本論文透過瀟湘神的《金魅殺人魔術》（2018），探討奇幻推理小說如何讓妖怪生成為臺灣民俗文化的過程。首先以「為何是日治時期？」的提問來說明小說如何回應日殖、解嚴、臺灣文化主體和世界性等議題，在此基礎上去分析作者創作奇幻推理小說的理念，以及小說如何以時空切換的手法，創造出臺灣在地妖怪的脈絡與場所，接著再藉由儒學和言說之法，建立起臺灣在地妖怪的存有論和生成技術。

Focusing on Xiaoxiang Shen’s The Return of Kim-tshai (2018), this essay analyzes the process of how this fantasy-detective novel transforms yōkai into part of Taiwanese folklore culture. First, this essay explicates the question about why the Japanese colonial period becomes indispensable for producing yōkai. This question leads to the further investigation of how the past history responds to various issues in colonial and post-martial-law Taiwan and Taiwan’s cultural subjectivity in relation to the world.
Second, this essay based on previous discussion examines the author’s ideas about writing fantasy-detective novels as a genre and his writing techniques of switching time and space to historicize and locate indigenous yōkai in Taiwan. The final part furthermore examines how this novel borrows Confucius philosophy and a way of “speaking” to create the ontology and breeding technology of Taiwanese yōkai.