本篇博士論文分析當代第三人稱視角多重結局的英語單機遊戲，檢視選擇系統的形式美學與其後人文敘事內容的相互關連。我的論點是，這些遊戲的選擇分岐機制呈現超遊戲的美學，為玩家－角色開展流變－後人文的情動潛能。劇情的分歧並非顯示根莖系統的分支或先決的因果關係。玩家的選擇也不是同一、身份、意識形態、語言編碼，或象徵結構的再現。選擇作為具即身性與倫理導向的在內行動，是玩家－角色流變、皺褶的特異點，在虛實之間向域外形成塊莖式的拓樸關係。它將個別獨立的時間軸、空間、以及二元對立的既成實現，典範轉移成不可分割的綿延、製圖過程、以及情動力的潛在性。相對於巨觀的論述權力對生命的控制，這種非再現性的組合展開微觀的流變，讓不同的玩家－角色在每次遊玩選擇的永劫回歸中，不斷重複差異，以威力意志自我超克人文主義式人類－玩家的既定概念。因此，玩家的選擇緊扣於本體及知識論上的去疆域化及再疆域化、進而跳脫出當代辯證式論述權力下去人性化的結構式暴力、社會的不公不義、與道德困境。玩家－角色作為後人文主體，是游牧式、持續生成、未以器官來分類的身體。藉由具物質性的遊戲選擇，在電玩遊戲的一致性平原上與與其他物質主體闡連並形成情動組合體。
本論文五個章節，分別探討不同後人文處境下的玩家選擇。第一章討論《奇異人生》中，時間回溯的選擇作為蝴蝶情動力，超越人類中心的視野框架並與父權暴力下受害的女高中生產生關連。第二章探討《奇異人生2》的道德選擇如何作為墨西哥裔美國兄弟流變－狼群的欲望，在選擇是否跨越國界的事件中，以塊莖皺褶的方式挑戰罪犯化的二元對立概念。第三章探究複製人主角在《尼爾：人工生命》的結局D中自我犧牲的選擇，作為流變－不可感知的過程，跳脫防禦他者所造成的自我免疫的危機。第四章分析《UNDERTALE》打倒敵怪或與其共存的選擇，如何作為玩家－角色的威力意志，在每一輪遊玩的永劫回歸中，自我超克傳統角色扮演遊戲玩家重置遊戲以獲勝的既定概念。第五章則將《光與影：33號遠征隊》最終幕摧毀畫架與否的選擇，詮釋為失/能身體如何在虛構藝術與現實之間，重尋生命力的流變開放系統。

The dissertation examines the connection between the formal-aesthetic mechanics of making choices and the posthumanist narratives in contemporary third-person single-player choice-matter video games. My thesis is that choice-matter mechanism in contemporary video games exhibits counter-gaming aesthetics that initiates the affective potential of players-avatar's becoming-posthuman. Narrative divergences do not signify arborescent lineage or predestined causality. Nor are player choices representations of the Same, identity, ideology, coding of language, and symbolic structure. Choices are embodied and ethical intra-actions that serve as singularities of player-avatars' becoming and foding. They are interconnected with the exterior between actuality and virtuality, thereby forming a rhizomatic topological relation. It ushers in a paradigmatic shift from segmented temporalities, spaces, and binary actualizations to indivisible duration, mapping, and affective virtuality. This non-representational assemblage opens up molecular vitalistic possibilities foreclosed by molar discursive power. It enables differential player-avatars to repeat differences and self-overcome traditional humanist presumptions about human/player through will to power in the eternal return of playthroughs. Players' choices are therefore intermingled with their onto-epistemological deterritorialization and reterritorialization from the dialectic power structure, under which contemporary structural violence, social injustice, and ethical aporia are dehumanizing human lives. Player-avatars as posthuman subjects are nomadic, vitalizing bodies-without-organs. Through choice-matter, they engage in an affective assemblage with other material subjects on the videogame plane of consistency.
Delving into player choices under differential situated posthuman conditions, the dissertation is composed of five chapters. Chapter 1 conceives of player choices of rewinding time in Life is Strange (2015) as butterfly affect, which enables players to exceed frames of Man and engage with those high school females victimized by the patriarchal violence. Chapter 2 explores moral choices in Life is Strange 2 (2018-9) as Mexican-American brothers' desire of becoming-wolves that upsets criminological binaries through the rhizomatic folding of the border-crossing event. Chapter 3 examines the replicant protagonist's choice to sacrifice himself in Ending D of Nier: Replicant (2010/2021) as a process of becoming-imperceptible that eludes autoimmunitary crisis of self-defending against the alterity. Chapter 4 analyzes how the choices between eliminating monsters and coexisting with them in Undertale (2015) manifest player-avatars' will to power in each playthrough's eternal return, to self-overcome the traditional RPG preconception of resetting the game to win. Chapter 5 interprets the final choice of destroying or retaining the canvas in Clair Obscur: Expedition 33 (2025) as an affective opening for the dis/abled body to rediscover vitalistic drives between fictional art and reality.

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