thirty percent disappointment, thirty percent panic, thirty percent helplessness, and ten percent shared by suffering and love.

——那如果再给你一次机会，你还想再活一次吗？

— If you were given another chance, would you want to live life over again?

——当然。

— Of course.

海源是一位仙舟商人，活了一千一百岁，即将陷入魔阴身。如今他已经几乎无法顺利地思考任何事，只能忍受着寿瘟的蚕食。在去十王司接受自己结局的前夜，海源做了一个很长的梦，他梦见了自己千年人生中出现的每一个人，在一片广袤的荒原上等待着他。在漫长的梦境之中，海源与自己回忆中的人们探讨生活、哲学、宗教、艺术，最终与自己达成了和解。幻戏最后，海源在黎明时分醒来，微笑着走进了十王司。

Hai Yuan is a Xianzhou merchant who lived to be 1100 years old and is on the verge of being stricken with mara. Now, he is almost unable to think about anything smoothly, and can only endure the nibbling away of the plague. On the eve of going to the Ten-Lords Commission to accept his end, Hai Yuan had a long dream. He dreamed that everyone who appeared in his thousand-year life was waiting for him in a vast wasteland. In the long dream, Hai Yuan discussed life, philosophy, religion, and art with the people in his memories and finally achieved reconciliation with himself. At the end of the immersia, Hai Yuan woke up at dawn and walked into the Ten-Lords Commission with a smile.

武赫是入选千年十佳的导演和编剧中最为年轻的一位。他曾凭借《定军山》获得长乐天幻戏节的最佳新人奖，又凭借《罗浮上最后的夜晚》包揽了长乐天幻戏节的最佳幻戏、最佳原创剧本、最佳代入体验三项大奖。

Wu He is the youngest director and screenwriter to be selected for the Millennium Top Ten. He won the Best Newcomer award at the Exalting Sanctum Immersia Festival with Mount Dingjun, and won three awards of Best Immersia, Best Original Screenplay, and Best Substitution Experience at the Exalting Sanctum Immersia Festival with Last Evenings on Luofu.

只不过，与《定军山》火爆的票房表现相比，《罗浮上最后的夜晚》可谓叫好不叫座。这完全可以理解——很多人都愿意去幻戏里实现自己的梦，但又有几个人愿意去幻戏里真的做一个长梦呢？

However, compared with the explosive box office performance of Mount Dingjun, Last Evenings on Luofu might even be considered to have not been a big hit. This is completely understandable as many people are willing to go to immersias to realize their dreams, but how many people are willing to go to immersias to really have a long dream?

但毫无疑问，《罗浮上最后的夜晚》是一部真正伟大的作品。它潜入人的内心深处，探索人的渴望与恐惧，讲述一个人如何在人生的最后时刻实现自洽与和解。比起一部幻戏，它更接近于一部对人类内心的解剖报告。

But there is no doubt that Last Evenings on Luofu is a truly great piece of work. It dives deep into people's hearts, explores fears and desires, and shows how a person can achieve self-consistency and reconciliation even in the last moments of their life. It can be said to be closer to an autopsy on the human condition than an immersia.

一些吹毛求疵的评论家认为，武赫作为狐人导演，对魔阴身的理解有错误，在梦境的处理上有一些不符合科学的地方。但实际上，武赫也根本没打算去附会什么「科学原理」。本作所讲述的绝不是字面意义上的「魔阴身之梦」，而是高度概念化、象征化的精神分析学。

Some harsher critics believe that Wu He, as a foxian director, has a wrong understanding of being mara-struck, and that there are some unscientific aspects in his treatment of dreams. In reality, Wu He didn't intend to base his work on scientific principles at all. What this work tells is by no means a "mara-stricken dream" in the literal sense, but a highly conceptualized and symbolic analysis into the psyche.

的确如此，狐人和持明并不会陷入魔阴身，但我们也都能从这部幻戏中看到自己的人生…看到我们所有的失望，看到我们所有的悲伤，看到我们所有不甘心与不情愿——但也同样能看到一个答案，回答世间最为困难的问题：「我们为何必须好好活下去？」

It's true, foxians and Vidyadhara won't become mara-struck, but we can all see a reflection of our own lives from this immersia... All our disappointments, our sorrows, our unwillingness and reluctance — but also, an answer to the most difficult question in the world: "Why should we carry on living?"

「为了那半分爱。」

"For that percent of love."

第二名《帝弓司命》 No. 2: Reignbow Arbiter

第二名《帝弓司命》

No. 2: Reignbow Arbiter

导演：晓桐

Director: Xiao Tong

编剧：雨春

Screenwriter: Yu Chun

劝君忘生固决死，今当快战挽狂澜。愿教身后总常胜，负勇怀毅荡妖寇。

I urge you to forget about life and death. Let us fight now to turn the tide. I would like to teach you to be ever victorious, brave, and enduring.

距今大约四千到五千年前，仙舟经历了最为混乱的三劫时代。宏观来看，各个仙舟上社会秩序的崩溃只是一些微不足道的历史边角料，关乎生死存亡的血战才是那个时代的主色调。帝弓司命彼时还不是帝弓司命，只是一位肉体凡胎的英雄。祂带领仙舟人与丰饶民展开了壮丽的对决，最终以燃烧自身为代价摧毁了造翼者的巨树「穹桑」，拯救了仙舟联盟。《帝弓司命》就是以这段传说为蓝本拍摄的史诗幻戏。

About four thousand to five thousand years ago, the Xianzhou experienced the chaotic Three Sufferings Era. From a wider perspective, the collapse of social order on each Xianzhou ship is an insignificant bit of history. Instead, the bloody battle of life and death was the tone of that era. Reignbow Arbiter was not Reignbow Arbiter at that time, but a mortal hero. Reignbow Arbiter led the Xianzhou people during the magnificent confrontation with the Denizens of Abundance, which ultimately destroyed the giant tree "Muldrasil" of the Wingweavers at the cost of self-burning, but saving the Xianzhou Alliance. Reignbow Arbiter is an epic immersia based on this legend.

时至今日，依然有一批顽固分子认为《帝弓司命》是一部亵渎帝弓司命的幻戏。因为它让体验者代入到帝弓司命的视角中，以帝弓司命的身份去亲历那场史诗般的最终决战，乃至亲历祂身陨后升为神格的过程，可谓是大不敬。

To this day, there are still a group of fundamentalists who think that Reignbow Arbiter is an immersia that blasphemes Reignbow Arbiter. This is because it allows the experiencer to enter the perspective of Reignbow Arbiter to experience the epic final battle as Reignbow Arbiter, and even experience the process of Reignbow Arbiter's rise to the godhood after death, which can be said to be disrespectful.

但实际上，只有以这样的视角去体验这部壮大的史诗，才能够让体验者真正体会到，帝弓司命与仙舟上勇敢的人们付出了多少鲜血，才为仙舟争取到了现在这样的喘息之机。

But in reality, only by experiencing this powerful epic from such a perspective can the experiencer truly appreciate how much blood Reignbow Arbiter and the brave people of Xianzhou shed to achieve the current peace for the Xianzhou to rest and recuperate.

不过，即使抛开这些顽固分子的无理取闹，《帝弓司命》依然是一部有争议的杰作。其中最大的争议莫过于，雨春在撰写剧本时，凭个人好恶扭曲信史，这对很多体验者来说是不可接受的。

But even putting aside the vexatiousness of these fundamentalists, Reignbow Arbiter remains a controversial masterpiece. The biggest controversy is that when Yu Chun wrote the script, the historical facts were modified based on personal preference, which is considered unacceptable to many experiencers.

譬如，雨春在整部幻戏中都淡化了岁阳首领「燧皇」的存在，甚至将帝弓司命摧毁建木的一箭归结于「星神之伟力在凡人之躯上提前觉醒」，这显然是严重违反史实的。目前史学界普遍认为，祂当时的那一箭是借用了燧皇的力量，但雨春个人极度厌恶岁阳，于是修改了这部分的情节。

For example, Yu Chun downplayed the existence of the heliobi leader, the "Flint Emperor" in the entire immersia. Yu Chun even summed up the arrow of Reignbow Arbiter that destroyed the Ambrosial Arbor as "an advanced awakening of an Aeon's power in a mortal body," which is an obvious violation of historical facts. At present, historians generally believe that the arrow at that time borrowed the power of the Flint Emperor, but Yu Chun personally dislikes heliobi and revised that part of the story.

瑕不掩瑜，有争议的杰作依然是杰作。不过从我个人的角度上来讲，还是希望各位在体验《帝弓司命》之前，可以阅读一些较为可靠的历史资料（譬如《帝弓迹躔歌》），以避免被这部幻戏的演义成分所误导。

However, flaws cannot detract from the beauty. Controversial masterpieces are still masterpieces. But in my personal view, I still hope that you can read some more reliable historical materials (such as Ode to Reignbow Path) before experiencing Reignbow Arbiter to avoid being misled by this immersia's dramatized version of events.

第一名《外婆桥》 No. 1: The Bridge to Grandma's Home

第一名《外婆桥》

No. 1: The Bridge to Grandma's Home

导演：子润

Director: Zi Run

编剧：子润

Screenwriter: Zi Run

——做这种事会不得善终的。

— Doing this will only end badly

——这世上从没有人善终。

— No one has ever had a good ending in this world

随着三劫时代过去了几千年，仙舟社会秩序愈发稳定，哥老会已然成为了历史。但残存的会党依旧在一个不属于他们的时代，继续试图延续过去的荣光。然而旧有的「江湖规矩」已然崩解，新进的成员没有底线且不择手段，使哥老会在彻底消亡之前，又爆发了最后一次地下战争。

As the Three Sufferings Era has passed for thousands of years, the social order of the Xianzhou has become more stable, and the Brotherhood has become history. However, the remaining members are still trying to continue the past glory in an era that does not belong to them. The old "code of conduct" has broken down, and the new members have no bottom line and are unscrupulous. It was the Brotherhood that caused the last underground war before completely dying out.

《外婆桥》是一部经典的袍哥幻戏，也被称为「最后的袍哥幻戏」。与大部分袍哥幻戏不同，《外婆桥》的主视角并不是任何帮会成员，而是大佬的女儿润妹儿。明眼人都能看出，润妹儿就是导演子润的化身。

The Bridge to Grandma's Home is a classic Robe Brethren immersia, also known as "the last Robe Brethren immersia." Unlike most Robe Brethren immersias, the main perspective of The Bridge to Grandma's Home is not a member of the Brotherhood, but the daughter of the boss, little Rain. It is plain as day to anyone with a perceptive eye that little Rain is the embodiment of Director Zi Run.

《外婆桥》中的哥老会褪去了光鲜的外衣，帮会成员只是一群卑劣、残忍、无耻的犯罪分子。子润曾经就生活在一个这样的环境中，以一个孩童的身份完整经历了哥老会之间的最后一次大规模流血冲突。

In The Bridge to Grandma's Home, the Brotherhood has shed its polished exterior, and the brethren are just a group of despicable, cruel, and shameless criminals. Zi Run once lived in such an environment, and as a child, fully experienced the extensive bloody conflict within the Brotherhood.

制片公司魍魉幻娱并不赞同子润拍摄这部具有强烈自传性质的幻戏。一方面，「自传」这种具有强烈作者性的题材被认为会阻碍体验者的自我代入；另一方面，彼时袍哥幻戏还尚未退潮，这样一部「反袍哥」的幻戏，恐怕不会有特别好的票房前景。

The production company Spooky Fantasy Entertainment did not agree with Zi Run's filming of this immersia with a strong autobiographical nature. On the one hand, autobiographies possess strong subject matters specific to the protagonist, which is considered to hinder the substitution of the experiencer. On the other hand, at that time, Robe Brethren immersias had not yet gone out of fashion yet. This led them to worry that such a subversive Robe Brethren immersia would not have a particularly good box office response.

最终，子润不得不自掏腰包，贷款拍摄了这部幻戏。事实证明，制片公司的判断是错误的。《外婆桥》成为了当年票房最为火爆的托蝶幻境，也被公认为史上最伟大的托蝶幻境。

In the end, Zi Run had to pay out of pocket to film the immersia. As results would prove, the production company's judgment was wrong. The Bridge to Grandma's Home became the most popular Butterfly Immersia at the box office that year, and was also recognized as the greatest Butterfly Immersia in history.

此后，子润退出魍魉幻娱，用这笔钱创立了香薷幻娱。前者在不久之后便倒闭了。

Since then, Zi Run left Spooky Fantasy Entertainment and used the earnings to create Elsholtzia Fantasy Entertainment. The former went bankrupt soon after.

关于《外婆桥》，还有一个很耐人寻味的细节。现实生活中，幼年的子润在云骑彻底清剿会党时，被一位军官领养，从此之后过着令人嫉妒的幸福生活。但在《外婆桥》的结尾，润妹儿在父亲负隅顽抗时，死在了父亲的怀中。

There is another thought-provoking detail about The Bridge to Grandma's Home. In real life, a young Zi Run was adopted by an officer when the Cloud Knights completely wiped out the Brotherhood, and lived a happy, enviable life from then on. But at the end of The Bridge to Grandma's Home, little Rain died in her father's arms during his last hurrah.

也许在子润心中，自己的确已经死在了那个哥老会消亡的夜晚。

Perhaps deep down, Zi Run really did die that night when the Brotherhood was wiped out.