歌仔冊傳入台灣ê初期，故事ê主題大多數是teh講中國傳統ê民間故事，親像《陳三五娘》kap《孟姜女》，一直到日治時期chiah開始轉變。特別是，1932年中國發生「一二八上海事變」了後，禁止運物資來台灣，造成歌仔冊貨源ê斷絕。因為按呢，1932年mā ē-sái講是台灣ê歌仔冊開始kiâ^n家己ê路ê重要年代。1932年由嘉義玉珍漢書部出版，歌仔先麥國安、麥田兩兄弟編寫ê歌仔冊《最新百菓歌》就是tī chit款ê時代背景當中，台灣人家己創作ê歌仔冊作品。Chit部歌仔冊主要是描寫一陣有人ê才調ê果子kap植物，兩pêng pià^n武功pià^n仙術ê故事。值得注意ê是，故事內底出現ê角色，大部分是tùi日本時代台灣社會內底ê果子kap植物來化身ê虛構人物，ē-sái講是以台灣在地題材來創作ê在地化書寫。Koh加上作者主要是透過囡仔古內底「人格化」（擬人化）ê手法，hō果子kap植物化身做武功蓋世ah是法力高強ê高手tī故事內底對戰、piàⁿ輸贏，呈現出真厚ê幻想性kap趣味。本文主要是beh去觀察，歌仔冊創作者以台灣果子成做故事題材ê在地化書寫當中，透過siá^n-mih款ê手路來表現出囡仔古幻想kap笑詼ê特質，進一步去呈現台灣歌仔冊行向書寫在地化ê重要意義。

In the early period when traditional ballads (koa-á-chheh) were introduced to Taiwan, most of them were telling traditional Chinese folk stories. It did not significantly change until early twentieth century during Japanese rule of Taiwan. In 1932, traditional ballads were forbidden to import to Taiwan due to the December 28 Shanghai Incident occurred in China. It was the crucial time that force traditional ballads march toward Taiwanization. For example, ＂Chòe-sin pah-kó-koa＂ (Hundred Fruits) was written with local specialties by local writers Beh Kok-an & Beh Tiân in 1932. In this ballad, the writers personify local fruits and plants to create a fairy tale style story. This paper surveys ＂Chòe-sin pah-kó-koa＂ from the perspective of Taiwanization and fairy tale characteristics.