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Fan Fiction: A Mem-Noir: Inspired by True Events

為了解決sci-fi movie的問題，作者Spiner, Brent 這樣論述：

Brent Spiner’s explosive and hilarious novel is a personal look at the slightly askew relationship between a celebrity and his fans. If the Coen Brothers were to make a Star Trek movie, involving the complexity of fan obsession and sci-fi, this noir comedy might just be the one.Set in 1991, just as

Star Trek: The Next Generation has rocketed the cast to global fame, the young and impressionable actor Brent Spiner receives a mysterious package and a series of disturbing letters, that take him on a terrifying and bizarre journey that enlists Paramount Security, the LAPD, and even the FBI in putt

ing a stop to the danger that has his life and career hanging in the balance. Featuring a cast of characters from Patrick Stewart to LeVar Burton to Trek creator Gene Roddenberry, to some completely imagined, this is the fictional autobiography that takes readers into the life of Brent Spiner, and t

ells an amazing tale about the trappings of celebrity and the fear he has carried with him his entire life. Fan Fiction is a zany love letter to a world in which we all participate, the phenomenon of ＂Fandom.＂

sci-fi movie進入發燒排行的影片

動畫《小石獅》之創作論述—臺灣妖怪傳說之探討

為了解決sci-fi movie的問題，作者林晉葦 這樣論述：

　　妖怪奇幻傳說在藝術文學界一直是個歷久不衰的題材，除了常見的日本的妖怪傳說、歐美的殭屍吸血鬼恐怖題材、中國的山海經神話，在臺灣也有屬於自己的一套民間傳說故事，隨著時代轉變也發展出了都市傳說等現代妖怪文化。　　本創作以廟宇文化中的小石獅與小女孩瑀庭的奇幻經歷為主軸，加上原創且富有傳統色彩的妖怪傳說，讓觀眾對臺灣的妖怪奇幻故事提起興致，並進而想要去了解臺灣本土的妖怪傳說。　　本創作運用Unity的實時影片製作功能作為主要創作手法，作品在以3D電腦動畫製作的同時，加入2D手繪動畫等複合技法來呈現整體的美術風格。製作過程中發現，在3D電腦動畫結合2D手繪動畫技法上，歸納出了三點方向：「動畫影格的表

現」、「動態的處理」、「美術風格的應用」可使不同技法結合時畫面呈現的效果更加和諧。Unity實時影片製作方法的優勢在於「畫面的即時渲染呈現」與「作業流程的同步進行」，在製作3D電腦動畫上有以下三點優缺點：「大幅減少製作中等待算圖結果的時間成本」、「前期製作準備工作內容較多」、「需對Unity的算圖流程與程式語法有基礎了解」。期許本創作能提供未來想使用Unity實時影片製作方法製作複合技法動畫的創作者作為參考應用對象。

Leading the Rebellion: Questing to Succeed in Work and Life

為了解決sci-fi movie的問題，作者Kingsley, Jason,Starling, Boris 這樣論述：

Jason Kingsley OBE is the CEO, Creative Director and Co-owner of Rebellion, one of Europe’s largest and oldest independent game developers. Jason co-founded Rebellion with his brother Chris in 1992, the studio making an immediate impact with seminal shooter Alien vs Predator. Today Jason continues t

o lead Rebellion’s AAA video games as Creative Director - including projects based on their own IP such as PlayStation VR launch title Battlezone, 1930s rips-roaring action-adventure Strange Brigade and the bestselling Sniper Elite series. In 2000 Jason led Rebellion’s purchase of powerhouse UK sci-

fi comic 2000 AD, and later co-produced the 2012 film adaptation, Dredd 3D. A highly influential figure in the UK game industry, Jason helped found industry organisation TIGA and has been awarded an OBE for his services to the UK economy. He also sat on the government’s Creative Industries Council a

nd was a trustee of her Majesty’s Royal Armouries. In addition to producing the Rogue Trooper movie and the Judge Dredd: Mega City One TV series, Jason presents the YouTube series Modern History TV, which has rapidly grown a subscriber base of nearly a quarter of a million.

電影《普羅米修斯》原型劇本「異形：工程師」之翻譯與譯介

為了解決sci-fi movie的問題，作者紀佳芳 這樣論述：

本論文旨在探討電影《普羅米修斯》及其原型劇本「異形：工程師」間的核心思想：創造，並在此概念下分析造物主和被造物之間的關係。另外，除了提供劇本「異形：工程師」的中譯本，本文也著重於討論進行此一科幻作品翻譯時所遇到的問題，包含語言工具之使用、字彙翻譯困難等議題，以及在翻譯一套擁有既定標準格式的好萊塢電影劇本時所面臨的格式選擇及轉換困境。