Scott McCloud: Understanding comics

Prevodilac: Tanja Kostadinović Lektor: Ivana Korom

Od svih pet čula,

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

čulo vida je ono koje najviše cenim,

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 da je ovo delom zbog mog oca, koji je bio slep.

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

To je bila činjenica oko koje on obično nije pravio mnogo buke.

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 totalno pomračenje Sunca -

(Laughter)

da, isto ono koje se pominje u pesmi Karli Sajmon,

Yeah, same one as in the Carly Simon song,

koje se možda, a možda i ne, odnosi

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

na Džejmsa Tejlora, Vorena Bitija ili Mika Džegera, nismo sigurni.

or Mick Jagger; we're not really sure.

Delili su one tamne plastične folije

They handed out these dark plastic viewers

koje su nam omogućavale da gledamo direktno u sunce,

that allowed us to look directly at the sun

a da pritom ne oštetimo oči.

without damaging our eyes.

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

Ali otac se veoma uplašio:

nije želeo da to uradimo.

He wanted us instead to use these cheap cardboard viewers,

Umesto toga, hteo je da koristimo one jeftine kartonske okvire

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

tako da nije bilo šanse da nam se oštete oči.

I thought this was a little strange at the time.

U to vreme 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.

je da je moj otac zapravo rođen sa perfektnim vidom.

When he and his sister Martha were just very little,

Kada su on i njegova sestra Marta bili veoma mali,

njihova mama ih je povela napolje da vide totalno pomračenje -

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

or actually, a solar eclipse --

odnosno pomračenje sunca -

i ne zadugo posle toga,

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

oboje su počeli da gube vid.

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

Decenijama kasnije,

ispostavilo se da je uzrok njihovog gubitka vida

najverovatnije bila neka vrsta bakterijske infekcije.

was most likely some sort of bacterial infection.

Koliko možemo da zaključimo,

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

to nije imalo apsolutno nikakve veze sa 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 svet

misleći da je to bila njena krivica.

thinking it was her fault.

So, Dad graduated Harvard in 1946,

Tako da je otac diplomirao na Harvardu 1946.

married my mom,

oženio se mojom majkom,

i kupio kuću u Leksingtonu, u Masačusetsu,

and bought a house in Lexington, Massachusetts,

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

gde su ispaljeni prvi hici protiv Britanaca u 1775,

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

iako nismo pogodili nijednog od njih pre Konkorda.

He got a job working for Raytheon designing guidance systems,

Zaposlio se u Rejtionu,

projektujući sisteme za navođenje,

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

koji je bio deo Rute 128, tehnološke ose u to doba -

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

ekvivalenta Silikonske Doline iz '70-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 stvarno žao što nije mogao da se bori u Drugom svetskom ratu

on account of his handicap,

zbog svog hendikepa,

iako su mu dozvolili da prođe

although they did let him get through

the several-hour-long army physical exam

višečasovni vojni test fizičke spremnosti

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

pre nego što su došli do poslednjeg testa,

koji je bio test vida.

(Smeh)

(Laughter)

So Dad started racking up all of these patents

Tako da je otac počeo da smišlja raznorazne patente

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

i dobio reputaciju slepog genijalca, naučnika, pronalazača.

Ali za nas je bio samo tata,

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

i život u našem domu je bio prilično normalan.

As a kid, I watched a lot of television

Kao mali, puno sam gledao televiziju

and had lots of nerdy hobbies like mineralogy and microbiology

i imao dosta štreberskih hobija

kao što su mineralogija 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 bio 14 godina,

jedan moj drug me je zainteresovao za stripove,

i odlučio sam da je to ono što bih želeo da radim.

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

So, here's my dad:

Znači, evo mog oca:

on je naučnik, inženjer i radi za vojsku.

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

I on ima četvoro dece, je l' tako?

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:

ctrač stripova.

(Laughter)

(Smeh)

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

Što me, sasvim slučajno, čini suprotnim od Dina Kamena,

jer sam crtač stripova, sin pronalazača,

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

dok je on pronalazač, sin crtača stripova.

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

(Smeh)

(Laughter)

Tako je.

Right? It's true.

(Aplauz)

(Applause)

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

Interesantno je da je otac imao puno vere u mene.

Verovao je u moje sposobnosti kao crtača,

He had faith in my abilities as a cartoonist,

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

iako nije imao konkretnih dokaza da sam ja iole dobar u tome:

everything he saw was just a blur.

sve što je on video bilo je mutno.

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

To sad daje pravo značenje izrazu 'slepa vera',

koji za mene nema onu 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,

Vera 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 vere sa kojom sam ja ikada mogao previše da se poistovetim.

I tend to like science,

Ja ipak volim nauku,

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

gde ono što vidimo

i što možemo da potvrdimo predstavljaju osnovu onoga što znamo.

But there's a middle ground, too --

Ali postoji tu i zajednički imenitelj.

a middle ground tread by people like poor old Charles Babbage

Njega čine ljudi poput sirotog Čarlsa Bebidža,

and his steam-driven computers that were never built.

i njegovih računara na vodenu paru koji nikada nisu napravljeni.

Nobody really understood what it was that he had in mind

Niko nije u potpunosti shvatao šta je on zamislio,

osim Ade Lavlejs,

except for Ada Lovelace,

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

i on je umro pokušavajući da ostvari taj san.

Vannevar Bush with his memex --

Venavar Buš sa svojim Memeksom -

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

ta ideja da se svo ljudsko znanje nađe na dohvat ruke -

he had this vision.

to je bila njegova ideja.

And I think a lot of people in his day

I mislim da su mnogi u njegovo vreme

verovatno smatrali da je bio pomalo čudak.

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, nja-nja, jeste - to je sve na mikrofilmu. Ali nije -

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

(Laughter)

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

nije u tome poenta.

On je razumeo kako će budućnost izgledati.

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

Kao i J.C.R. Liklajder i njegove predstave o interakciji između kompjutera i ljudi.

Ista stvar: on je razumeo 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 primeniti mnogo kasnije.

by people much later.

Or Paul Baran, and his vision for packet switching.

Ili Pol Baron i njegova ideja za preusmeravanje paketa informacija.

Hardly anybody listened to him in his day.

Jedva da ga je iko slušao u njegovo vreme.

Or even the people who actually pulled it off,

Pa čak ni ljudi koji su kasnije to zapravo izveli,

the people at Bolt, Beranek and Newman in Boston,

ljudi u Bolt, Beranek i Njumanu u Bostonu,

who just would sketch out these structures

koji su jednostavno skicirali tu strukturu

of what would eventually become a worldwide network,

nečega što će na kraju postati svetska mreža,

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

i skicirali stvari na salvetama i listovima iz beležnice

and arguing over dinner at Howard Johnson's --

i svađali se uz večeru u Hauard Džonsonu

on Route 128 in Lexington, Massachusetts,

na Ruti 128 u Leksingtonu u Masačusetsu,

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

samo dve milje od mesta na kome sam ja proučavao kraljičin gambit

i slušao Gledis Najt i Pipse

and listening to Gladys Knight & The Pips

koji su pevali "Midnight Train to Georgia" -

singing "Midnight Train to Georgia" --

(Smeh)

(Laughter)

-- i to u očevoj velikoj fotelji, znate?

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

So, three types of vision, right?

Tako da, postoje tri načina gledanja, je l' tako?

Vision based on what one cannot see,

Vizija bazirana na onome što neko ne može da vidi:

the vision of that unseen and unknowable.

slika nevidljivog i nepojmljivog.

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

Zatim 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, videli smo mnogo primera ljudi koji su sledili ovaj tip vizije u nauci,

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 da ih ima i u umetnosti, i u politici,

pa čak i u našim ličnim 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 principa:

uči od svakoga

learn from everyone;

follow no one;

nemoj slediti nikoga,

watch for patterns;

obrati pažnju na obrasce,

and work like hell.

i radi kao lud.

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

Mislim da su to četiri principa koji su sadržani u ovome.

And it's that third one, especially,

I to naročito ovaj treći,

where visions of the future begin to manifest themselves.

u kome vizije budućnosti

počinju da se manifestuju.

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

Ono što je zanimljivo je da je ovaj način posmatranja sveta,

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 manifestuju u različitim poljima ljudskog delovanja.

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 da shvati kako nešto funkcioniše.

Then there's another, more classical attitude

Onda tu je drugi, klasičniji stav

which embraces beauty and craft;

koji pre svega ceni lepotu i veštinu.

another one which believes in the pure transparency of content;

Onda sledeći, koji veruje 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 veoma različita načina gledanja na svet.

I even gave them names:

Čak sam im dao i nazive.

the classicist, the animist, the formalist and iconoclast.

Klasičan, animistički, i formalistički i ikonoklastični.

Interestingly, they seem to correspond more or less

Zanimljivo je da to manje-više odgovara

Jungovskoj podeli ljudske misli.

to Jung's four subdivisions of human thought.

And they reflect a dichotomy of art and delight

I oni izražavaju dualizam umetnosti 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 posmatrate po dijagonali, imate sadržaj i formu -

i onda lepotu i istinu.

and then beauty and truth.

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

I ovo se verovatno isto tako može primeniti

na muziku i film i lepe umetnosti,

which has nothing whatsoever to do with vision at all,

što nema baš nikakve veze sa vizijom,

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

ili, kad smo već kod toga, sa temom naše konferencije

of "Inspired by Nature,"

'Inspirisano prirodom' -

except to the extent of the fable of the frog

osim ako to primenite na basnu o žabi

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

koja pristane da na leđima prenese škorpiju preko reke

because the scorpion promises not to sting him,

jer je škorpija obećala da je neće ubosti,

ali onda je ipak ubode i obe uginu

but the scorpion stings him anyway and they both die,

ali pre toga žaba upita zašto i škorpija kaže:

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

'Zato što je to moja priroda' -

"Because it's my nature."

u tom smislu, da.

In that sense, yes.

(Laughter)

(Smeh)

Tako da - ovo je bila moja priroda.

So this was my nature.

Stvar je u tome, da sam ja video

The thing was, I saw that the route I took

da 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 ko sam,

I saw it as just this road to discovery.

video sam to samo kao put ka spoznaji.

Actually, it was just me embracing my nature,

U stvari, ja sam samo prihvatao svoju prirodu

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

što znači

da u suštini i nisam pao tako daleko od 'klade'.

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

I šta zapravo traži 'naučnički um'

u umetnosti?

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

Pa, počeo sam da pravim stripove,

ali sam takođe počeo i da pokušavam da ih razumem, skoro odmah.

almost immediately.

I otkrio sam da je jedna od najvažnijih stvari u vezi sa stripovima

One of the most important things about comics that I discovered

to da je strip vizuelni medij,

was that comics are a visual medium,

ali trudi se da time obuhvati sva čula.

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

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

Tako da različiti elementi stripa, kao što su slike i reči,

and the different symbols and everything in between

i različiti simboli i sve ono što se nalazi između

that comics presents,

što vam prikazuje strip

are all funneled through the single conduit, a vision.

svi protiču 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

gde nešto što liči na fizičku stvarnost može biti apstrahovano

u nekoliko različitih pravaca:

in a couple of different directions:

abstracted from resemblance, but still retaining the complete meaning,

apstrahovano 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 lepu malu mapu

celokupnog obuhvata vizuelne ikonografije

of the entire boundary of visual iconography,

which comics can embrace.

koju stripovi mogu da prikažu.

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

I ako krenete dalje na desno, imate jezik,

because that's abstracting even further from resemblance,

što je apstrakcija još dalja od sličnosti,

but still maintaining meaning.

koja, međutim, i dalje zadržava značenje.

Vision is called upon to represent sound

Slika je angažovana da predstavlja zvuk

and to understand the common properties of those two

da pojasni zajedničke karakteristike ta dva

kao i njihovo zajedničko nasleđe.

and their common heritage as well;

Takođe, treba da predstavi teksturu zvuka;

also, to try to represent the texture of sound

to capture its essential character through visuals.

i da vizuelno prikaže njegov osnovni karakter.

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

Onda, tu je takođe i ravnoteža

između vidljivog i nevidljivog u stripovima.

Comics is a kind of call and response,

Strip je na neki način i pitanje i odgovor

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

gde vam umetnik daje

nešto da vidite u okviru prozora,

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,

Takođe, postoji još jedan pojam

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

and that's time.

Sequence is a very important aspect of comics.

Ritam je veoma 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 da li možda daje energiju

other sorts of forms,

i drugim formama,

and I found some in history.

i pronašao sam neke u istoriji.

You can see this same principle operating

I možete ovde videti ovaj isti princip kako se primenjuje

in these ancient versions of the same idea.

u ovim antičkim verzijama iste ideje.

What's happening is,

Ono što se zapravo dešava je to da se umetnička forma sudara

an art form is colliding with a given technology,

sa 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 naizmenično presavijenih stranica.

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

Ono što je interesantno je da, jednom kada počnete da ga štampate -

and this is from 1450, by the way --

inače, ovo je iz 1450. godine, samo da napomenem -

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

sve karakteristike modernog stripa počnu bivati vidljive:

pravougaoni linearni raspored panela,

rectilinear panel arrangements,

simple line drawings without tone,

jednostavni linearni crteži bez tona

and a left-to-right reading sequence.

i redosled čitanja sa leva na desno.

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

I već 100 godina posle toga,

već počinjete da viđate balone sa 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 ovoga do ovoga.

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

Napisao sam knjigu o ovome u '93.

ali dok sam završavao knjigu,

I had to do a little bit of typesetting,

morao sam malo da radim na prelomu,

i dosadilo mi je sa svaki put idem u svoju lokalnu kopirnicu da to radim,

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

pa sam kupio računar.

so I bought a computer.

And it was just a little thing --

I to je bila samo mala stvar - bio je dobar samo za unošenje teksta

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

i nizašta drugo -

ali otac mi je nekada pričao o Murovom zakonu,

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

o Murovom zakonu davnih '70-ih, i znao sam šta 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 da li će se one promene koje su se dogodile

when we went from pre-print comics to print comics

kada smo prešli sa pre-štampanih stripova na štampane stripove

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

dogoditi i kada budemo prešli u novu oblast, u post-štampane stripove.

So, one of the first things proposed

Jedna od prvih stvari koja je bila predložena

was that we could mix the visuals of comics

je da možemo da kombinujemo vizuelni aspekt stripova

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

sa zvukom, pokretom i interaktivnošću

CD-ROM-ova koji su se proizvodili u to vreme.

being made in those days.

This was even before the Web.

Ovo je bilo i pre interneta.

And one of the first things they did was,

I jedna od prvih stvari koje su uradili bila je,

da probaju da naprave stranice stripa kao što su ranije bile,

they tried to take the comics page as is

i prebace ih na monitore,

and transplant it to monitors,

što je bila klasična MekLuaneskna 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 uradili je

da uzmu stranice stripa koje liče na štampane stranice stripa,

that resemble print comics pages,

i uvodili 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 da je prostor isto što i vreme u stripu -

that space equals time in comics,

what happens is that when you introduce sound and motion,

šta će se desiti kada uvedete zvuk i pokret,

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

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 sa hipertekstom

je da je sve u hipertekstu ili ovde ili nije ovde ili je povezano sa nečim ovde;

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

on je suštinski ne-prostoran.

or connected to here;

it's profoundly nonspatial.

Rastojanje od Abrahama Linkolna do Linkolnovog penija,

The distance from Abraham Lincoln to a Lincoln penny

Peni Maršal do Maršal 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)

(Smeh)

But in comics,

Međutim, u stripu, u stripu,

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

svaki njegov aspekt, svaki njegov element

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

ima prostorni odnos sa bilo kojim drugim elementom u svakom trenutku.

So the question was:

Tako da je osnovno pitanje bilo:

Was there any way to preserve that spatial relationship

postoji li način da se taj prostorni odnos sačuva,

while still taking advantage of all of the things

a da se istovremeno iskoriste sve prednosti

koje digitalna tehnologija može da nam ponudi?

that digital had to offer us?

And I found my personal answer for this

I pronašao sam svoj lični 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 pravo sa leva na desno ili čak ide cik-cak unazad

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

preko onih 88 presavijenih strana.

Ista stvar se dešava i ta osnovna ideja

the same thing is happening;

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

da se, krećući se kroz prostor, krećete kroz vreme

you move through time,

se ovde sprovodi bez ikakvog kompromisa,

is being carried out without any compromise,

ali do kompromisa je došlo kada su se počeli štampati.

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 iznova i iznova

and again and again.

i iznova i iznova.

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 prevaziđemo današnju štampu,

to somehow bring that back?

nekako povratimo to?

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

E sad, ekran

je u suštini isto tako ograničen kao i list papira, zar ne?

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

Drugačijeg je oblika, ali osim toga,

it's the same basic limitation.

podjednako je ograničen.

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

Ali to je samo ako posmatrate ekran kao stranicu,

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

a ne ako ga posmatrate kao prozor.

And that's what I propose,

I to je ono što sam ja predložio: da možda možemo da stvorimo ove stripove

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

na beskonačnom platnu:

along the X axis and the Y axis

po x osi i y osi i stepenicama.

and staircases.

We could do circular narratives that were literally circular.

Možemo praviti kružnu naraciju, koja ja u pravom smislu te reči kružna.

Možemo napraviti zaokret u priči koji je bukvalno 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 paralelne.

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,

This was back in the late '90s,

i ostali ljudi u mom poslu su mislili da sam prilično 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 krenulo i zaista to primenilo.

I'm going to show you a couple now.

Sada ću vam pokazati nekoliko primera.

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

Ovo je rani kolaž strip koji je uradio momak po imenu Džejson Leks.

And notice what's going on here.

I pogledajte šta se ovde dešava.

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

Ono što ja tražim je trajna mutacija -

that's what all of us are searching for.

to je ono što mi svi tražimo.

As media head into this new era,

Dok mediji ulaze u ovu novu eru,

mi tražimo promene

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 sad osnovnu ideju prikazivanja stripa kao vizuelnog 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 videli je ceo 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 deo po deo,

that's just where the technology is right now.

to je samo zbog nivoa na kome se tehnologija trenutno nalazi.

As the technology evolves,

Kako tehnologija bude evoluirala,

as you get full immersive displays and whatnot,

kako se budu pojavljivali puni sveobuhvatni displeji i ko zna šta sve,

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

ova ideja će samo rasti.

Prilagođavaće se.

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

Prilagođavaće se svom okruženju:

to je trajna mutacija.

Here's another one.

Evo pokazaću vam još jedan. Ovaj je uradio Dru Vaing;

This is by Drew Weing; this is called

ovaj se zove

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

''Kuca razmišlja o smrti svemira''

See what's going on here

Vidite šta se ovde dešava

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.

Proćićemo ovo malo brže - već ste shvatili ideju.

I just want to get to the last panel.

Hoću samo da dođem do poslednjeg panela.

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

(Smeh)

(Laughter)

Evo ga.

[Pup: Did either of you realize

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

(Smeh)

spread across infinite, lonely space?]

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

(Smeh)

(Laughter)

Just one more.

Samo još jedan.

Kad smo već kod beskonačnog platna.

Talk about your infinite canvas.

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

Ovo je uradio tip po imenu Daniel Merlin Gudbri iz Velike Britanije.

Why is this important?

Zašto je ovo tako važno?

I think this is important because media --

Mislim da je ovo važno jer mediji,

all media --

svi mediji,

provide us a window back into our world.

za nas predstavljaju prozor u naš svet.

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

Sad, može biti 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 efikasniji beg iz sveta u kome smo.

from the world that we're in.

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

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 svet u kome 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 su stripovi 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 svet 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 svet u kome žive

i sagledaju njegov oblik.

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 da idem.

Thank you for having me.

Hvala vam na pažnji.