改編，作為一種符際翻譯的活動，研究領域多年來著重於「銀幕文學」，也就是小說到電影的改編，對於「電玩到影視」的討論則相當有限。細究其因，應與電玩遊戲於大眾視野中的定位有關，許多人認為電玩是新創、幼稚、較「低等」的娛樂，而以美國好萊塢為大宗的電玩改編電影作品更是良莠不齊，間接加深了此一印象。然而，近年來電玩遊戲逐漸愈趨流行，產業規模已超越全球電影與音樂市場，與電玩被視為玩具的時代已不可同日而語，其中不乏一些發人深省、深具藝術價值的作品。本研究探討的動作冒險遊戲《最後生還者》（The Last of Us），便是其一。藉由辨別不同媒介的特質、長短，以及敘事與角色上的轉換，本研究分析《最後生還者》從電玩原作（2013）到HBO影集（2023）改編的過程，發現改編作品不但能夠藉由互文性豐富原作，更能將優秀的文本譯介給更廣大的受眾。

Adaptation, as a form of intersemiotic translation, has found most of its academic interest in terms of literature on screen, or book-to-film adaptations. Game-to-screen adaptations, by contrast, have received minimal attention, perhaps largely due to their novelty, the popular opinion that games are childish toys or a "lesser" form of entertainment, and the unfortunate history of their Hollywood entries receiving poor critical and commercial receptions. Contrary to a now outdated belief, video games carry great artistic potential and can tell profound and deeply emotive stories. This study examines a comparatively successful case of game-to-screen translation: the 2023 HBO television adaptation of the acclaimed 2013 action-adventure game The Last of Us. By identifying the affordances specific to each medium and the shifts in narrative and characters across the adaptation process of The Last of Us, we hope to extrapolate our findings to game-to-screen adaptations and perhaps even intersemiotic translation in general. As such, adaptational works not only serve to enrich their source material through intertextuality, but may also introduce a text to a far wider audience.

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