布袋戲的發展過程中，充滿了跨平台的歷史軌跡，從戲棚到電視到電影，再到PC和網路，產生了極大的平台差異性，同時也由於平台的轉換，促使布袋戲一再演化，也造就如今台灣文創的重要指標－霹靂布袋戲。然而儘管布袋戲的平台一再更迭，但其表現內容卻都不脫聲光影音的呈現，因而布袋戲作為一種「影音文本」的藝術特質並沒有改變。這個現象在霹靂國際多媒體推出了由布袋戲劇情所編寫的布袋戲小說後，開始有了不同，由於小說此一藝術門類，乃是以文字符號為藝術媒介，因此小說是很明顯的「文字文本」。布袋戲原初的「影音文本」與後來的「文字文本」之間在屬性上有極大差異，因此其文本轉換所面臨的問題，便是探討跨文本的一個極好的研究範例。本研究將針對布袋戲不同文本的差異性作分析，發現即使同具影音成分的其他文本，都無法重現布袋戲「偶戲」的核心元素。這在文字文本的小說中更見其與布袋戲原初文本的距離。此外，當前霹靂布袋戲小說乃是以武俠形式的撰寫角度，進行對於布袋戲的文本轉換，本文認為此舉更與霹靂布袋戲所標榜的「奇幻武俠」有極大落差，必須開創全新的撰寫形式，方能符應霹靂布袋戲「偶戲」與「奇幻」兩大特性。

The development of the puppet show is full of cross-platform history. From the studio to the TV, film, PC and the network, resulting in a great platform differences. As the result of platform conversions, promote the evolution of puppetry. Also created an important indicator of Taiwan's culture and creative - Pili puppet show. Although the puppet theater platform changes again and again, but its performance content is inseparable from the audio and video. So the puppet theater belongs to ＂audio and video text＂, this artistic characteristics have not changed. This situation have a difference, after the Pili International Multimedia Co. launched the puppetry novel. As the novel is based on text symbols for the media, so it is very obvious a ＂text text＂. The puppet show was originally ＂audio-visual text＂, which is very different from the later ＂text-text＂. Its text conversion is a good example of exploring cross-text. This research is aimed at analyzing the difference of the ＂puppet play＂ in different texts. We found that even with other audio and video composition of the text, can not reproduce the puppet show ＂puppet play＂ element. This situation in the puppetry novels, we can more clearly see the differences between text text and Audio-visual text. In addition, puppetry novels of Pili were written in the way of martial arts novels, this is very different fom ＂fantasy martial arts＂ marked by Pili puppet show. Pili must create a new form of writing, in order to meet its ＂puppet play＂ and ＂fantasy＂ two characteristics.