吳明德。〈霹靂日系布袋戲：《Thunderbolt Fantasy東離劍遊紀》的演藝特質〉。《民俗曲藝》205 (2019.9): 265-312。
Wu Ming-te. “The Japanese Style Puppetry of Pili: The Characteristics of the Performing Arts of Thunderbolt Fantasy: Dongli Jianyou Ji.” Journal of Chinese Ritual, Theatre and Folklore 205 (2019.9): 265-312.
2016年7月8日起在日本首播，臺灣則由「巴哈姆特動畫瘋」與「愛奇藝」臺灣站進行聯播；臺語版則於 2016年7月13日至 9月30日在臺灣發行販售，共13章、每章23分鐘。這部臺、日有史以來首部合拍的布袋戲，一推出即得到年輕觀眾的一致好評，收看非常踴躍，一掃霹靂2015年《奇人密碼》慘賠的陰影。本文特以《Thunderbolt Fantasy東離劍遊紀》與霹靂劇集比較，先考述臺日合作拍攝源由及混搭磨配狀況，再進一步析論《Thunderbolt Fantasy東離劍遊紀》的劇本營構、人偶妝扮與拍攝、口白配音等這三大方面的演藝特質，以了解其殊異與成功之處。
In the summer of 2016, Pili made a crossover with the Japanese anime celebrity Urobuchi Gen (1972-), releasing the puppetry Thunderbolt Fantasy: Dongli jianyou ji (Thunderbolt Fantasy: Sword Travels in the East). There are two versions of dubbing of this puppetry TV series: Japanese and Taiwanese. The Japanese version was dubbed by a professional voice acting crew in Japan, while in the Taiwanese version, the male character’s role was solely dubbed by Huang Huifong (1979-), the son of Huang Wenze, aka “the eight-tone talent” (1956-). The Japanese version was premiered on July 8,
2016 in Japan,
and simulcast by two websites, Ba-ha-mu-te
donghua fong and iQIYI ( Taiwan
site) in .
The Taiwanese version was published and sold in Taiwan from July 13 to September
30, 2016, containing 13 episodes, 23 minutes per episode. This unprecedented
crossover puppetry made together by Taiwan Taiwan
teams was well received by the young audience once it was released. Its high
viewership rates had swept away the shadow of Pili’s failed box of Japan fice, The
Arti: The Adventure Begins in 2015. This essay focuses on the comparison
between Thunderbolt Fantasy: Dongli
jianyou ji and the original series of Pili puppetry. Firstly, the reasons
for this Taiwan-Japan cooperation and the circumstances of the fusion and
run-in of different elements are traced. Next, regarding the three main
characteristics of the performing arts of Thunderbolt
Fantasy: Dongli jianyou ji, the construction of the script, the dressing-up
and filming of the puppets, and the dubbing are analyzed in detail in order to
understand its particularity and how its success was achieved.
Also in Journal of Chinese Ritual, Theatre and Folklore:
吳明德。〈藝癡者技必良——論許王「小西園」《三盜九龍杯》之裁戲手法〉。《民俗曲藝》146 (2004.12): 263-84。
Wu Ming-te. “Practice Makes Perfect: The Play-Editing Technique of Xu Wang's 'Xiao Xi Yuan' in The Stolen Dragon Cup.” Journal of Chinese Ritual, Theatre and Folklore 146 (2004.12): 263-84.