Scott McCloud: Understanding comics

Prevoditelj: Mislav Ante Omazić - EFZG Recezent: Ivona Papa

Od pet čula

Of the five senses, vision is the one that I appreciate the most,

vid je ono koje najviše cijenim,

and it's the one that I can least take for granted.

i najmanje uzimam zdravo za gotovo.

I think this is partially due to my father, who was blind.

Mislim kako je to djelomično zbog mog oca, koji je bio slijep.

It was a fact that he didn't make much of a fuss about, usually.

Činjenica je kako on nije od toga stvarao prevelik problem, najčešće.

Jednom kada smo išli u Novu Škotsku,

One time in Nova Scotia, when we went to see a total eclipse of the sun --

da vidimo potpuno pomračenje Sunca --

(Laughter)

da, isto ono koje se spominje u pjesmi Carly Simon,

Yeah, same one as in the Carly Simon song,

koje se može a i ne mora odnositi na

which may or may not refer to James Taylor, Warren Beatty

James Taylora, Warren Beattya ili Mick Jaggera; nismo stvarno sigurni.

or Mick Jagger; we're not really sure.

Dali su nam one tamne plastične folije

They handed out these dark plastic viewers

koje su nam omogućavale da gledamo ravno u sunce

that allowed us to look directly at the sun

a da pri tome ne oštetimo oči.

without damaging our eyes.

But Dad got really scared; he didn't want us doing that.

Ali otac se jako uplašio:

nije htio da to napravimo.

He wanted us instead to use these cheap cardboard viewers,

Umjesto toga, htio je da koristimo jeftine kartonske okvire

so that there was no chance at all that our eyes would be damaged.

tako da nije bilo teorije da nam se oštete oči.

I thought this was a little strange at the time.

U to vrijeme mi je to bilo pomalo čudno.

What I didn't know at the time

Ono što tada nisam znao

was that my father had actually been born with perfect eyesight.

jest da je moj otac bio zapravo rođen sa savršenim vidom.

When he and his sister Martha were just very little,

Kada su on i njegova sestra Marta bili jako mali,

njihova mama ih je povela da vide potpuno pomračenje --

their mom took them out to see a total eclipse --

or actually, a solar eclipse --

u stvari pomračenje sunca --

i nedugo nakon toga,

and not long after that, both of them started losing their eyesight.

oboje su započeli gubiti vid.

Decades later, it turned out that the source of their blindness

Desetljećima kasnije,

ispalo je kako je izvor njihova sljepila

bila najvjerojatnije neka vrsta bakterijske infekcije.

was most likely some sort of bacterial infection.

Koliko najbolje možemo zaključiti,

As near as we can tell, it had nothing whatsoever to do

to nije imalo apsolutno nikakve veze s pomračenjem sunca,

with that solar eclipse,

but by then my grandmother had already gone to her grave

ali do tada je moja baka već otišla na onaj svijet

misleći kako je to bila njena krivica.

thinking it was her fault.

So, Dad graduated Harvard in 1946,

Tako je otac diplomirao na Harvardu 1946.

married my mom,

oženio se mojom majkom,

i kupio kuću u Lexingtonu, Massachusetts,

and bought a house in Lexington, Massachusetts,

where the first shots were fired against the British in 1775,

gdje su ispaljeni prvi meci protiv Britanaca 1775.,

although we didn't actually hit any of them until Concord.

premda ih nismo u stvari pogodili sve do Concorda.

He got a job working for Raytheon designing guidance systems,

Dobio je posao radeći za Raytheon,

dizajnirajući sustave za navođenje,

which was part of the Route 128 high-tech axis in those days --

koji su bili dio Rute 128, tehnološke osi tog doba --

so, the equivalent of Silicon Valley in the '70s.

ekvivalentu Silikonske doline iz 1970-ih.

Dad wasn't a real militaristic kind of guy;

Tata nije bio pravi vojnički tip,

he just felt bad that he wasn't able to fight in World War II

samo mu je bilo strašno žao što se nije mogao boriti u II. svjetskom ratu

on account of his handicap,

zbog svog hendikepa,

premda su ga pustili da

although they did let him get through

the several-hour-long army physical exam

obavi višesatni vojni test fizičke spreme

before they got to the very last test, which was for vision.

priej nego što su došli do zadnjeg testa,

koji je bio test vida.

(Smijeh)

(Laughter)

So Dad started racking up all of these patents

Tako da je otac počeo osmišljavati razne patente

and gaining a reputation as a blind genius, rocket scientist, inventor.

i dobio reputaciju slijepog genijalca, znanstvenika, inovatora.

Ali nama je on jednostavno bio otac,

But to us he was just Dad, and our home life was pretty normal.

i naš je život u kući bio prilično normalan.

As a kid, I watched a lot of television

Kao dijete, puno sam gledao televiziju

and had lots of nerdy hobbies like mineralogy and microbiology

i imao puno štreberskih hobija

kao što su minerologija i mikrobiologija i svemirski program

and the space program and a little bit of politics.

i pomalo politika.

I played a lot of chess.

Puno sam igrao šah.

But at the age of 14, a friend got me interested in comic books,

Ali kada mi je bilo 14 godina,

jedan prijatelj me zainteresirao za stripove,

i odlučio sam kako je upravo to ono što žellim raditi.

and I decided that was what I wanted to do for a living.

So, here's my dad:

Znači, evo mog oca:

on je znanstvenik, inženjer i radi za vojsku.

he's a scientist, he's an engineer and he's a military contractor.

I on ima četvero djece, točno?

So, he has four kids, right?

One grows up to become a computer scientist,

Jedno odraste i postane informatičar,

jedno odraste i ode u mornaricu,

one grows up to join the Navy,

one grows up to become an engineer ...

jedno odraste i postane inženjer,

And then there's me: the comic book artist.

i onda imate mene:

crtač stripova.

(Laughter)

(Smijeh)

Which, incidentally, makes me the opposite of Dean Kamen,

Što me, sasvim slučajno, čini suprotnim Dean Kamenu,

jer ja sam crtač stripova, sin izumitelja,

because I'm a comic book artist, son of an inventor,

dok je on izumitelj, sin crtača stripova.

and he's an inventor, son of a comic book artist.

(Smijeh)

(Laughter)

Točno, to je istina.

Right? It's true.

(Pljesak)

(Applause)

The funny thing is, Dad had a lot of faith in me.

Smiješno je što je otac imao jako puno vjere u mene.

Imao je vjere u moju sposobnost kao crtača stripova,

He had faith in my abilities as a cartoonist,

even though he had no direct evidence that I was any good whatsoever;

premda nije imao nikakvog direktnog dokaza da sam dobar:

everything he saw was just a blur.

sve što je on vidio bilo je mutno.

Now, this gives a real meaning to the term "blind faith,"

To sada daje pravo značenje izrazu 'slijepa vjera',

koji meni nema tu negativnu konotaciju koju ima za druge ljude.

which doesn't have the same negative connotation for me

that it does for other people.

Now, faith in things which cannot be seen, which cannot be proved,

Vjera u stvari koje su nevidljive, koje se ne mogu dokazati,

is not the sort of faith that I've ever really related to all that much.

nije tip vjere s kojom sam se ja ikada mogao previše poistovjetiti.

I tend to like science,

Ja ipak volim znanost,

where what we see and can ascertain are the foundation of what we know.

gdje ono što vidimo

i što možemo potvrditi, predstavlja osnovu onoga što znamo.

But there's a middle ground, too --

Ali postoji tu i zajednički dio.

a middle ground tread by people like poor old Charles Babbage

Njega čine ljudi poput Charles Babbagea,

and his steam-driven computers that were never built.

i njegovog računala na paru koje nikada nije napravljeno.

Nobody really understood what it was that he had in mind

Nitko nikada nije razumio što je on to točno imao na umu,

osim Ade Lovelace,

except for Ada Lovelace,

and he went to his grave trying to pursue that dream.

i on je otišao u grob pokušavajući ostvariti svoj san.

Vannevar Bush with his memex --

Vannevar Bush s njegovim Memexom --

this idea of all of human knowledge at your fingertips --

ta ideja svog ljudskog znanja na dohvat ruke --

he had this vision.

on je imao viziju.

And I think a lot of people in his day

A ja mislim kako puno ljudi ovih dana

misli kako je on bio pomalo čudan.

probably thought he was a bit of a kook.

I da, možemo pogledati unazad i reći,

And, yeah, we can look back in retrospect and say,

da, ha-ha, znate -- to je mikrofilm. Ali to je --

"Yeah, ha-ha, it's all microfilm --

(Laughter)

But that's not the point; he understood the shape of the future.

to nije poanta. On je razumio kako će izgledati budućnost.

So did J.C.R. Licklider and his notions for computer-human interaction.

Kao i J. C. R. Licklider i njegove predstave o interakciji računala i ljudi.

Ista stvar: on je razumio kako će budućnost izgledati,

Same thing: he understood the shape of the future,

iako je to bilo nešto

even though it was something that would only be implemented

što će ljudi primijeniti bitno kasnije.

by people much later.

Or Paul Baran, and his vision for packet switching.

Ili Paul Baron, i njegova vizija zamjene paketa informacija.

Hardly anybody listened to him in his day.

Jedva da ga je itko slušao unjegovo vrijeme.

Or even the people who actually pulled it off,

Pa čak ni ljudi koji su to kasnije zapravo i izveli,

the people at Bolt, Beranek and Newman in Boston,

ljudi u Bolt, Beranek i Newmanu u Bostonu,

who just would sketch out these structures

koji bi samo skicirali te strukture

of what would eventually become a worldwide network,

od kojih će na kraju nastati svjetska mreža,

and sketching things on the back of napkins and on note papers

i skicirajući stvari na pozadini ubrusa i notesa

and arguing over dinner at Howard Johnson's --

i raspravljajući za vrijeme večere kod Howard Johnsona --

on Route 128 in Lexington, Massachusetts,

na Ruti 128 u Lexington, Massachusetts,

just two miles from where I was studying the Queen's Gambit Deferred

samo tri i pol kilometra od mjesta na kojem sam ja proučavao kraljičin gambit

i slušao Gladys Knight & the Pips

and listening to Gladys Knight & The Pips

koji su pjevali ""Midnight Train to Georgia", dok --

singing "Midnight Train to Georgia" --

(Smijeh)

(Laughter)

-- i to u očevoj velikoj fotelji, znate?

in my dad's big easy chair, you know?

So, three types of vision, right?

Tako postoje tri načina gledanja, točno?

Vision based on what one cannot see,

Vizija bazirana na onome što nitko ne vidi:

the vision of that unseen and unknowable.

vizija nevidljivog i nepoznatog.

The vision of that which has already been proven or can be ascertained.

Vizija onoga što je već dokazano ili može biti potvrđeno.

And this third kind, a vision of something which can be, which may be,

I postoji ova treća vrsta

vizija nečega što

može biti, ili bi moglo biti,

based on knowledge but is, as yet, unproven.

bazirano na znanju, ali i dalje nije dokazano.

Now, we've seen a lot of examples of people

E sad, vidijeli smo puno primjera ljudi koji su slijedili ovaj tip vizije u znanosti,

who are pursuing that sort of vision in science,

but I think it's also true in the arts, it's true in politics,

ali smatram kako ih ima i u umjetnosti, i u politici,

pa čak i u našim osobnim nastojanjima.

it's even true in personal endeavors.

What it comes down to, really, is four basic principles:

U suštini, to se sve svodi na četiri osnovna načela:

uči od svakog,

learn from everyone;

follow no one;

nemoj slijediti nikoga,

watch for patterns;

obrati pažnju na ponavljanja,

and work like hell.

i radi kao lud.

I think these are the four principles that go into this.

Mislim kako su to četiri načela koja se uklapaju.

And it's that third one, especially,

I to posebno ovaj treći,

where visions of the future begin to manifest themselves.

u kojem se vizija budućnosti

počinje samo od sebe manifestirati.

What's interesting is that this particular way of looking at the world,

Ono što je interesantno da baš taj način gledanja svijeta

is, I think, only one of four different ways

po mom mišljenju, samo jedan od četiri različita načina

that manifest themselves in different fields of endeavor.

koji se manofestiraju u različitim poljima ljudskog djelovanja.“

U stripu se, po mom mišljenju,

In comics, I know that it results in sort of a formalist attitude

on izražava u formalističkom pristupu

towards trying to understand how it works.

koji pokušava shvatiti kako nešto funkcionira.

Then there's another, more classical attitude

Onda tu je drugi, klasičniji stav

which embraces beauty and craft;

koji iznad svega cijeni ljepotu i vještinu.

another one which believes in the pure transparency of content;

Onda sljedeći, koji vjeruje u čistu transparentnost sadržaja.

and then another, which emphasizes the authenticity of human experience

I još jedan

koji naglašava autentičnost ljudskog iskustva --

and honesty and rawness.

i iskrenost i sirovost.

These are four very different ways of looking at the world.

Ovo su četiri vrlo različita načina gledanja na svijet. Čak sam im dao i nazive.

I even gave them names:

Klasičan, animistički, formalistički i ikonoklastični.

the classicist, the animist, the formalist and iconoclast.

Interestingly, they seem to correspond more or less

Interesantno, čini se kako više-manje odgovara

Jungovim podjelama ljudske misli.

to Jung's four subdivisions of human thought.

And they reflect a dichotomy of art and delight

I one zrcale dihotomiju umjetnosti i života

on left and the right;

po vertikali:

tradition and revolution on the top and the bottom.

tradicije i revolucije po horizontali.

And if you go on the diagonal, you get content and form,

A ako odete dijagonalno, dobijete sadržaj i formu --

i onda ljepotu i istinu.

and then beauty and truth.

And it probably applies just as much to music and movies and fine art,

I to je primjenjivo jednako

na glazbu i filmove te umjetnost,

which has nothing whatsoever to do with vision at all,

što nema baš nikakve veze s vizijom,

or, for that matter, nothing to do with our conference theme

ili, kada smo već kod toga, s temom naše konferencije

of "Inspired by Nature,"

'Inspirirano prirodom' --

except to the extent of the fable of the frog

osim ako to primjenite na basnu o žabi

who gives a ride to the scorpion on his back to get across the river

koja prebacuje škorpiona na svojim leđima preko rijeke

because the scorpion promises not to sting him,

jer joj škorpion obećao kako je neće ubosti,

ali onda je škorpion ipak ubode i oboje umru,

but the scorpion stings him anyway and they both die,

ali ne prije nego što ga žaba pita zašto a škorpion joj kaže,

but not before the frog asks him why, and the scorpion says,

"Jer mi je to u prirodi." --

"Because it's my nature."

u tom smislu, da.

In that sense, yes.

(Laughter)

(Smijeh)

Dakle --

So this was my nature.

to je bila moja priroda. Stvar je u tome, da sam vidio

The thing was, I saw that the route I took

kako je taj put kojim sam krenuo ka pronalaženju

to discovering this focus in my work

tog fokusa u mom radu

and who I was --

i toga tko sam,

I saw it as just this road to discovery.

vidio sam to samo kao put ka spoznaji.

Actually, it was just me embracing my nature,

U stvari, ja sam samo prihvatio svoju prirodu

which means that I didn't actually fall that far from the tree, after all.

Što znači

da u stvari nisam pao jako daleko od stabla.

So what does a "scientific mind" do in the arts?

Dakle što "znanstveni um"

radi u umjetnosti?

I started making comics, but I also started trying to understand them,

Pa, počeo sam raditi stripove,

ali sam također i počeo pokušavati da ih razumijem, skoro odmah.

almost immediately.

I jedna od najvažnijih stvari sa stripovima, otkrio sam,

One of the most important things about comics that I discovered

jest da su stripovi vizualni medij,

was that comics are a visual medium,

ali pokušavaju obuhvatiti sva čula u sebi.

but they try to embrace all of the senses within it.

So, the different elements of comics, like pictures and words,

Tako različiti elementi stripa, poput slika i riječi,

and the different symbols and everything in between

i različiti simboli i sve između toga

that comics presents,

što strip predstavlja

are all funneled through the single conduit, a vision.

su potaknuti kroz jedinstven kanal - čulo vida.

So we have things like resemblance,

Tako da imate stvari kao što je sličnost,

where something which resembles the physical world can be abstracted

gdje nešto što ima sličnost sa stvarnim svijetom može biti sažeto

u nekoliko različitih pravaca:

in a couple of different directions:

abstracted from resemblance, but still retaining the complete meaning,

sažeto iz sličnosti,

ali i dalje zadržavajući svoje puno značenje,

or abstracted away from both resemblance and meaning

ili kao apstrakcija koja se udaljava i od sličnosti i od značenja i pretvara u sliku.

towards the picture plane.

Put all these three together, and you have a nice little map

Kada sve ovo uzmete u obzir, dobijete lijepu malu mapu

cjelokupnog obuhvata vizualne ikonografije

of the entire boundary of visual iconography,

which comics can embrace.

koju strip može prikazati.

And if you move to the right you also get language,

I ako krenete dalje desno, imate također jezik,

because that's abstracting even further from resemblance,

jer je to sažimanje još dalje od sličnosti,

but still maintaining meaning.

ali i dalje zadržavajući značenje.

Vision is called upon to represent sound

Slika je angažirana da predstavlja zvuk

and to understand the common properties of those two

da pojasni zajedničke karakteristike to dvoje

kao i njihovo zajedničko naslijeđe.

and their common heritage as well;

Također, treba predstavljati teksturu zvuka;

also, to try to represent the texture of sound

to capture its essential character through visuals.

i da zadrži njegovo esencijalni karakter kroz vizuale.

There's also a balance between the visible and the invisible in comics.

I tu je također ravnoteža

između vidljivog i nevidljivog u stripovima.

Comics is a kind of call and response,

Strip je na neki način poziv i odgovor

in which the artist gives you something to see within the panels,

koji vam umjetnik daje

nešto da vidite u okviru prizora,

i onda vam da nešto da zamislite između njih.

and then gives you something to imagine between the panels.

Also, another sense which comics' vision represents,

Također, postoji još jedan pojam

koje 'stripovsko oko' predstavlja, a to je vrijeme.

and that's time.

Sequence is a very important aspect of comics.

Ritam je jako važan aspekt stripa.

Comics presents a kind of temporal map.

Strip predstavlja neku vrstu vremenske mape.

And this temporal map was something that energizes modern comics,

I ta vremenska mapa je ono što daje energiju modernom stripu,

but I was wondering if perhaps it also energizes

ali ja sam se zapitao daje li možda energiju

other sorts of forms,

i drugim formama,

and I found some in history.

i pronašao sam neke u povijesti.

You can see this same principle operating

I možete ovdje vidjeti ovaj isti princip kako se primjenjuje

in these ancient versions of the same idea.

u ovim antičkim verzijama iste ideje.

What's happening is,

Ono što se zapravo događa jest da se umjetnička forma sudara

an art form is colliding with a given technology,

s tehnologijom koja joj je na raspolaganju,

bilo da je to boja na kamenu, kao grobnica u starom Egiptu,

whether it's paint on stone,

like the Tomb of Menna the Scribe in ancient Egypt,

or a bas-relief sculpture rising up a stone column,

ili plitki reljef koji se uzdiže po kamenom stubu,

or a 200-foot-long embroidery,

ili vez dugačak 60 metara,

or painted deerskin and tree bark

ili oslikana jelenska koža i kora drveta

running across 88 accordion-folded pages.

koja se prostire na 88 naizmjenično presavijenih stranica.

What's interesting is, once you hit "print" --

Ono što je interesantno je, jednom kada ga počnete štampati --

and this is from 1450, by the way --

inače ovo je iz 145o. godine, samo da vam napomenem --

all of the artifacts of modern comics start to present themselves:

sve karakteristike modernog stripa počinju bivati vidljive:

pravokutni linearni raspored okvira,

rectilinear panel arrangements,

simple line drawings without tone,

jednostavni linearni crteži bez tona

and a left-to-right reading sequence.

i redoslijed čitanja s lijeva na desno.

And within 100 years, you already start to see word balloons and captions,

I već 100 godina nakon toga,

već imate balone s tekstom i scene,

and it's really just a hop, skip and a jump from here to here.

i u stvari samo je korak od ovog ka ovom.

So I wrote a book about this in '93, but as I was finishing the book,

Napisao sam knjigu o ovome 1993.,

ali dok sam završavao knjigu

I had to do a little bit of typesetting,

morao sam malo raditi na prijelomu,

i dosadilo mi je svaki puta ići u lokalnu kopiraonicu to raditi,

and I was tired of going to my local copy shop to do it,

pa sam kupio računalo.

so I bought a computer.

And it was just a little thing --

I to je bila samo malena stvar -- bio je dobar samo za unošenje teksta i ništa drugo --

it wasn't good for much except text entry --

ali otac mi je nekada pričao o Mooreovom zakonu,

but my father had told me about Moore's law back in the '70s,

o Mooreovom zakonu davnih '70-ih, i znao sam što dolazi.

and I knew what was coming.

And so, I kept my eyes peeled

Tako da sam držao otvorene oči

to see if the sort of changes that happened

da vidim hoće li se promjene koje su se dogodile

when we went from pre-print comics to print comics

kada smo prešli s pred-tiskanih stripova na tiskane stripove

would happen when we went beyond, to post-print comics.

dogoditi kada odemo dalje, na post-tiskane stripove.

So, one of the first things proposed

Tako je jedna od stvari koje su predložene

was that we could mix the visuals of comics

bila da možemo miješati vizuale stripova

with the sound, motion and interactivity of the CD-ROMs

sa zvukom, kretnjama i interaktivnošću

CD-ROM-ova koji su bili tada rađeni.

being made in those days.

This was even before the Web.

Ovo je bilo i prije Interneta.

And one of the first things they did was,

I jedna od prvih stvari koje su napravili bila je,

da probaju napraviti stranice stripa kao što su ranije bile,

they tried to take the comics page as is

i prebace ih na zaslone,

and transplant it to monitors,

što je bila klasična McLuhanesque greška

which was a classic McLuhanesque mistake

of appropriating the shape of the previous technology

prisvajanja forme koju je koristila prethodna tehnologija

as the content of the new technology.

kako bi se stvorio sadržaj za novu tehnologiju.

And so, what they would do is have these comic pages

I tako, ono što bi oni napravili je

da bi uzeli stranice stripa koje sliče na štampane stranice stripa

that resemble print comics pages,

i dodavali bi zvuk i pokret.

and they would introduce all this sound and motion.

The problem was that if you go with this basic idea

Problem je u tome da, ukoliko se vratite ideji --

osnovnoj ideji gdje je prostor jednak kao i vrijeme u stripu --

that space equals time in comics,

what happens is that when you introduce sound and motion,

što će se dogoditi kada uvedete zvuk i pokret,

koji su vremenski fenomeni i mogu se prikazati samo kroz vrijeme,

which are temporal phenomena that can only be represented through time,

they break with that continuity of presentation.

onda oni prekidaju kontinuitet prezentacije.

Interactivity was another thing.

Interakcija je bila nešto drugo.

There were hypertext comics, but the thing about hypertext

Postojali su stripovi u hipertekstu.

Ali ono što je problem s hipertekstom

jest da je sve u hipertekstu ili ovdje, ili nije ovdje ili je povezano s nečim ovdje;

is that everything in hypertext is either here, not here,

on je suštinski ne-prostoran.

or connected to here;

it's profoundly nonspatial.

Razmak između Abrahama Lincolna do Lincolnova penija,

The distance from Abraham Lincoln to a Lincoln penny

Penny Marshall do Marshallovog plana

to Penny Marshall to the Marshall Plan to "Plan 9" to nine lives:

do "Plana 9" do devet života:

sve je to isto.

it's all the same.

(Laughter)

(Smijeh)

But in comics,

I -- ali u stripu, u stripu,

every aspect of the work, every element of the work,

svaki aspekt posla, svaki element posla

has a spatial relationship to every other element at all times.

ima spacijalni odnos sa svakim drugim elementom cijelo vrijeme.

So the question was:

Dakle pitanje je bilo:

Was there any way to preserve that spatial relationship

postoji li ikakav način očuvanja spacijalnog odnosa

while still taking advantage of all of the things

dok se istovremeno iskorištavaju sve prednosti

koje nam nudi digitalna tehnologija?

that digital had to offer us?

And I found my personal answer for this

I pronašao sam svoj osobni odgovor na ovo pitanje

in those ancient comics that I was showing you.

u onim prastarim stripovima koje sam vam pokazivao.

Each of them has a single unbroken reading line,

Svaki od njih ima jedinstvenu neprekidnu liniju čitanja,

whether it's going zigzag across the walls or spiraling up a column

bilo da se prostire cik-cak preko zidova,

ili se spiralno penje uz stub

or just straight left to right,

ili ide s lijeva na desno, ili čak cik-cak unazad

or even going in a backwards zigzag across those 88 accordion-folded pages,

preko svih onih 88 presavijenih stranica.

Ista stvar se događa i osnovna ideja

the same thing is happening;

that is, that the basic idea that as you move through space

da se, krećući kroz prostor, krećete kroz vrijeme,

you move through time,

se ovdje događa bez ikakvog kompromisa,

is being carried out without any compromise,

ali do kompromisa je došlo kada su se počeli tiskati.

but there were compromises when print hit.

Adjacent spaces were no longer adjacent moments,

Prostori koji se nadovezuju više nisu trenuci koji se nadovezuju,

so the basic idea of comics was being broken again and again

tako da je osnovna ideja stripa bila izlomljena opet i opet

and again and again.

i opet i opet.

And I thought, OK, well, if that's true,

I ja sam pomislio, OK, dobro,

ako je to istina, postoji li ikakav način da,

is there any way, when we go beyond today's print,

kada se odmaknemo od današnjeg tiska,

to somehow bring that back?

kako bismo to nekako vratili nazad?

Now, the monitor is just as limited as the page, technically, right?

Sada, zaslon

je jednako tehnički ograničen kao i stranica, točno?

It's a different shape, but other than that,

To je drugačija forma, ali osim toga

it's the same basic limitation.

ima ista osnovna ograničenja.

But that's only if you look at the monitor as a page,

Ali to je tako samo ako gledate na zaslon kao na stranicu,

but not if you look at the monitor as a window.

ali nije ako gledate na zaslon kao na prozor.

And that's what I propose,

I to je ono što sam ja predložio: da možda možemo kreirati te stripove

that perhaps we could create these comics on an infinite canvas,

na neograničenim platnima:

along the X axis and the Y axis

preko osi X i osi Y i stepenica.

and staircases.

We could do circular narratives that were literally circular.

Možemo raditi kružnu naraciju, koja je u pravom smislu te riječi kružna.

Možemo raditi zaokret u priči koji je doslovan zaokret.

We could do a turn in a story that was literally a turn.

Parallel narratives could be literally parallel.

Paralelne radnje mogu biti zaista paralelene.

X, Y and also Z.

X, Y, kao i Z.

So I had all these notions.

Tako da sam imao sve te zamisli. To je bilo još u kasnim '90-ima,

This was back in the late '90s,

i ostali ljudi u mom poslu su mislili kako sam poprilično lud,

and other people in my business thought I was pretty crazy,

but a lot of people then went on and actually did it.

ali dosta ljudi je onda zaista krenulo i sve promijenilo.

I'm going to show you a couple now.

Sada ću vam pokazati nekoliko primjera.

This was an early collage comic by a fellow named Jasen Lex.

Ovo je kolaž strip koji je nastao u ranoj fazi od strane Jason Lexa.

And notice what's going on here.

I pogledajte što se ovdje događa.

What I'm searching for is a durable mutation --

Ono što tražim ovdje je trajna mutacija --

that's what all of us are searching for.

to je ono što svi tražimo.

As media head into this new era,

Dok mediji ulaze u novu eru,

mi tražimo promjene

we are looking for mutations that are durable,

koje su trajne, koje imaju održivost.

that have some sort of staying power.

Now, we're taking this basic idea of presenting comics in a visual medium,

Uzeli smo osnovnu ideju prikazivanja stripa kao vizualnog medija,

and we're carrying it through all the way from beginning to end.

i istrajali u njoj od početka do kraja.

Ovo što ste upravo vidjeli je cijeli strip

That's that entire comic you just saw, up on the screen right now.

upravo sada na ekranu.

But even though we're only experiencing it one piece at a time,

Međutim, iako ga doživljavamo samo dio po dio,

that's just where the technology is right now.

to je samo zbog razine na kojoj se trenutno tehnologija nalazi.

As the technology evolves,

Kako će tehnologija evoluirati,

as you get full immersive displays and whatnot,

kako se budu pojavljivali puni sveobuhvatni displeji i tko zna što još ne,

this sort of thing will only grow; it will adapt.

ova ideja će samo rasti.

Prilagođavat će se.

It will adapt to its environment; it's a durable mutation.

Prilagođavat će se svom okruženju:

to je trajna mutacija.

Here's another one.

Evo, pokazati ću vam još jedan. Ovaj je napravio Drew Weing;

This is by Drew Weing; this is called

ova se naziva,

"'Pup' Ponders the Heat Death of the Universe."

"Psić razmišlja o smrti svemira".

See what's going on here

Vidite što se ovdje događa

as we draw these stories on an infinite canvas

dok iscrtavamo ove priče na neograničenom platnu

mi zapravo stvaramo čistiji izraz

is you're creating a more pure expression of what this medium is all about.

onoga što je suština ovog medija.

We'll go by this a little quickly. You get the idea.

Proći ćemo kroz ovo malo brže -- već ste shvatili ideju.

I just want to get to the last panel.

Hoću samo doći do posljednjeh okvira.

[Cat 1: Pup! Earth to Pup! Cat 2: Come play baseball with us!]

(Smijeh)

(Laughter)

Evo ga.

[Pup: Did either of you realize

that eventually the universe will be nothing but a thin, cold gas

(Smijeh)

spread across infinite, lonely space?]

[Cat 1: Oh ... Cat 2: We'd better hurry, then!]

(Smijeh)

(Laughter)

Just one more.

Samo još jedan.

Kada smo već kod beskonačnog platna.

Talk about your infinite canvas.

It's by a guy named Daniel Merlin Goodbrey, in Britain.

Ovo je napravio čovjek po imenu Daniel Merlin Goodbrey u Britaniji.

Why is this important?

Zašto je ovo važno?

I think this is important because media --

Mislim kako je važno zbog medija,

all media --

svi mediji,

provide us a window back into our world.

za nas predstavljaju prozor u naš svijet.

Now, it could be that motion pictures and eventually, virtual reality,

Sada, može se dogoditi da će nam filmovi --

i konačno, virtualna stvarnost, ili nešto ekvivalentno njoj --

or something equivalent to it, some sort of immersive display,

neka vrsta sveobuhvatnog prikaza,

is going to provide us with our most efficient escape

omogućiti učinkovit bijeg iz svijeta u kojem jesmo.

from the world that we're in.

Zato se većina ljudi okreće pričanju priča, kako bi pobjegli.

That's why most people turn to storytelling, to escape.

But media provides us with a window back into the world we live in.

Ali mediji nam stvaraju prozor

nazad u svijet u kojem živimo.

And when media evolve

I kada mediji evoluiraju

so that the identity of the media becomes increasingly unique --

tako da njihov identitet postane sve više jedinstven.

because what you're looking at is comics cubed,

Jer ono što vidite predstavlja stripove na kub:

you're looking at comics that are more comics-like

ovo što vidite su stripovi koji su više stripovski, nego što su to ikada bili.

than they've ever been before --

when that happens, you provide people with multiple ways

Kada se to dogodi, pružate ljudima više načina

of reentering the world through different windows.

da ponovo uđu u svijet kroz različite prozore,

And when you do that, it allows them to triangulate the world they live in

i kada to uradite, omogućavate im da prouče svijet u kojem žive

i sagledaju njegovu formu.

and see its shape.

That's why I think this is important.

I zato mislim da je ovo značajno.

One of many reasons, but I've got to go now.

Ovo je zapravo jedan od mnogo razloga, ali sada moram ići.

Thank you for having me.

Hvala vam na pažnji.