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Golem (ゴーレム, Gōremu?) là sinh vật được tạo ra bằng một số Ma Thuật khác nhau.

Nguồn gốc[]

Nguyên lý cơ bản của Golem có thể xem là bắt nguồn từ một đoạn kinh trong Sách Sáng Thế, viết rằng "Đức Chúa Trời nặn ra người nam từ cát bụi trên mặt đất và thổi sự sống vào lỗ mũi của anh ta." Dựa theo đoạn trên, các pháp sư muốn tạo ra "con người" giống như cách mà Thiên Chúa tạo ra Adam từ đất. Những người chế tạo Golem đầu tiên xuất hiện vào thời Israel cổ đại, khoảng giữa Thế kỷ 2 và Thế kỷ 9, và đã thiết lập nên những nét cơ bản của thuật chế tạo Golem.[1] Mỗi Golem được coi là một phôi thai, "thứ không có hình hài", và thuật chế tạo Golem được coi là "bí quyết mà Đức Chúa Trời dùng để truyền sự sống cho Adam và từ đó sinh ra nhân loại." Tuy nhiều môn sinh của trường phái này có thể nặn đất thành hình dạng mà họ mong muốn rồi khiến nó sống dậy, nhưng họ lại không thể tiến xa hơn, khám phá thuật thức tạo ra chính bản thân Adam. Đây là khao khát lớn nhất của tất các các tín đồ Kabbalah, là điều mà họ rất coi trọng. Một Golem càng được hoàn thiện theo lý tưởng đó thì nó sẽ càng trở thành một dạng tồn tại xa rời thiết kế ban đầu của họ.[2]

Chế Tạo[]

Bài chi tiết: Chế Tạo Golem

Golem thường có hình dạng con người, nhưng chúng cũng có thể mang nhiều hình dạng khác, chẳng hạn như động vật.

Các Golem theo trường phái Kabbalah được chế tạo từ đất, đá và gỗ. Tuân thủ phương pháp truyền thống, những người sử dụng thuật thức này chuyên tạo ra những Golem có hình dạng khá giống con người.[1] Trong khi những người theo trường phái Kabbalah nghĩ rằng phẩm chất của Golem sẽ tăng lên khi chúng tiến gần hơn đến hình dạng con người, các pháp sư khác lại chỉ tập trung vào việc "làm thế nào để tạo ra một Golem mạnh mẽ".[1] Nhận thức vốn có về Golem đã trở thành nhận thức về "tạo vật được sinh ra bằng phương pháp ma thuật nào đó."[2]

Các dạng Golem[]

Ma Thành Golem[]

Bảy Ma Thành Golem Khổng Lồ (七大ゴーレム「魔城」/七つの巨大なゴーレム「城」, Nana Dai Gōremu "Ma-jō" / Nanatsu no Kyodai na Gōremu "Jō"?, Thất Đại Golem "Thành Trì") là bảy golem với kích thước tương tự như một toà thành được tạo ra bởi bậc thầy hình nhân Tử Tông Van-Fem, sức mạnh của những golem này vẫn chưa rõ ràng nhưng có vẻ chúng là phương pháp tấn công chính yếu của hắn. Không rõ liệu phương pháp chế tạo của hắn có tuân theo các quy tắc đương thời hay theo một phương pháp hoàn toàn khác biệt.

Jester[]

Một trong những thân xác của Jester Karture là một Golem bằng thép và có khả năng tự phá hủy.[3]

Jubstacheit[]

Acht

Jubstacheit von Einzbern

Jubstacheit von Einzbern là một Golem hình người.[4]

Golem trong Fate/Labyrinth[]

Bài chi tiết: Mê Cung Thứ Bảy của Caubac Alcatraz

Thư viện ảnh[]

  • Golem trong Fate/Grand Order:
  • Golem Khiển Sứ Linh của Avicebron:
  • Golem trong Fate/Labyrinth:
  • Khác:

Chú thích[]

  1. 1,0 1,1 1,2
    [v] Fate/Apocrypha material - Encyclopedia: Golem [Others], trang 165-166 [T]

    Golem [Others]
    Artificial soldiers made of earth, stone or wood, which Avicebron manufactures. The concept of golems traces back to Ancient Israel, and the basics of their manufacture are said to have arisen sometime between the 2nd to 9th centuries. However, if you trace it back further, golems originate from a passage in Genesis that says “The Lord molded man out of the dust of the ground and breathed life into him through his nostrils”.
    In other words, golems were originally an attempt to make “humans”. Therefore, their quality is considered higher the closer they are to being human. However, that is only the ideal golem in Kabbalist thinking, and regular magi might simply devote themselves on “how to make a strong golem”.
    Avicebron’s magecraft is fundamentally specialized solely for the sake of making golems, and his techniques have already reached a level that modern magi cannot catch up to, letting him spend his whole life playing around while living off just the sales from his golems. It’s only natural that Roche idolizes him.
    To make something close to human is the concept of Avicebron’s golems, but he’s willing to make completely different kinds of golems to amuse himself as well. The steel horse he made to act as Vlad III’s steed was a simple yet prided product of his, and even just the gems used for its eyes were worth hundreds of millions.
     After the war, some of his golems actually managed to just barely survive, and though most of them were sold off, a few golems went to a new land with the homunculi.

    ゴーレム【その他】
    アヴィケブロンが生産する土塊、または石や樹木で構成された人造の兵士たち。ゴーレムの概念は古代イスラエルまで遡り、製法の基礎的な部分は大体二世紀から九世紀時点で成立していたとされる。だが、更に言うのであればゴーレムは創世記の「主は土くれで人間を形作り、鼻から命を吹き込んだ」というくだりに由来する。
    つまり、ゴーレムとはそもそもが「人間」を作ろうとする試みなのである。従って、ゴーレムは人間に近ければ近いほどに高品質と言える。もっとも、それはあくまでカバリストの考える理想的なゴーレムであって、魔術師ならば「如何に強力なゴーレムを造るか」に腐心するべきなのかもしれない。
    アヴィケブロンの魔術は基本的にゴーレムを造ることのみに特化しており、彼の技術は既に現代の魔術師が追いつけない領域に到達している、ゴーレムを売り捌くだけで一生遊んで暮らせるレベル。ロシェが傾倒してしまうのも無理はない。
    人間に近いものを、というのがアヴィケブロンのゴーレムのコンセプトであるが、それはそれとして手慰みに全く異なるコンセプトのゴーレムを造るのも吝かではない。ヴラド三世の乗馬用に作成した銅鉄馬は地味な白信作で、瞳につける宝石だけでも億単位だったとか。
    大戦後、実は一部のゴーレムたちも細々と生き残っており、ほとんどは売却されたもののわずかなゴーレムはホムンクルスと共に新天地へと向かったとか。


  2. 2,0 2,1 Fate/Apocrypha - Tập 3
  3. Fate/strange Fake Tập 7 - Giao đoạn: Audition
  4. [v] Fate/stay night [Unlimited Blade Works] Season 2 DVD Booklet Animation Elements p.19-27 [T]

    • The origins of Einzbern
    A factory originally created by the students of the magician who realized the third magic. Began in the year 1 AD.
    They attempted to reproduce their master’s miracle, but couldn’t do it themselves, so as an alternate plan they tried to recreate a specimen identical to their master and have it reproduce the magic.

    After nearly 900 years of effort, Justeaze—the homunculus who would come to be called the Winter Saint—was forged.
    She was a model that strayed from what the magi had intended, created completely by accident, but her abilities were equal to or above those of their master.
    The magi should have been elated about Justeaze, but they couldn’t be happy. After all, she was a mutation that was born regardless of their own techniques or skills.
    Even if that specimen was to reproduce the third magic, that conclusion would be harder for them to bear than 900 years of failure.

    The magi deperately attempted to create a homunculus that excelled Justeaze by their own techniques.
    The artificial intelligence created to act as the castle’s central management—the golem Jubstacheit—was the pinnacle of their craft, and became the father of all homunculi created at Einzbern.

    Justeaze succeeded at proving the third magic.
    However, it was not cost-effective. Justeaze’s use of the third magic was like careful knitting. It would take several years to save just one person, making the salvation of the entire human race virtually unattainable.
    In addition, while Justeaze herself did not age, her body was so frail it would take little to kill her, so she could not leave the castle.
    Since her intelligence and mentality were also unaging, she did not develop at all. From an outside perspective, it was as if she was repeating a single day for all eternity.
    If she were to leave the castle she would be freed from this “single day,” but the act of leaving the castle signified an easy death for Justeaze.

    In the end, they accepted that humans could create something that surpassed humans, but not something that could save humans.
    … Or perhaps they would not have failed if a miracle like Justeaze had not occurred.

    The magi despaired the limits of their abilities. Some abandoned the castle, while others took their own lives.
    The homunculi left at Einzbern were abandoned by their creators, but in their purity, they continued to operate the factory for the sake of the creators’ ideology—the salvation of humankind, the reproduction of a miracle.

    From then on, all homunculi created at Einzbern were based off of Justeaze.
    Jubstacheit created a humanoid terminal unit, and used it as the manager of Einzbern. Though by the end he operated even Acht (the eighth humanoid terminal), he did not possess a personality.
    He only included the necessary “humanity” to operate the castle and reproduce the third magic into each of his humanoid terminals, and made them act like humans.
    Jubstacheit is essentially an automaton that cannot progress, but continues operating in perpetuity. His way of existence is just like an old clock ticking away, being forgotten by people before running down.

    • The great grail
    Five hundred years after the magi departed from Einzbern, a model plan was devised for a wide-area operation device for the third magic using Justeaze.
    Einzbern had determined that reproducing Justeaze was impossible.
    Their plan of keeping Justeaze safe because she was a unique and valuable model switched to a plan to use that unique model to mass-produce miracles.
    (This was not Jubstacheit’s plan, but a consensus of opinion within Einzbern. Because the homunculi were pure, they chose the method with the greatest probability of success. In fact, Jubstacheit was the only intelligence that voted against this.)

    Justeaze could only use the third magic on one human over a period of decades. Therefore, using Justeaze as a frame, they would create a “greater” magic formula and save many humans at once.
    The plan was to disassemble her magic circuits and replace them with a magic formula, creating a humanoid universe—the great grail.

    But Einzbern alone could not start this project.
    They were no more than dolls. They had no way to live in the outside world, and they couldn’t handle the complexity of human society.
    To create the great grail and reproduce the third magic, they needed understanding and cooperative humans.

    Then, in the year 1800, a guest arrived at the winter castle that had continued to produce homunculi.
    Makiri Zolken. A magus who had devoted his life to eliminating all the evils of the world, the evils of humanity.
    (At this point, Zolken was mostly disillusioned. He knew it was about time to give up, but calling on Einzbern was his last hope. He met Justeaze, and felt a complicated mix of emotions—hope towards fulfilling his ambition, jealousy at her ability to use the third magic, and pity for Justeaze’s eternal youth causing her to “repeat the same day.”)

    With Makiri’s understanding and Tōsaka’s cooperation, Einzbern began to create the great grail.
    However, once they started, they determined that Justeaze alone was not enough.
    They could create a great grail. They could create its core. However, to operate it they would need vast amounts of magical energy, and a lesser grail to control it.
    Makiri and Tōsaka devised a ritual to collect magical energy using Justeaze’s ability to connect with the root: the grail war.
    Despite being unable to reproduce Justeaze, Einzbern created a lesser grail with similar abilities to hers.

    After 10 years, the project was finally complete.
    The grail war ritual was successful, and the great grail lit up.
    But its first operation ended in dismal failure.
    There was no flaw in the great grail itself.
    The problem lay in the craftsmen and magi who participated.
    Instead of using the precious magic reactor core for the sake of the whole planet, the magi killed each other out of a desire to use it for the sake of their own race or society.
    Einzbern had been unable to understand the thought processes of the humans who operated the great grail.

    • Irisviel and Illyasviel
    Einzbern learned from the failure of the grail war and changed their plans.
    Justeaze no longer existed.
    While preparing to restart the great grail, they returned to their original goal and focused on creating a perfect homunculus.

    As a result, they created Irisviel, a homunculus with the function of a lesser grail. They expanded on her further and Illyasviel, a homunculus that was the pinnacle of Einzbern’s technique, was born.

    • Tuners
    This is a digression, but separate from the winter castle is the tuners’ building (a small house), inhabited by a family of human magi, not homunculi.
    Since the homunculi cannot negotiate with human society, the tuners went into town in their place and barter for needed materials. Traders, essentially.
    Still, they are a talented magus family, and possess strong artistry. Humans without strong aesthetic sense could never take care of Einzbern, after all.
    The tuner family’s numbers dwindled along with Einzbern’s decline, and in the end only one remained.
    It seems he often worked in the castle as a butler, teaching the secluded, medieval-minded homunculi about the outside world.

    It’s unknown what kind of conclusion that tuner chose after Illya lost and Jubstacheit shut himself down.

    • In summary: so what is Einzbern?
    A factory in which homunculi continued operating towards the ideals and goals humans had given them, after the magi had left.
    Jubstacheit is something like the factory’s central management program. A monolith. Acht is his terminal.
    Even after their creators had given up and died, the homunculi in the winter castle devoted themselves to making their masters’ dream come true.

    What lies at the basis of the Einzbern factory and many discarded things is the purity of machines.
    Imagine a doll that can speak to its owner, but only a few phrases.
    “Hello,” “thank you,” “I’m sorry,” “good night”—“I love you.”
    These reactions delight the buyer, but it’s clear that they will soon be disappointed.

    “No matter what I say, the doll can only say predetermined phrases. It just keeps repeating that tired old ‘I love you.’ ”
    Realizing that the love the doll speaks of is a false emotion, the buyer will likely discard it eventually.
    But humans are the ones who see that as empty words and a manufactured fake.
    Even if it doesn’t have a “heart,” even if it’s only repeating the same words, there are no lies in the actions of machines.
    They innocently carry out the task they were given.
    “I love you.”
    Though abandoned, forgotten, and scorned as out-of-date dolls, they continue to carry out their mission, unchanged from the time they were designed.
    Machines do not lose their worth when a newer model appears.
    Their worth (life) ends when humans can no longer bear that purity.

    ■アインツベルンの始まり

     もともとは第三魔法を実現化した魔法使いの弟子たちが起こした工房。西暦元年から続く。

     彼らは師の奇跡を再現しようと試みるも自分たちの手では叶わず、代案として師と同一の個体を作り、その個体 に魔法を再現させようとした。

     

     九百年近くの徒労の末、後に冬の聖女と呼ばれるホムンクルス、ユスティーツァが鋳造される。

     彼女はまったくの偶然で作られた、魔術師たちの思惑とは外れたモデルだったが、その性能は彼らの師と同様か 、それを上回るものだった。

     本来なら歓喜で迎えられる筈のユスティーツァだが、魔術師たちは素直には喜べなかった。

     なにしろ自分の技術、努力とは関係なく生まれた突然変異だ。

     仮にこの個体が第三魔法を再現してしまった時。

     それは彼らにとって挫折し続けた九百年の歳月より耐えがたい〃結論〃になってしまう。

     

     魔術師たちはユスティーツアを超えるホムンクルスを自らの技術体系で作りだそうと躍起になった 。

     城の中枢制御用に作られた人工知能 …… ゴーレム・ユーブスタクハイトは彼らの技術の結晶であり、アインツベルンで作られるホムンクルスたちすべて の父となった。

     

     ユスティーツァ、第三魔法の証明に成功。

     ただしコストが悪い。ユスティーツァの第三魔法は丁寧な編み物に近い。人間一人を救済するのに数年をかける ようなもので、全人類の救済にはとても届かない。

     また、ユスティーツァ自身も不老ではあるが体

     

     は脆弱で死にやすく、城の外には出られない。

     その知性、精神性も不老である為、まったく成長しない。客観的に見れば「同じ一日を永遠に繰り返している」 ようなもの。

     城の外に出れば彼女は「同じ一日」から解放されるが、城の外に出る事はユスティーツァにとって緩やかな死を 意味する。

     

     結局のところ。

     人の手で人間を超えるものは作れても、人の手で人間を救えるものは作れない、と彼らは受け入れ た。

     .....あるいは。ユスティーツァという奇跡さえ発生しなければ、彼らの挫折は訪れなかったのかもしれな いが。

     

     魔術師たちは自らの才能の限界に膝を折り、あるものは城を捨て、あるものは命を断った。

     アインツベルンに残されたホムンクルスたちは創造主に捨てられたものの、その純粋さから彼らの 理念—

     人類の救済、奇跡を再現するために工場を回し続ける事になった。

     

     以後、アインツベルンで作られるホムンクルスはすべてユスティーツァをベースにしたものとなる 。

     ユーブスタクハイトは人間型の端末筐体を製造し、これをアインツベルンの管理者として使用する。最終的には アハト(八代目の人型端末 )まで稼働するユーブスタクハイトだが、彼に人格は存在しない。

     あくまで〃城を動かすもの〃〃第三魔法を再現するもの〃として、その都度、必要な〃人間性〃を人型端末に植 え付け、人間のフリをさせている

     

     

     にすぎない。

     ユーブスタクハイトの本質は〃進歩できないかわりに、永久に稼働し続ける〃オートマトンである。そのあり方 はユツユツと時を刻み、自壊する前に人々の記憶から忘れ去られる古時計そのものだ。

     

     ■大聖杯

     アインツベルンから魔術師たちが去ってから五百年後。

     ユスティーツァを使った第三魔法の広域稼働装置のモデルプランが作られる。

     アインツベルンはユスティーツァの再製造は不可能と結論。

     一機しかいない貴重なモデルなので保存してお、くという方針から、一機の貴重品を使って奇跡を量産化する、 という方針に切り替えた。

     (これはユーブスタクハイトの方針ではなくアインツペルンの総意。ホムンクルスたちは純粋なので、より可能 性のある方法を選んだ。むしろユーブスタクハイトは唯一、反対に票を投じた知性だった)

     

     ユスティーツァでは何十年かけて人間ひとりにしか第三魔法を使用できない。

     なのでユスティーツァという機体を使って「より大きな」魔術式を作り、一度に多くの人間を救え ばいい。

     彼女の魔術回路を分解し、魔術式に置換した人体宇宙—大聖杯の構想である。

     

     しかしアインツベルンだけではこのプロジェクトを始められない。

     彼らは人形にすぎない。外の世界で生きる術を

     

     

     

     持たず、また、人間社会の複雑さには耐えきれないからだ。

     大聖杯—第三魔法の再現には人間の理解者と協力者がいる。

     

     そして西暦1800年。

     延々とホムンクルスを作り続けていた冬の城に来訪者が現れた。

     マキリゾォルケン。この世すべての悪人間の悪性、その切除に人生を捧げた魔術師だ。

     (ゾォルケンもこの段階でほぼ夢破れている状態。もう諦めるべきだと分かっていながら、最後の希望でアイン ツベルンを訪れた。そうしてユスティーツァに出会い、悲願達成への希望、第三魔法を可能とするユスティーツ ァへの羨望、不老の代償に『一日を永遠に繰り返す』ユスティーツァへの哀れみ等の複雑な感情に とらわれる )

     

     マキリという理解者、遠坂という協力者を経てアインツベルンは大聖杯の建造を開始。

     しかし。大聖杯の建造に着手した時、ユスティーツアだけでは足りない事が判明した。

     大聖杯は建造できる。炉心は確実に作れる。

     しかし、これを動かすには莫大な魔力と、それを制御しうる小聖杯が必要だ。

     マキリと遠坂は魔力集め—根源と接続できるユスティーツァの特性を生かした儀式、聖杯戦争を立 案。

     アインツベルンはユスティーツァの再現といかずとも、彼女に近い性能を持った小聖杯を作成する 事になった。

     

     十年の歳月を経て計画は成就した。

     儀式・聖杯戦争は成功し、大聖杯に灯がともった。

     

     

     だが一度目の運転は、無残な失敗に終わった。

     大聖杯に落ち度があったのではない。

     参加した技術者、魔術師たちに問題があったのだ。

     せっかくの魔術炉心を魔術師たちは惑星のために使うのではなく民族のため、己が社会のために使おうと殺し合 った。

     大聖杯を運営する人間の思惑を、アインツペルンは理解できていなかったのだ。

     

     ■アイリスフィール、イリヤスフィールまで

     失敗に終わった聖杯戦争を教訓に、アインツベルンは方針を改めた。

     もうユスティーツァは存在しない。

     彼らは大聖杯の再稼働を進めながら、当初の目的に立ち返った。完成されたホムンクルスの製造に 注力した。

     

     その結果、小聖杯としての機能を持ったホムンクルス・アイリスフィールが作られ、さらにその発展—アインツ ベルンの全技術の最高水準であるホムンクルスであるイリヤスフィールが誕生した。

     

     ■調律師

     余談ではあるが、冬の城のはずれには調律師たちの離れ(小さな洋館)がある。

     ここにはホムンクルスではない人間の魔術師の一族が住んでいる。

     彼らは人間社会とうまく交渉できないホムンクルスたちの代わりに町に出て必要な物資を交換してくる、いわば 商人だ。

     とはいえ腕の立つ魔術師の一族であり、彼ら自

     

     身も高い芸術性を持っている。優れた美術観を持つ人間でなければアインツベルンの面倒は見られ ないからだ。

     調律師の一族もアインツベルンの衰退とともにこ数を減らし、最後には一人を残すのみとなった。

     彼は人間社会にうとく中世の感覚のまま暮らしているホムンクルスたちに外の世界を教える執事として城で働く 事も多かったという。

     

     イリヤが失敗し、ユーブスタクハイトが自らの電源を落とした後、この調律師がどのような結末を選んだかは定 かではない。

     

     ■まとめつまり,アインツベルンって何?

     魔術師がいなくなった後、彼らに作られたホムンクルスたちが、人間の目指した理想と目的のために稼働し続け ている工場。

     ユーブスタクハイトは工房の中枢制御プログラムのようなもの。モノリス。アハトはその端末。

     ホムンクルスたちは創造主があきらめ死に絶えた後も、冬の城で主が夢見たものを叶えようと研鑽 していた。

     

     アインツベルンの工房、多くの廃棄物たちの根底にあるのは機械の純粋さ。

     たとえば「数パターンにすぎないが、持ち主に話しかけられると返事をする人形」があるとする。

     『ごきげんよう』 『ありがとう』 『ごめんなさい』 『おやすみなさい』—『あなたを愛しています』その反応に喜ぶ買い主だが、すぐに失望するのは 明白だ。

     〃私が何を言おうと人形は決まった台詞しか言わない。愛しています、なんて聞き飽きた言葉を

     

     

     繰り返す〃

     

     人形が語っていたのは偽物の愛、偽物の感情だ青だと思い知り、買い主はいずれ人形を破棄するだ ろう。

     だが、それを空虚な言葉、作られた偽物と感じているのは人間側の事情だ。

     たとえそこに『心』がなく、同じ言葉を繰り返すだけだとしても、機械の行いに嘘はない。

     彼らは無心に、与えられた仕事をこなし続ける。

     『あなたを愛しています』と。

     捨てられ、忘れ去られ、時代遅れの人形と蔑まれても、彼女たちは作られた時の制作意図から変わることなく使 命を果たし続ける。

     機械がその価値を失うのは次の代用品が現れた時、ではなく。

     人問がその純粋さに耐えきれなくなった時、彼らの

    いのだ価値は終わるのだ。


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