Scott McCloud: Understanding comics

譯者: Katie Huang 審譯者: Shelley Krishna Tsang

在五感中,

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

我最珍惜的是視覺,

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

而且我最不會把他視為理所當然.

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

我想這有部分是因為我的父親.他是盲人

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

這是一個他通常不會拿來大做文章的事實

有次,在(加拿大的)新斯科舍省,

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

我們去看日蝕的時候

(Laughter)

對,就是卡麗·賽門(Carly Simon)在她的歌(You're so vain)裡面提到的那個

Yeah, same one as in the Carly Simon song,

那是不是在影射

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

詹姆士·泰勒,華倫·比提或米克·傑格,就不得而知了

or Mick Jagger; we're not really sure.

他們發給大家黑色的觀測用塑膠片

They handed out these dark plastic viewers

可以讓我們直視太陽

that allowed us to look directly at the sun

不會傷到眼睛

without damaging our eyes.

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

但我爸非常害怕

他不要我們那樣做

He wanted us instead to use these cheap cardboard viewers,

他希望我們用便宜的厚紙板觀測器代替

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

所以我們的眼睛連一丁點受到傷害的機會都沒有

I thought this was a little strange at the time.

我當時覺得有點奇怪

What I didn't know at the time

但我當時不知道的是

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

其實我爸生下來時視力是完好無缺的

When he and his sister Martha were just very little,

當他跟他的姊妹馬莎還很小的時候

它們的母親帶他們去看全蝕 --

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

or actually, a solar eclipse --

正確的說是全日蝕

然後那之後沒多久

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

它們兩個的視力都開始退化

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

幾十年後

它們發現她們眼盲的原因

很有可能是某種細菌感染

was most likely some sort of bacterial infection.

據我們所知

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

跟那個全日蝕一點關係都沒有

with that solar eclipse,

but by then my grandmother had already gone to her grave

但是我的祖母一直到進墳墓

都認為是她的錯

thinking it was her fault.

So, Dad graduated Harvard in 1946,

所以,我爹1946從哈佛畢業

married my mom,

跟我媽結婚

然後在麻省的列星頓買了個房子

and bought a house in Lexington, Massachusetts,

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

就在美國1775年頭一次對英國開火的地方

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

雖然直到康科特鎮之前我們都沒有打中他們

He got a job working for Raytheon designing guidance systems,

他在雷神公司(Raytheon)找到了工作

設計飛彈導向系統

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

在那時那是屬於128公路高科技產業的中樞之一

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

128公路大概等同於七零年代的矽谷

Dad wasn't a real militaristic kind of guy;

我爸並不是那種很軍國主義的人

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

他只是對他在二戰時無法參戰這點感到很糟

on account of his handicap,

因為他的身體障礙

雖然他們是有讓他通過

although they did let him get through

the several-hour-long army physical exam

長達數小時的軍人體能測試

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

直到最後的那關

就是視力測驗

(笑)

(Laughter)

So Dad started racking up all of these patents

所以,我爸開始累積很多的發明專利

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

然後他得到盲眼天才發明家,火箭科學家的名聲

不過對我們來說,他就只是我們的爸

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

而且我們的家庭生活還挺普通的

As a kid, I watched a lot of television

我小時候看了很多電視

and had lots of nerdy hobbies like mineralogy and microbiology

還有很多很書呆子的興趣

像是礦物學或是微生物學還有太空活動

and the space program and a little bit of politics.

還有一點點的政治

I played a lot of chess.

我下很多西洋棋

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

但我14歲時

有個朋友讓我對漫畫起了興趣

我決定了我就是想靠這個吃飯

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

So, here's my dad:

所以,我爸是這樣的人

他是科學家,他是工程師,然後他待在國防合約商

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

他有四個小孩

So, he has four kids, right?

One grows up to become a computer scientist,

一個長大成為科學家

一個加入了海軍

one grows up to join the Navy,

one grows up to become an engineer ...

一個成了工程師

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

然後是我:

漫畫家

(Laughter)

(笑)

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

這順帶讓我成了迪恩卡門(Dean Kamen)的相反

因為我是科學家的漫畫家兒子

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

他是漫畫家的科學家兒子

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

(笑)

(Laughter)

是真的

Right? It's true.

(鼓掌)

(Applause)

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

有意思的是,我老爸對我非常有信心

他對我身為漫畫家的能力有信心

He had faith in my abilities as a cartoonist,

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

雖然他完全不知道我做得好不好

everything he saw was just a blur.

他看到的只有一片模糊

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

這就是所謂的"盲信"

對我來說他並不帶有負面意義

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,

信仰,也就是相信看不見或無法證實的事情存在

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

我從來就不是很了解

I tend to like science,

我比較喜歡科學

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

因為我們知道的

就是我們看到的或我們可以確認的

But there's a middle ground, too --

然後在這兩者之間也有個中間地帶

a middle ground tread by people like poor old Charles Babbage

有些人在中間地帶,像是可憐的查爾斯·巴貝奇

and his steam-driven computers that were never built.

和他的蒸氣電腦,雖然從未被建出來

Nobody really understood what it was that he had in mind

沒人知道他的腦子裡面有怎樣的構想

除了艾妲拉弗雷斯

except for Ada Lovelace,

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

他直到臨終前都在追求他的夢想

Vannevar Bush with his memex --

萬尼瓦爾·布希和他的Memex(麥克斯存儲器) --

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

一個讓所有人類知識都在你的手指邊的構想

he had this vision.

他有這樣的一個視野

And I think a lot of people in his day

而且我想很多他那個時代的人

大概認為他有點瘋瘋癲癲的

probably thought he was a bit of a kook.

沒錯,我們現在當然能說

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

哈哈--那不過是微縮影片--

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

(Laughter)

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

但這不是重點,重點是他當時就瞭解了未來的型態

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

還有利克萊德(J.C.R. Liklider) 和他對人類-電腦間的互動的見解

同樣的,他也掌握了未來的型態

Same thing: he understood the shape of the future,

就算那些構想

even though it was something that would only be implemented

要到很久以後才能被其他人實踐

by people much later.

Or Paul Baran, and his vision for packet switching.

或是保羅巴倫(Paul Barron),還有他對分封交換技術(packet switching)的先見

Hardly anybody listened to him in his day.

在他的時代很少人理解他

Or even the people who actually pulled it off,

或甚至是那些成功的實現了他們的想法的人

the people at Bolt, Beranek and Newman in Boston,

在BBN科技公司的那些人,

who just would sketch out these structures

那些人畫出的架構

of what would eventually become a worldwide network,

最後成了網際網路

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

畫在筆記本和衛生紙上

and arguing over dinner at Howard Johnson's --

連在豪生餐廳吃晚飯時也爭論不休

on Route 128 in Lexington, Massachusetts,

他們就在麻省列星頓的128公路,

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

離在學習西洋棋(Queen's Gambit Deferred)的我不過兩哩

我正在聽格蕾蒂絲奈特

and listening to Gladys Knight & The Pips

唱"到喬治亞州的午夜列車"--

singing "Midnight Train to Georgia" --

(笑)

(Laughter)

在我爸的大搖椅上

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

So, three types of vision, right?

總之,看法有三種

Vision based on what one cannot see,

一種是存在在看不見的事情上

the vision of that unseen and unknowable.

看不見也無法證明

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

一種是已經被證明或確定的

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

還有第三種

這一種看法

是可以,是能夠

based on knowledge but is, as yet, unproven.

建立在已知的事物上,但還不能被證明

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

在科學的領域中,我們已經有看過很多人在追求著這類視野

who are pursuing that sort of vision in science,

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

但我認為這些人也存在在藝術和政治

甚至是個人成就

it's even true in personal endeavors.

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

這些其實有四個基本原則:

向所有人學習

learn from everyone;

follow no one;

不盲目跟從任何人

watch for patterns;

仔細的觀察找出模式

and work like hell.

還有努力的工作

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

我認為這是第三種視野需要的四個原則

And it's that third one, especially,

尤其是第三項

where visions of the future begin to manifest themselves.

因為第三項會讓對未來的視野

自動浮現

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

有趣的是這種特定的看法

is, I think, only one of four different ways

我認為.只是四種方法中的一種

that manifest themselves in different fields of endeavor.

在各種領域成就中實踐的方法

在漫畫這個領域中,我知道

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

這變成了一種很正規的態度

towards trying to understand how it works.

去了解漫畫到底如何運作

Then there's another, more classical attitude

而還有另外一種,用比較傳統的態度

which embraces beauty and craft;

去讚頌漫畫的美與技法

another one which believes in the pure transparency of content;

還有一種, 認為內容本身的純粹度與透明度才是重點

and then another, which emphasizes the authenticity of human experience

以及最後一種

專注於忠實的傳達真正的人生體驗

and honesty and rawness.

純粹而真實的經驗

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

這是四種很不同的看待世界的方法.我甚至給它們取了名字

I even gave them names:

古典派, 意識派, 形式派, 以及真實派

the classicist, the animist, the formalist and iconoclast.

Interestingly, they seem to correspond more or less

有趣的是這多多少少

與榮格口中的人類思考的四個分類有點像

to Jung's four subdivisions of human thought.

And they reflect a dichotomy of art and delight

這樣分類由藝術性和感性

on left and the right;

分別占據在左邊和右邊

tradition and revolution on the top and the bottom.

而傳統在上面,革命在下面

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

如果你斜著看,就會得到內容與形式

還有美與真實

and then beauty and truth.

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

同樣的規則大概也存在在

音樂,電影與純藝術中

which has nothing whatsoever to do with vision at all,

有的已經跟視覺完全無關

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

所以,也跟我們今天的主題--

of "Inspired by Nature,"

"從自然(Nature)中獲得靈感"無關

except to the extent of the fable of the frog

除非是在這個關於青蛙的寓言中

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

青蛙載著蠍子過河

because the scorpion promises not to sting him,

因為蠍子說好不會螫他

但蠍子還是螫了,結果蠍子和青蛙都死了

but the scorpion stings him anyway and they both die,

青蛙問蠍子為什麼要螫他,蠍子說.

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

"因為這是我的本性(Nature)"

"Because it's my nature."

以這層意義來說,是的

In that sense, yes.

(Laughter)

(笑)

所以--

So this was my nature.

所以這是我的本性.當我回顧

The thing was, I saw that the route I took

我是如何尋找發現

to discovering this focus in my work

我作品的重心

and who I was --

我是個什麼樣的人

I saw it as just this road to discovery.

我以為我只是慢慢的摸索出來的

Actually, it was just me embracing my nature,

其實我只是遵從我的本性

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

這表示

其實我離我的家族並沒有很遠

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

所以像我這樣的"科學思維"

能在藝術的領域做什麼呢?

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

當我開始畫漫畫時

我同時也開始研究他們

almost immediately.

結果我發現,漫畫最重要的特點是

One of the most important things about comics that I discovered

就是他是個單純只用視覺表現的媒體

was that comics are a visual medium,

但他試著用視覺去呈現聽覺,觸覺及所有其他的感覺

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

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

所以,漫畫裡不同的元素,譬如圖像和文字

and the different symbols and everything in between

不同的符號,以及

that comics presents,

所有漫畫所呈現的

are all funneled through the single conduit, a vision.

全都透過視覺這個單一管道

So we have things like resemblance,

所以我們會利用一些表現

where something which resembles the physical world can be abstracted

去模擬真實世界的特徵

我們能從幾個不同的方向去表現真實世界:

in a couple of different directions:

abstracted from resemblance, but still retaining the complete meaning,

將真實世界的形象抽象化

但保留他的意義,

or abstracted away from both resemblance and meaning

或者是將真實世界的形象去意義化,成為純粹的幾何圖案

towards the picture plane.

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

將這三樣合起來,就會得到一個圖表

這圖表可以囊括所有的視覺符號

of the entire boundary of visual iconography,

which comics can embrace.

漫畫所能夠呈現的

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

再往右移,就是語言

because that's abstracting even further from resemblance,

因為那更抽象

but still maintaining meaning.

但還是保留了他的意義

Vision is called upon to represent sound

聽覺也可用視覺來表現

and to understand the common properties of those two

這需要去理解他們之間共通的特性

還有它們共同的歷史

and their common heritage as well;

漫畫也試著表現聲音的特質

also, to try to represent the texture of sound

to capture its essential character through visuals.

還有透過視覺呈現聲音的特色

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

漫畫也要去取得那,

在看得見與看不見之間的平衡

Comics is a kind of call and response,

漫畫是一種作者與讀者間的相互呼應

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

漫畫家們呈現

漫畫格裡面發生的事情

然後讓讀者自己去想像分格和分格間發生的事

and then gives you something to imagine between the panels.

Also, another sense which comics' vision represents,

漫畫試著用視覺去呈現的

另一種感覺是時間

and that's time.

Sequence is a very important aspect of comics.

連續性是漫畫中很重要的一部分

Comics presents a kind of temporal map.

漫畫呈現了一種節奏譜

And this temporal map was something that energizes modern comics,

而這節奏譜給了漫畫活力

but I was wondering if perhaps it also energizes

但我在想是不是也有其他的節奏

other sorts of forms,

用不同的型式帶給圖畫活力

and I found some in history.

然後我在歷史當中找到一些

You can see this same principle operating

你能看到同樣的節奏感

in these ancient versions of the same idea.

同樣的方法也存在在這些古老的繪畫之中

What's happening is,

事實上,藝術的型式會

an art form is colliding with a given technology,

跟當時的科技結合

不管是石頭上的壁畫,像是古埃及的墓碑圖文

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,

或是沿著石柱盤旋而上的浮雕

or a 200-foot-long embroidery,

或是2000英呎長的刺繡

or painted deerskin and tree bark

或是印在鹿皮或樹皮上

running across 88 accordion-folded pages.

橫跨88個折頁

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

有趣的是,當印刷術發明時

and this is from 1450, by the way --

這張圖大概是1450年左右

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

所有現代漫畫的特徵都出現了

直線的分格排列法

rectilinear panel arrangements,

simple line drawings without tone,

簡單的黑白線條

and a left-to-right reading sequence.

還有由左至右的閱讀方式

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

在發展了一百年後

已經可以看到對話框和文字敘述

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

當時和現代漫畫真的只有很小的差距而已

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

所以我在1993年寫了一本有關這主題的書

但在我快寫完時

I had to do a little bit of typesetting,

我需要做一些文字排版

我不想再到附近的影印店去

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

於是我買了台電腦

so I bought a computer.

And it was just a little thing --

那時電腦還很簡單 --除了打打字外沒什麼其他功能

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

但是我老爸曾跟我提過摩爾定律

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

摩爾定律在七零年代的成長,所以我知道未來會發生什麼

and I knew what was coming.

And so, I kept my eyes peeled

所以靜觀其變

to see if the sort of changes that happened

看是不是當初

when we went from pre-print comics to print comics

印刷術帶給漫畫的巨大改變

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

會在我們邁入後印刷術時代時再度重現

So, one of the first things proposed

我提出的第一個改變

was that we could mix the visuals of comics

就是我們可以將漫畫的視覺元素

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

跟聲音,動態和互動性做結合

像當時的CD-ROM一樣

being made in those days.

This was even before the Web.

當時,甚至還沒有網際網路

And one of the first things they did was,

而且他們做的第一項嘗試

就是完全保留了漫畫的翻頁

they tried to take the comics page as is

然後直接移植到螢幕上

and transplant it to monitors,

這是個典型的麥克盧恩式錯誤

which was a classic McLuhanesque mistake

of appropriating the shape of the previous technology

沿用舊科技採用的型式

as the content of the new technology.

作為新科技的型式

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

它們還會做的一項嘗試

則是用既有的印刷漫畫的方式呈現漫畫

that resemble print comics pages,

然後將聲音和動態加在上面

and they would introduce all this sound and motion.

The problem was that if you go with this basic idea

問題是,當你這樣做時

漫畫中特有的"空間等於時間"的基本概念

that space equals time in comics,

what happens is that when you introduce sound and motion,

在帶入聲音和動態

這些只有利用時間才能表示的元素之後

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

they break with that continuity of presentation.

漫畫所表現的連續性就被破壞了

Interactivity was another thing.

互動性又是另一點

There were hypertext comics, but the thing about hypertext

當時有超連結漫畫

但是超連結的問題是

就是所有的東西部是在這裡,就是不在這裡,不然就是連到這裡

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

他完全不具任何空間性

or connected to here;

it's profoundly nonspatial.

從林肯到林肯錢幣

The distance from Abraham Lincoln to a Lincoln penny

到潘妮‧馬歇爾到馬歇爾計劃

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

到第九計劃到九條命的距離

通通都是一樣的

it's all the same.

(Laughter)

(笑)

But in comics,

而且-在漫畫裡

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

作品裡的每個元素

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

永遠跟其他的每個元素都有空間上的關係

So the question was:

所以問題在於

Was there any way to preserve that spatial relationship

有沒有一種方法可以保存這種空間上的關係

while still taking advantage of all of the things

但還是能夠運用

所有數位媒體所能帶給我們的利益?

that digital had to offer us?

And I found my personal answer for this

我找到了我自己的答案

in those ancient comics that I was showing you.

在剛剛給你們看過的古老漫畫中找到了

Each of them has a single unbroken reading line,

每件作品中都有一個單一連續的閱讀路徑

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

不管是在牆壁上崎嶇而行

或是沿著柱子盤旋而上

or just straight left to right,

或者只是簡單的由左而右,甚至是往反方向曲折前進

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

穿過那八十八折的折頁

同樣的事情重複發生,那單純的

the same thing is happening;

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

空間移動代表時間移動的本質

you move through time,

毫無妥協的在這些作品中表現了出來

is being carried out without any compromise,

但是當我們進入印刷後,開始有了一些妥協

but there were compromises when print hit.

Adjacent spaces were no longer adjacent moments,

相鄰的時間不再代表相鄰的空間

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

所以漫畫的本質就這樣被破壞

and again and again.

一而再再而三的被破壞

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

所以我想,好吧

如果這是真的,有沒有任何方法

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

當我們走過了印刷時代後

to somehow bring that back?

可以將當初的本質找回來?

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

現在,電腦螢幕

單純就物理上而言,跟書本一樣有很多限制

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

他的形狀不同,但除此之外

it's the same basic limitation.

有著同樣的物理限制

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

但是那是因為你把螢幕只當成一本書的一頁來看

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

但如果你把螢幕想像成一扇窗戶

And that's what I propose,

我認為,那我們或許可以將漫畫

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

創作在張無限的畫布上

along the X axis and the Y axis

沿著X軸,Y軸和樓梯

and staircases.

We could do circular narratives that were literally circular.

我們也可以有真的是圓型的環狀故事動線

在一個故事的轉折,我們也能讓他真的有個轉折

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

Parallel narratives could be literally parallel.

同時發生的故事路線可以真的並排

X, Y and also Z.

X,Y及Z

So I had all these notions.

所以我有這麼多的想法,在九零年代後期

This was back in the late '90s,

然後當時很多我的同行認為我還挺瘋狂的

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

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

但是也有很多人真的實踐了

I'm going to show you a couple now.

接下來我們會看到其中一些範例

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

這個是Jason Lex所做的早期拼貼

And notice what's going on here.

注意看發生了什麼

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

我在尋找的是一個能夠長久流傳的新型態

that's what all of us are searching for.

我們都在尋找一個

As media head into this new era,

當媒體進入新的時代

我們在尋找蛻變

we are looking for mutations that are durable,

能夠持續被傳承下去的新的蛻變

that have some sort of staying power.

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

在接下來的作品中,我們保留了用視覺呈現漫畫的基本構想

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

從頭到尾完整的實現這個構想

你目前看到的,就是整部漫畫

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

濃縮在電腦螢幕裡

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

但雖然我們一次只經驗一部分

that's just where the technology is right now.

我們目前的科技只能做到這樣

As the technology evolves,

當科技持續進步

as you get full immersive displays and whatnot,

當我們有更身臨其境的顯示方式

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

這些方法未來只會更加進步

漫畫的呈現方式將會去適應

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

這整個環境

這會是個永久的蛻變

Here's another one.

再來看另一個作品,這是Drew Weing的作品;

This is by Drew Weing; this is called

這叫做

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

"狗狗想像著宇宙因過熱而毀滅"

See what's going on here

看

as we draw these stories on an infinite canvas

當我們擁有無限大的畫布

你能夠創造出更純粹的表現

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

表現出漫畫是個什麼樣的媒材

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

我現在要快轉

I just want to get to the last panel.

我想給妳們看最後一格

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

(笑)

(Laughter)

最後一格到了

[Pup: Did either of you realize

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

(笑)

spread across infinite, lonely space?]

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

(笑)

(Laughter)

Just one more.

再看一件作品就好,

說到無限大的畫布

Talk about your infinite canvas.

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

這是英國的Daniel Merlin Goodbrey的作品

Why is this important?

為什麼這很重要?

I think this is important because media --

我認為這很重要,因為媒體

all media --

所有的媒體

provide us a window back into our world.

都提供了我們一扇觀察世界的窗

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

這扇窗可能是電影

或者,遲早會是,虛擬實境,或是類似的東西

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

某種身臨其境的顯示工具

is going to provide us with our most efficient escape

能更有效率的讓我們脫離現實環境

from the world that we're in.

這是為什麼大家都喜歡故事,為了脫離現實

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

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

但是媒體提供了我們一扇窗

讓我們能回到現實世界

And when media evolve

而隨著媒體進步

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

不同的媒體也會發展出獨特的個性

because what you're looking at is comics cubed,

因為你看到的東西,你現在所看到的漫畫是立體的

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

你現在看到的漫畫比過去更像漫畫,更有他的獨特性

than they've ever been before --

when that happens, you provide people with multiple ways

當這些媒體都有獨特的特性時,我們就能有很多不同的方法

of reentering the world through different windows.

能從不同的窗戶重新觀察我們所處的世界

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

讓我們能多元交叉衡量我們的世界

看到他完整的形狀

and see its shape.

That's why I think this is important.

這是為什麼我覺得這件事這麼重要

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

的其中一個原因。但,我現在得走了

Thank you for having me.

很榮幸能在這裡演講