妖怪設計：如何為兒童設計妖怪？

人類的文明史上，充斥著各式各樣的妖怪。雖然妖怪造型五花八門，卻同樣反映出人類不同層級的恐懼。在科學昌明、妖怪也隨之銷聲匿跡的時代中，本研究企圖重拾人類對恐懼的原始想像，透過中國妖怪典籍的耙梳，以理解妖怪與其反映恐懼層級間的關係。本研究發現－人類對妖怪的想像，會隨著文明演進而改變；恐懼層級也會隨著對外在世界的了解而漸次提升，越接近現代的妖怪，所反映出的恐懼等級越高，顯見人們越能夠掌握外在環境，其恐懼也會逐漸個人化。此外，作者並以何觀洲所提出的妖怪造型原則，檢視中國不同時期的妖怪經典，結果發現增數、減數、易位為外型上的變化，類推、混合、神異則反映出先民認識世界的方式。運用此六大造型原則，便可針對不同族群、不同層級的恐懼設計出相應的妖怪。而作者並將該原則應用於為兒童妖怪設計，希望能適切反映兒童的恐懼，未來並可進一步思考如何運用於教學與輔導實務。藉由本研究可知，妖怪反映了人類的恐懼，因此設計妖怪時必須以「引起共鳴」為首要條件。而鑒於觀者的個體經驗有所差異，因此在設計恐懼等級越高的妖怪時，就越需將妖怪抽象化，所設計出的妖怪較能反映人類對恐懼的想像。

關鍵字

妖怪；設計；兒童；恐懼

並列摘要

To turn over the leaves of the civilization, there were so many kinds of “monsters” being mentioned of. Although the monsters have a variety of appearances, they all reflected the fear of the human beings. The author, therefore, abides by which to examine the “Yao Guai (monsters)” in ancient Chinese books and records, consequently finds that the level of fear reflected by the “Yao Guai” arise as time went by. Besides, the author also uses rules to clasiify the Yao Guai. The rules are analogy, increasing, decreasing, position-changing, mixture, and magic. The former three is concerned with the appearances, and the later ones are about the ways how the ancients understand the world. The authors possess that if one could use the rules well, he/she could devise the Yao Guai for different ones from their fears. And he also takes pupils as the target audience to make a designing practice. From the work we know, the “Yao Guai” reflect the different level of human’s fear. Hence, how to make the people feel the same way is the most important thing when design. In view of that the experience are quite varied between the audience, we need to make them more abstract when the level of fear is hign, and concrete, vise versa.