《盜墓筆記》：黃昏世界的絕唱《盜墓筆記》是網路類型文學「盜墓小說」中的翹楚，也是2000年代網路小說和流行文化的代表之一。作為小眾類型中推出的現象級作品，《盜墓筆記》的走紅和2010年代的沒落，都是作品自身特色、類型文學積澱、時代環境和心態共同促成的結果。本文認為，首先，《盜墓筆記》通過吸收不同類型文學的經驗突破了狹小題材對長篇的限制：作為恐怖文學，《盜墓筆記》屬於「志怪恐怖」，同時吸收「哥特恐怖」乃至探險、黑幫文學的資源。其次，《盜墓筆記》創作於網路文學、ACGN文化和粉絲文化在中國剛剛興起的時代，和它們結合並形成了以「燒腦」和「走心」為核心的獨特粉絲文化。這些原因有助於《盜墓筆記》的流行，但更為個性的原因：如《盜墓筆記》發揮志怪傳統懷疑既有知識體系、從作者個人經歷出發懷疑人類理性，都同時關係著小說及其類型的興盛和衰——2010年代，滋養整個恐怖類型文學的躁動不安、價值重審、對曖昧、模糊的興趣已經消退。在崇尚「正能量」，非黑即白的時代，注目於黃昏的《盜墓筆記》必會成為絕唱。

Daomu Biji (henceforth Daomu) is not only an outstanding work of the “tomb-raiding” genre, but also a representative of Internet literature and popular culture in the 2000s. A phenomenal work born from a niche genre, Daomu, through its rise in the 2000s and fall in the 2010s, has revealed the complicated interactions between the author’s personal style, the heritage of various genres, the social environment and the mentality of the time. This article first argues that Daomu, by absorbing elements from different genres, has overcome its own genre’s weakness in composing long novels due to the particularly narrow theme. As a horror novel, Daomu fits in the category of Zhiguai (“tales of the strange”) horror, while integrating beneficial elements from Gothic horror, adventure and Mafia literatures. Second, the article points out that Daomu was written in a time when Internet literature, ACGN culture and fandom culture were all starting to flourish in China. In combination with these then newly popularized cultures, Daomu has developed its own fandom culture, highlighting “brainstorming” and “serious devotion”. While these features facilitated the popularization of the novel, more particularized factors account for the rise and fall of the novel and its genre. For example, Daomu, within it Zhiguai tradition, problematizes the truism of existing human knowledge, while also ,from the author’s own life experience, problematizing rationality. In the 2010s, however, the societal anxiety, the reevaluation of principles, as well as the interest in seeking ambiguities and transgressing boundaries, which together once nurtured the horror literature, have all bitten the dust. In a time that emphasizes “positivity” and tries to draw a clear line between good and bad, brightness and darkness, such work as Daomu, which focuses on the “twilight zone” in between, is doomed to become the swan song of its kind.