Andrew Fitzgerald: Adventures in Twitter fiction

85,421 views ・ 2013-10-11

TED


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譯者: Ron Chao 審譯者: Bert Chen
00:12
So in my free time outside of Twitter
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我在推特以外的閒暇時間
00:15
I experiment a little bit
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會做一點實驗
00:16
with telling stories online, experimenting
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關於線上說故事的實驗
00:19
with what we can do with new digital tools.
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看看新的數位工具能怎麼用
00:21
And in my job at Twitter,
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我在推特工作的時候
00:23
I actually spent a little bit of time
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其實也會花一點時間
00:24
working with authors and storytellers as well,
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與作家和說書人合作
00:27
helping to expand out the bounds
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幫忙拓展
00:29
of what people are experimenting with.
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實驗領域的界限
00:31
And I want to talk through some examples today
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我今天想要談談幾個例子
00:34
of things that people have done
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別人已經做過的例子
00:35
that I think are really fascinating
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我覺得真的很棒
00:37
using flexible identity and anonymity on the web
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靈活利用網路身分與匿名
00:41
and blurring the lines between fact and fiction.
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模糊現實與虛構的界線
00:45
But I want to start and go back to the 1930s.
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回溯至1930年代開始講起
00:47
Long before a little thing called Twitter,
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遠在推特誕生之前
00:49
radio brought us broadcasts
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無線電為人們帶來了廣播
00:52
and connected millions of people
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連結數百萬人
00:55
to single points of broadcast.
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到單一幾個廣播站
00:57
And from those single points emanated stories.
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從這幾個廣播站發送許多故事給大家聽
01:01
Some of them were familiar stories.
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有些是耳熟能詳的故事
01:03
Some of them were new stories.
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有些是從沒聽過的故事
01:05
And for a while they were familiar formats,
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有一陣子說故事的形式都差不多
01:08
but then radio began to evolve its own
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但是廣播開始發展出它獨有的
01:10
unique formats specific to that medium.
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獨特形式 特別適合傳播訊息
01:13
Think about episodes that happened live on radio.
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想想看現場廣播劇
01:17
Combining the live play
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結合了現場演出
01:19
and the serialization of written fiction,
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與一系列的小說
01:21
you get this new format.
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新的形式油然而生
01:24
And the reason why I bring up radio is that I think
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我會提到廣播 是因為我認為
01:26
radio is a great example of how a new medium
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廣播是一個絕佳例子 看新媒體是如何
01:30
defines new formats which then define new stories.
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為新形式定義 之後新形式再界定新故事
01:33
And of course, today, we have an entirely new
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當然我們今天運用的
01:36
medium to play with,
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是全新的媒體
01:38
which is this online world.
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那就是線上世界
01:39
This is the map of verified users on Twitter
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這是推特認證用戶
01:43
and the connections between them.
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及用戶彼此連結關係的圖示
01:45
There are thousands upon thousands of them.
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可以看到成千上萬的連結
01:47
Every single one of these points
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這些小點中 每一個單點
01:49
is its own broadcaster.
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都是一間專屬的廣播電台
01:51
We've gone to this world of many to many,
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我們已進入多點對多點的世界
01:55
where access to the tools is the only barrier to broadcasting.
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工具的使用是廣播的唯一門檻
01:59
And I think that we should start to see
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我認為我們會開始看到
02:02
wildly new formats emerge
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嶄新的形式就出現了
02:04
as people learn how to tell stories in this new medium.
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當人們學會在新媒體環境說故事
02:07
I actually believe that we are in a wide open frontier
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事實上 我相信我們的創作實驗
02:11
for creative experimentation, if you will,
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還有很大的開拓空間 如果你願意的話
02:13
that we've explored and begun to settle
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我們已經完成探索 開始安頓在
02:16
this wild land of the Internet
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無邊無際的網路世界
02:18
and are now just getting ready
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現在才剛剛準備
02:21
to start to build structures on it,
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開始在上面開始蓋建築物
02:23
and those structures are the new formats
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這些建築物就是說故事的新形式
02:25
of storytelling that the Internet will allow us to create.
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就是由藉由網際網路我們才能辦到的方式
02:29
I believe this starts with an evolution
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我認為這種形式是由
02:32
of existing methods.
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現存方法的進化開始
02:33
The short story, for example,
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舉短篇小說為例
02:35
people are saying that the short story
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有人說短篇小說
02:37
is experiencing a renaissance of sorts
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正經歷像文藝復興的變革
02:39
thanks to e-readers, digital marketplaces.
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這歸功於電子書、閱讀器和數位市場
02:43
One writer, Hugh Howey, experimented
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有位作家Hugh Howey在亞馬遜網站
02:46
with short stories on Amazon
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用短篇小說進行實驗
02:48
by releasing one very short story called "Wool."
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藉由發表了極短篇故事《羊毛》
02:52
And he actually says that he didn't intend
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事實上 他表示當初確實無意
02:55
for "Wool" to become a series,
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將《羊毛》寫成系列作品
02:56
but that the audience loved the first story so much
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但是讀者非常喜歡這第一篇故事
02:59
they demanded more, and so he gave them more.
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還想繼續看下去 於是作者就繼續創作回應讀者期待
03:01
He gave them "Wool 2," which was a little bit longer than the first one,
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他寫了《羊毛二》 故事比第一集長一點
03:05
"Wool 3," which was even longer,
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《羊毛三》又更長些
03:07
culminating in "Wool 5,"
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《羊毛五》是最後一篇故事
03:08
which was a 60,000-word novel.
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這是六萬字的系列小說
03:11
I think Howey was able to do all of this because
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我認為Howey能發表整個系列
03:15
he had the quick feedback system of e-books.
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是因為電子書的快速反饋系統
03:18
He was able to write and publish
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他能夠創作與出版
03:20
in relatively short order.
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以相當快的速度
03:22
There was no mediator between him and the audience.
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他和讀者沒有隔著中間人
03:25
It was just him directly connected with his audience
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他直接和讀者互動
03:27
and building on the feedback and enthusiasm
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建立讀者給予他的
03:30
that they were giving him.
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反饋和熱情之上
03:31
So this whole project was an experiment.
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因此整個計劃是一項實驗
03:33
It started with the one short story,
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這篇故事是起源於一篇短篇小說
03:35
and I think the experimentation actually became
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事實上我認為這項實驗變成
03:38
a part of Howey's format.
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Howey創作形式的一部分
03:40
And that's something that this medium enabled,
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藉由網路媒體
03:43
was experimentation being a part of the format itself.
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讓實驗成為它本身形式的一部分
03:47
This is a short story by the author Jennifer Egan
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這篇是由珍妮佛.伊根創作的短篇小說
03:50
called "Black Box."
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叫做《黑盒子》
03:52
It was originally written
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原本就是
03:53
specifically with Twitter in mind.
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專為推特而寫的
03:55
Egan convinced The New Yorker
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伊根說服《紐約客》
03:57
to start a New Yorker fiction account
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建立一個《紐約客》小說專用帳戶
04:00
from which they could tweet
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以便他們可以在推特發表
04:02
all of these lines that she created.
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她創作的文句
04:03
Now Twitter, of course, has a 140-character limit.
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當然推特有140字的字數限制
04:07
Egan mocked that up just writing manually
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Egan為了模擬這種限制
04:10
in this storyboard sketchbook,
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就親自在手寫本上書寫
04:13
used the physical space constraints
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利用實質上手寫本
04:16
of those storyboard squares
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有限的空間
04:17
to write each individual tweet,
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寫出每條推文
04:19
and those tweets ended up becoming
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那些推文最後變成
04:22
over 600 of them that were serialized by The New Yorker.
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超過600條連載刊登在《紐約客》上
04:26
Every night, at 8 p.m., you could tune in
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每天晚上八點鐘 你可以線上觀看
04:29
to a short story from The New Yorker's fiction account.
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由《紐約客》小說帳戶推出的短篇小說
04:33
I think that's pretty exciting:
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我認為非常令人興奮:
04:34
tune-in literary fiction.
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收看文學小說
04:37
The experience of Egan's story, of course,
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當然 欣賞Egan的小說
04:40
like anything on Twitter, there were multiple ways to experience it.
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就像推特上的其他東西一樣 有許多方式能夠欣賞
04:43
You could scroll back through it,
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你可以滾動捲軸慢慢看
04:45
but interestingly, if you were watching it live,
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但有趣的是 如果你線上觀看
04:48
there was this suspense that built
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會有緩衝的情況發生
04:50
because the actual tweets,
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因為實際推特發文
04:53
you had no control over when you would read them.
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你在閱讀的時候 你無法控制
04:55
They were coming at a pretty regular clip,
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雖然發文的步調很有規律
04:57
but as the story was building,
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但是隨著情節發展
05:00
normally, as a reader, you control how fast you move through a text,
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讀者通常可以調整自己的閱讀速度
05:03
but in this case, The New Yorker did,
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但就這個例子而言 《紐約客》的作法是
05:05
and they were sending you bit by bit by bit,
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一點一點的發給你
05:08
and you had this suspense of waiting for the next line.
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你等待下一行出現時,就會有懸念
05:12
Another great example of fiction
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推特上的小說和短篇小說
05:15
and the short story on Twitter,
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還有一個很好的例子
05:17
Elliott Holt is an author who wrote a story called "Evidence."
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就是《證據》的作者艾略特‧霍特
05:20
It began with this tweet: "On November 28
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《證據》的第一個推文:「11月28日
05:23
at 10:13 p.m.,
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晚上10點13分
05:25
a woman identified as Miranda Brown,
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經人指認 一位名叫米蘭達‧布朗的女性
05:27
44, of Brooklyn, fell to her death
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44歲 來自布魯克林區
05:30
from the roof of a Manhattan hotel."
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從曼哈頓飯店頂樓 墜樓身亡
05:32
It begins in Elliott's voice,
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一開始是艾略特的聲音
05:34
but then Elliott's voice recedes,
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但隨後艾略特的聲音逐漸淡出
05:36
and we hear the voices of Elsa, Margot and Simon,
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我們聽到艾爾莎、瑪格、西蒙的聲音
05:39
characters that Elliott created on Twitter
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都是艾略特在推特上虛構的角色
05:42
specifically to tell this story,
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專門為說這個故事而設定的
05:44
a story from multiple perspectives
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這個故事有多重觀點
05:47
leading up to this moment at 10:13 p.m.
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一直在為晚上10:13分鋪陳
05:50
when this woman falls to her death.
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這個時間點就是 這個女人墜樓身亡的時候
05:52
These three characters brought an authentic vision
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這三個角色帶來真實的視角
05:55
from multiple perspectives.
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從多重觀點
05:57
One reviewer called Elliott's story
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一位評論家艾略特t的故事稱做是
05:59
"Twitter fiction done right," because she did.
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「最佳推特小說」 的確如此
06:02
She captured that voice
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她那種聲音
06:04
and she had multiple characters and it happened in real time.
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故事中有多重角色 時間也是同部在進行
06:07
Interestingly, though, it wasn't just
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然而有趣的是
06:10
Twitter as a distribution mechanism.
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推特不僅是發行的管道
06:12
It was also Twitter as a production mechanism.
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也是一種創作的機制
06:14
Elliott told me later
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艾略特後來告訴我
06:15
she wrote the whole thing with her thumbs.
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故事完全是用拇指寫出來的
06:19
She laid on the couch and just went back and forth
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她躺在沙發上 不斷轉換心態
06:23
between different characters
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在不同角色之間
06:25
tweeting out each line, line by line.
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一行接一行地發推文
06:28
I think that this kind of spontaneous creation
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我認為以各個角色聲音
06:30
of what was coming out of the characters' voices
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所說出的話的這種即興創作
06:33
really lent an authenticity to the characters themselves,
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不但讓角色有真實感
06:36
but also to this format that she had created
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這種創作形式也同樣具有真實感
06:39
of multiple perspectives in a single story on Twitter.
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這種行式就是她在推特上單一故事裡 所創作的多重觀點
06:43
As you begin to play with flexible identity online,
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你開始靈活運用網路身份時
06:46
it gets even more interesting
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會變得更有趣
06:47
as you start to interact with the real world.
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同時你開始與真實世界有所互動
06:49
Things like Invisible Obama
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例如「隱形歐巴馬」
06:51
or the famous "binders full of women"
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或是著名的「裝滿女性人才的檔案夾」
06:53
that came up during the 2012 election cycle,
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這些都是在2012年選舉期間出現的
06:56
or even the fan fiction universe of "West Wing" Twitter
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或甚至同人小說《白宮風雲》的人物
07:00
in which you have all of these accounts
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在推特上你都可以找到
07:02
for every single one of the characters in "The West Wing,"
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《白宮風雲》每個人物角色的帳戶
07:05
including the bird that taps at Josh Lyman's window
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包括那隻啄喬許·賴曼窗戶的鳥也有
07:09
in one single episode. (Laughter)
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牠只在一集出現過(笑聲)
07:13
All of these are rapid iterations on a theme.
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所有這些元素在同一主題上不斷重複
07:16
They are creative people experimenting
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他們都很有創造力
07:19
with the bounds of what is possible in this medium.
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實驗網路媒體的潛力有多大
07:22
You look at something like "West Wing" Twitter,
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看看《白宮風雲》之類的推特
07:23
in which you have these fictional characters
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在這些推特帳號上 你可以看到虛構的人物
07:26
that engage with the real world.
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正與現實社會互動
07:28
They comment on politics,
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他們評論時政
07:30
they cry out against the evils of Congress.
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他們大聲批判國會的不當作為
07:34
Keep in mind, they're all Democrats.
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別忘了他們都是民主黨
07:36
And they engage with the real world.
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他們會與真實世界互動
07:39
They respond to it.
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他們也會回應
07:41
So once you take flexible identity,
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所以你一旦靈活運用網路身分
07:43
anonymity, engagement with the real world,
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匿名以及參與真實世界
07:46
and you move beyond simple homage or parody
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就超越了只是致敬或諷刺模仿
07:49
and you put these tools to work in telling a story,
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運用這些工具說故事
07:53
that's when things get really interesting.
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事情就會變得非常有趣
07:55
So during the Chicago mayoral election
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在芝加哥市長選舉期間
07:57
there was a parody account.
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有一組假名人的帳號
07:59
It was Mayor Emanuel.
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掛著市長以馬內利的名字
08:00
It gave you everything you wanted from Rahm Emanuel,
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你想知道市長的大小事都在這裡
08:04
particularly in the expletive department.
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尤其是言辭粗魯的一面
08:07
This foul-mouthed account
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這個發文用詞都很粗俗的帳號
08:09
followed the daily activities of the race,
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都會追踪每天的競選活動
08:13
providing commentary as it went.
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提出評論
08:15
It followed all of the natural tropes
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運用了自然的比喻
08:17
of a good, solid Twitter parody account,
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這是一個優質的推特假名人帳號
08:20
but then started to get weird.
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但是事情之後開始變得詭異
08:23
And as it progressed, it moved from this commentary
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這個帳戶漸漸從政治評論
08:27
to a multi-week, real-time science fiction epic
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變成長達數週的即時科幻史詩故事
08:32
in which your protagonist, Rahm Emanuel,
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故事主角拉姆·伊曼紐爾
08:35
engages in multi-dimensional travel on election day,
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在選舉當日踏上多空間之旅
08:39
which is -- it didn't actually happen.
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事實上並沒有這回事
08:42
I double checked the newspapers.
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我仔細看過好幾份報紙
08:45
And then, very interestingly, it came to an end.
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然後很有趣的是,整件事就戛然而止
08:49
This is something that doesn't usually happen
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這種事情通常不會發生
08:51
with a Twitter parody account.
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在推特的假名人帳戶上
08:52
It ended, a true narrative conclusion.
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說完了 故事結束
08:56
And so the author, Dan Sinker, who was a journalist,
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這名作者丹·辛克是一位記者
08:59
who was completely anonymous this whole time,
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他在這段期間完全匿名
09:02
I think Dan -- it made a lot of sense for him
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我認為丹得到很多靈感
09:05
to turn this into a book,
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將其轉化出來出了一本書
09:07
because it was a narrative format in the end,
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因為故事結尾是以敘述的形式結束
09:10
and I think that turning it into a book
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而我認為將其出書
09:13
is representative of this idea that he had created something new
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做為代表他創造出新形式的概念
09:16
that needed to be translated into previous formats.
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而這種新形式需要被轉換成舊有的形式
09:20
One of my favorite examples
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我最喜歡的例子之一
09:22
of something that's happening on Twitter right now,
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正在推特上演
09:24
actually, is the very absurdist Crimer Show.
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就是場荒謬的「歹徒秀」
09:29
Crimer Show tells the story
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「歹徒秀」講述的是
09:31
of a supercriminal and a hapless detective
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一位超級惡棍和一位倒霉偵探的故事
09:34
that face off in this exceptionally strange lingo,
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以非常奇怪難懂的語言開場
09:38
with all of the tropes of a television show.
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還用所有電視劇會出現的譬喻方式
09:40
Crimer Show's creator has said that
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「歹徒秀」的創作者曾說過
09:42
it is a parody of a popular type of show in the U.K.,
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那是一種在英國相當受歡迎諷刺時政的戲劇
09:47
but, man, is it weird.
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但是也夠奇怪了
09:50
And there are all these times where Crimer,
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歹徒(超級惡棍)經常
09:52
the supercriminal, does all of these TV things.
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做出那些你常常在電視都看得到的橋段
09:54
He's always taking off his sunglasses
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他常拿下太陽眼鏡
09:56
or turning to the camera,
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或是轉向鏡頭
09:59
but these things just happen in text.
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但這些都是以文字描述
10:02
I think borrowing all of these tropes from television
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我認為引用這麼多電視元素
10:05
and additionally presenting each Crimer Show
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再加演每次「歹徒秀」
10:08
as an episode, spelled E-P-P-A-S-O-D, "eppasod,"
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做成一集(episode拼成eppasod)
10:14
presenting them as episodes
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將這些影片以影集的形式呈現
10:16
really, it creates something new.
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就創造出一種新的形態
10:19
There is a new "eppasod" of Crimer Show
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新的「歹徒秀」
10:22
on Twitter pretty much every day,
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在推特幾乎每天推出
10:24
and they're archived that way.
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全劇也是以影集的方式存檔
10:26
And I think this is an interesting experiment in format.
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我認為這種有趣的形式實驗
10:29
Something totally new has been created here
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從諷刺模仿電視劇
10:31
out of parodying something on television.
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衍生了一種全新的形式
10:35
I think in nonfiction real-time storytelling,
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我認為在非小說類即時說故事方面
10:37
there are a lot of really excellent examples as well.
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也有很多極佳的例子
10:40
RealTimeWWII is an account
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「即時二戰」帳戶
10:42
that documents what was happening on this day 60 years ago
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記述60年前的今天發生的事件
10:46
in exceptional detail, as if
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描述極為詳細
10:49
you were reading the news reports from that day.
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宛如閱讀當天的新聞
10:51
And the author Teju Cole has done
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作者泰居.柯爾
10:53
a lot of experimentation with putting a literary twist
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做了很多嘗試 將文學的手法
10:56
on events of the news.
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放入新聞事件
10:58
In this particular case, he's talking about drone strikes.
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這裡他談到無人航空器攻擊行動
11:02
I think that in both of these examples,
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我認為從這些例子
11:05
you're beginning to see ways in which
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可以開始看到
11:07
people are telling stories with nonfiction content
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人們利用真實題材說故事
11:10
that can be built into new types
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可以建立
11:12
of fictional storytelling.
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說小說的新形式
11:15
So with real-time storytelling,
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以說即時故事
11:18
blurring the lines between fact and fiction,
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模糊現實和虛構的界限
11:20
the real world and the digital world,
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現實世界和數位世界
11:22
flexible identity, anonymity,
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靈活的身分和匿名
11:26
these are all tools that we have accessible to us,
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都是我們可以運用的工具
11:29
and I think that they're just the building blocks.
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我認為這都是基礎材料
11:31
They are the bits that we use
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都是數位的位元
11:34
to create the structures, the frames,
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我們用以創造結構和框架
11:37
that then become our settlements on this
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之後會變成我們安身立命的地方
11:40
wide open frontier for creative experimentation.
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在這創作實驗的廣闊全新領域
11:43
Thank you.
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謝謝
11:44
(Applause)
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(掌聲)
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