劇場裡最貴的東西是座位。導演排一場母子對手戲，先決定的往往不是台詞，而是觀眾坐在哪一側：看母親的臉，還是看兒子的背影。《看見幻貓又何妨》把這個決定做到極端，座位直接換成一隻貓，一隻只有少年看得見的貓。

這部由和田淳執導的VR動畫，在2026年10月18日晚間的高雄電影節頒獎典禮上拿下XR金火球大獎。XR競賽入圍的是來自33國的29部沉浸式作品。講談社VR Lab的作品頁寫得明白：玩家以幻覺貓的視點，看少年在醫院裡經歷什麼，片長約37分鐘。

貓這個位置，只能看，不能插話

以下是依官方文字做的推演，不是體驗報告。一個只有少年看得見的貓，意味著觀眾與母親之間隔著一層：母親看不見這個座位，也聽不到座位上的人在想什麼。傳統電影靠剪接替觀眾選邊，鏡頭切到誰，同情就往誰那邊靠。本作的做法，依火種觀察團評審的描述，是用360度視角與場景探索讓觀眾自己轉頭去看；在這部作品裡，選邊的工作交回給觀眾的視線。

於是同一段母子互動，觀眾可以看著少年，也可以轉頭看母親。至於少年對貓說了什麼、母親站在哪裡，本輪引用的官方文字沒有交代，這裡不替它補畫面。官方介紹裡，母親みどり是獨力撫養孩子的單親媽媽，演員遊井亮子在作品頁的評論裡問了一句：親眼看見孩子和自己看不見的貓說話，父母該怎麼辦。這個問題放在貓的座位上，答案得由轉頭的方向各自去拿。

評審看到的，是視角轉了一次

金火球大獎的評審評語提到，作品在關鍵時刻透過沉浸式手法轉換觀看視角，把觀眾帶進角色的內心世界，並稱結尾引發強烈的情感共鳴。至於轉換發生在哪一刻、怎麼轉，評語沒有交代，在看到片子之前不宜替它補完。

另一邊，火種觀察團的評審談的是別的層次：作品採非寫實的畫風，雖然互動不以操作物件為主，但360度視角與場景探索，加上動畫裡藏的細節，讓觀眾主動去找。評審之一何勁旻的原話是：「我覺得能夠在裡面探索，其實就是很VR的精神。」（出處：高雄電影節「2026 XR火種觀察團大獎」頁，中文原文）同一個貓座位，一邊被讀成情感的取景框，一邊被讀成可以四處張望的觀景台。

兩個獎，兩套尺

得獎訊息裡有一處容易混。XR金火球大獎是競賽正式獎項。火種觀察團大獎是XR國際競賽的會外獎，三位評審以主題、內容、製作品質、體驗與推薦等面向評選。兩個獎各有各的尺，作品得了雙獎，不代表同一群人用同一套標準給了兩次掌聲。

火種觀察團的劇情簡介還留了一個問句：藥物讓幻覺消失、少年得以出院，卻也失去最後的情感依靠，這樣的痊癒是不是救贖。製作人石丸健二則在作品頁寫明，片名取自少年的台詞「幻視の猫が見えたら何が悪いのか？」（譯：看見幻視的貓，有什麼不好？出處：講談社VR Lab作品頁，日文原文）。這個問題由劇中人提出，座位上的觀眾既無法回答，也無法起身離席。

影展已經落幕，講談社的得獎公告是10月26日發出的。想知道貓的座位究竟坐起來如何，只能等戴上頭盔、自己轉過頭去看。

— 沈偉哲

參考來源：https://prtimes.jp/main/html/rd/p/000009099.000001719.html

參考來源：https://www.kff.tw/content/2026kff-news036

If You See a Cat: The Audience Seat Is a Cat

The most expensive thing in a theatre is the seat. When a director stages a mother-and-son scene, the first decision is rarely the lines. It is which side the audience sits on: the mother’s face, or the son’s back. IF YOU SEE A CAT (《看見幻貓又何妨》) pushes that decision to an extreme and swaps the seat for a cat that only the boy can see.

The VR animation, directed by 和田淳, won the XR Golden Fireball Award at the Kaohsiung Film Festival ceremony on the evening of October 18, 2026. The XR competition shortlisted 29 immersive works from 33 countries. Kodansha VR Lab’s project page states that the player watches from the point of view of the hallucinated cat, observing what happens to the boy in the hospital. The running time is about 37 minutes.

The cat’s seat can watch but cannot speak

What follows is inference from the official texts, not a play report. A cat that only the boy can see implies a layer between the viewer and the mother: she cannot see this seat, and she cannot hear what the occupant thinks. Conventional film uses editing to pick a side for the audience, and sympathy leans toward whoever the camera cuts to. In this work, by the Spark panel’s account, 360-degree viewing and scene exploration leave the turning of the head to the viewer; here, picking a side goes back to the viewer’s gaze.

So the same exchange between mother and son can be watched from the boy’s side, or by turning toward the mother. What the boy says to the cat, and where the mother stands, the official texts cited here do not say, and this piece does not paint them in. The official page describes the mother, みどり, as a single parent raising her son alone. Her actor, 遊井亮子, asks in her comment on that page what a parent is supposed to do on seeing a child talk to a cat they cannot see. Placed in the cat’s seat, that question gets answered by whichever way the viewer turns.

The jury saw one turn of perspective

The Golden Fireball jury’s citation says the work shifts the viewing perspective at a key moment through immersive means, taking the audience into the character’s inner world, and that its ending produced a strong emotional response. The citation does not say when or how the shift happens, and nothing should be filled in before the film is seen.

The Spark Award panel talked about a different layer. The panel noted the deliberately non-realistic look, and that although the interaction is not built around manipulating objects, 360-degree viewing, scene exploration and details hidden in the animation push viewers to look around actively. One panelist, 何勁旻, put it this way: “I think being able to explore inside it is really the spirit of VR.” (translated from the Chinese; source: Kaohsiung Film Festival, 2026 XR Spark Award page) The same cat’s seat is read as an emotional viewfinder by one jury and as an observation deck by another.

Two awards, two yardsticks

One detail in the announcements is easy to blur. The XR Golden Fireball Award is the competition’s formal prize. The Spark Award is an off-competition prize attached to the XR international competition, chosen by a three-person panel on theme, content, production quality, experience and recommendation. Each has its own yardstick, and winning both does not mean one group applauded twice on the same terms.

The Spark synopsis also leaves a question: medication makes the hallucination fade and the boy goes home, but he loses his last emotional support. Is that recovery a salvation? Producer 石丸健二 writes on the project page that the title comes from a line by the boy: “幻視の猫が見えたら何が悪いのか？” (translated: “What is wrong with seeing a hallucinated cat?”; source: Kodansha VR Lab project page, original in Japanese). The question is posed by a character, and the viewer in the cat’s seat can neither answer nor leave.

The festival has closed, and Kodansha’s announcement of the win was issued on October 26. How the cat’s seat actually feels remains for a headset and a turned head.

— 沈偉哲

Sources: https://prtimes.jp/main/html/rd/p/000009099.000001719.html

Sources: https://www.kff.tw/content/2026kff-news036

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