在攻略关卡前,玩家必须选择一个角色作为主角色(Master Character),可以选择的角色包括了历代高达作品的主人公,不仅如此,一些高人气的主人公对手角色也能成为主角色。
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So it was a theme of the period and Freud's Beyond the Pleasure Principle contributes to this theme. Brooks himself likes to -- refer to the text of Beyond the Pleasure Principle as itself a master plot-- in other words as having a certain fictive character.
所以不难发现,这就是弗洛伊德时期的一大主题,而那本《超越快乐原则》也就响应了这个主题,布鲁克斯,本人很喜欢引用《超越快乐原则》中的片段-,换句话说,就好像有一个虚构的角色。
One thinks of D. H. Lawrence's Sons and Lovers, for example, in which the central character, Paul Morel, is crippled by an Oedipus complex that he can't master and the difficulties and complications of the plot are of this kind.
拿D。H。劳伦斯的《儿子与情人》来说,里面的核心人物保罗,被自己不能控制的俄狄浦斯情节困扰,复杂多变的情节也就由此展开。
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