本文以多款單機版電玩作品為例，剖析介面中的視角和化身（avatar），並探索它們的組合模式及創意用法。本文首先將使用者介面分為軟體、硬體及溼體（wetware）三種，並觀察之間相互轉換的情形，從而引入視角和化身的議題。本文挑出三種視角作為參考項目，分別是「由內往外看」、「由外往外看」，以及「由上往下看」。至於化身的顯現狀態，則以「可見度」（visibility）為準，概分為三類：「局部或全身化身顯現」、「化身缺場但其使用的工具顯現」，以及「化身缺場且其使用的工具不顯現」。依據這些分類，本文著手整理「視角＋化身」的組合，之中，關於「雙重視角和雙重化身顯現狀態」的複雜組合部分，嘗試由「立體抽象」和「圖∕景法則」（the principle of figure/ground）的角度勾勒其設計理念的源起。延續前述分類心得，本文接著解說身體與化身的結合模式，並以三個案例為主要驗證對象，嘗試說明其能突破設計常規的原委在於將「視角＋化身」進行了怪異的組合。第一案檢視《孖寶賽車》（Mario Kart DS）中烏賊墨汁武器造成多重視角的原因。第二案分析《極速快感：熱力追緝2》（Need for Speed: Hot Pursuit 2）中的「駕駛中的我」和「觀看中的我」相撞所引發的超現實視覺刺激。第三案討論〈遊樂場〉（“Arcadia”）中的多工（multi-tasking），闡述其如何造成「化身難為」的現象。

The paper dissects the artistic uses of perspective and avatars embedded in the interface of videogames. First, the user's interface is divided into software, hardware, and wetware, and the interchangeability among them is discussed. Next pursued is the categorization of perspective into three types: “looking outward from inside,” “looking outward from outside” and “looking downwards from above.” In terms of avatarship, the paper sorts out its three states with respect to visibility: 1. the partial or whole avatar is visible on the screen; 2. the avatar is invisible while the tool it wields is visible; 3. neither the avatar nor the tool it wields is visible. Based on these parameters, the paper proceeds to analyze the design of double perspectives and double avatars in videogames, turning to “cubic abstraction” and “the principle of figure/ground” for an exposition of their possible origins. Subsequently, the paper investigates the combining modes of body and avatar and, citing three instances, illustrates how they purvey moments of aesthetic shock. In the first example, the paper examines Mario Kart DS and the origin of its multi-perspective. Regarding Need for Speed: Hot Pursuit 2, the paper discusses the visual shock caused by a clash between the driver-I and the viewer-I. Lastly, the paper delineates how the multi-tasking in “Arcadia” renders immersion impossible.