TED2005
Scott McCloud: The visual magic of comics
司考特·麦克劳德 谈漫画
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在这关于漫画的魔力的不容错过的演讲中，司考特·麦克劳德将他的演示变为一次卡通般的体验。缤纷的色彩变化疾驰而过，让我们的眼睛听到和触及他的童年梦想，和他想象中的未来。
Scott McCloud - Cartoonist
Scott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists. Full bio
Scott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists. Full bio
Double-click the English transcript below to play the video.
00:18
Of the five senses,
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五感之中，
00:19
vision is the one that I appreciate the most,
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视觉是我最欣赏的，
00:22
and it's the one that I can least take for granted.
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也是我最不可熟视无睹的。
00:25
I think this is partially due to my father, who was blind.
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我认为部分原因归于我的父亲。他是盲人。
00:29
It was a fact that he didn't make much of a fuss about, usually.
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他通常不把这当多大一回事。
00:31
One time in Nova Scotia,
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有一次，在新斯科舍，
00:32
when we went to see a total eclipse of the sun --
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我们去看一场日全食 ─
00:35
yeah, same one as in the Carly Simon song,
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没错，就是 Carly Simon 歌里的那一场，
00:37
which may or may not refer
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其暗指的可能是
00:39
to James Taylor, Warren Beatty or Mick Jagger; we're not really sure.
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James Taylor，Warren Beatty，或者 Mick Jagger；我们不确定。
00:42
They handed out these dark plastic viewers
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人们发放那些暗塑料观景器，
00:45
that allowed us to look directly at the sun
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让我们能直视太阳，
00:47
without damaging our eyes.
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而又不会伤害眼睛。
00:49
But Dad got really scared:
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但爸爸很害怕：
00:50
he didn't want us doing that.
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他不想让我们那么做。
00:52
He wanted us instead to use these cheap cardboard viewers
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他想让我们用廉价的硬纸皮观景器，
00:55
so that there was no chance at all that our eyes would be damaged.
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那样我们的眼睛就决不可能受到伤害。
00:59
I thought this was a little strange at the time.
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我当时觉得有些奇怪。
01:01
What I didn't know at the time
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我当时不知道的是：
01:02
was that my father had actually been born with perfect eyesight.
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我父亲其实出生时视力完全正常。
01:05
When he and his sister Martha were just very little,
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当他和他妹妹还很小的时候，
01:07
their mom took them out to see a total eclipse --
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他们的母亲带他们去看一场全食，
01:10
or actually, a solar eclipse --
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一场日食。
01:11
and not long after that,
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之后不久，
01:12
both of them started losing their eyesight.
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他们两人开始丧失视力。
01:16
Decades later,
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几十年后发现，
01:17
it turned out that the source of their blindness
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他们致盲的原因
01:19
was most likely some sort of bacterial infection.
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很可能是某种细菌感染。
01:22
As near as we can tell,
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据我们所知，
01:23
it had nothing whatsoever to do with that solar eclipse,
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和那场日食根本毫无瓜葛。
01:27
but by then my grandmother had already gone to her grave
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但是那时，我祖母已经满怀内疚地
01:29
thinking it was her fault.
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去世了。
01:32
So, Dad graduated Harvard in 1946,
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爸爸在1946年从哈佛毕业，
01:35
married my mom,
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娶了我妈妈，
01:36
and bought a house in Lexington, Massachusetts,
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买了一套房子，在麻省莱克星顿镇，
01:39
where the first shots were fired against the British in 1775,
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也就是1775年对英国打响第一枪的地方，
01:43
although we didn't actually hit any of them until Concord.
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虽然我们直到康科德镇才真正打中他们。
01:45
He got a job working for Raytheon,
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他在 Raytheon 找了一份工作，
01:47
designing guidance systems,
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设计导航系统，
01:49
which was part of the Route 128 high-tech axis in those days --
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Raytheon 是当年128号公路高科技轴心区的一部分 ─
01:52
so the equivalent of Silicone Valley in the '70s.
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相当于70年代的硅谷。
01:55
Dad wasn't a real militaristic kind of guy;
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爸爸不是个很有军人作风的人；
01:58
he just really felt bad that he wasn't able to fight in World War II
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他只是对自己因身体缺陷而没能参加二战
02:01
on account of his handicap,
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感到不快。
02:02
although they did let him get through
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尽管他们的确让他一路通过了
02:04
the several-hour-long army physical exam
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长达数小时之久的军队体检，
02:08
before they got to the very last test,
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直到最后一项
02:09
which was for vision.
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测视力。
02:10
(Laughter)
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（笑声）
02:14
So, Dad started racking up all of these patents
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于是，爸爸开始拿下一个又一个专利，
02:17
and gaining a reputation as a blind genius, rocket scientist, inventor.
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获得了盲人天才、导弹科学家、和发明家的美称。
02:20
But to us he was just Dad,
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但对于我们，他只是爸爸。
02:21
and our home life was pretty normal.
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我们的家庭生活十分平常。
02:25
As a kid, I watched a lot of television
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小时候，我看很多电视，
02:27
and had lots of nerdy hobbies
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还有许多古怪的爱好，
02:29
like mineralogy and microbiology and the space program
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比如说矿物学、微生物学、宇宙计划，
02:32
and a little bit of politics.
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还有少许政治学。
02:33
I played a lot of chess.
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我常常下棋。
02:35
But at the age of 14,
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但14岁时，
02:36
a friend of mine got me interested in comic books,
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我的一个朋友让我对漫画书着迷了，
02:37
and I decided that was what I wanted to do for a living.
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我决定那就是我以后谋生的行业。
02:41
So, here's my dad:
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所以说，这是我爸爸：
02:42
he's a scientist, he's an engineer and he's a military contractor.
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他是一名科学家，一名工程师，一名军事承包商。
02:48
So, he has four kids, right?
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他有四个孩子。
02:51
One grows up to become a computer scientist,
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一个长大成为了电脑科学家，
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one grows up to join the Navy,
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一个长大加入了海军，
02:55
one grows up to become an engineer,
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一个长大成为了工程师，
02:57
and then there's me:
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然后就是我：
02:59
the comic book artist.
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漫画家。
03:01
(Laughter)
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（笑声）
03:04
Which, incidentally, makes me the opposite of Dean Kamen,
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这使我无意中成为了 Dean Kamen 的反面，
03:05
because I'm a comic book artist, son of an inventor,
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因为我是一名漫画家，一个发明家的儿子；
03:07
and he's an inventor, son of a comic book artist.
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而他是一个发明家，一名漫画家的儿子。
03:10
(Laughter)
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（笑声）
03:11
Right, it's true.
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没错，是真的。
03:13
(Applause)
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（掌声）
03:16
The funny thing is, Dad had a lot of faith in me.
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有趣的是，爸爸对我很有信心。
03:18
He had faith in my abilities as a cartoonist,
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他相信我作为漫画家的能力，
03:21
even though he had no direct evidence that I was any good whatsoever:
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尽管他无法直接取证我的水平到底如何：
03:24
everything he saw was just a blur.
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他看到的一切都是朦胧的。
03:26
Now, this gives a real meaning to the term "blind faith,"
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这给“盲目信仰”提供了一个名符其实的定义，
03:28
which doesn't have the same negative connotation for me that it does for other people.
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对我而言，这个词并不像对他人一样带有负面情感。
03:33
Now, faith in things which cannot be seen, which cannot be proved,
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对既看不到，又证明不了的事情的信仰，
03:36
is not the sort of faith that I've ever really related to all that much.
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并不是我真正欣赏的那种信仰。
03:40
I tend to like science,
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我更喜爱科学，
03:41
where what we see
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将我们看到的
03:43
and can ascertain are the foundation of what we know.
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和我们能确定的，作为我们知识的基础。
03:47
But there's a middle ground, too.
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但科学也有灰色地带。
03:49
A middle ground tread by people like poor old Charles Babbage,
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像可怜的老 Charles Babbage 这样的人就行走在这灰色地带之中，
03:52
and his steam-driven computers that were never built.
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还有他那从未做好的蒸汽电脑。
03:56
Nobody really understood what it was that he had in mind,
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没有人真正明白他脑海里的概念，
03:58
except for Ada Lovelace,
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除了 Ada Lovelace，
04:02
and he went to his grave trying to pursue that dream.
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而他直到入土前都一直在追寻那个梦想。
04:05
Vannevar Bush with his Memex --
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Vannevar Bush 和他的 Memex ─
04:07
this idea of all of human knowledge at your fingertips --
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一个让全人类的知识都在一指之遥的梦想 ─
04:10
he had this vision.
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他一直坚信不疑。
04:12
And I think a lot of people in his day
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我想当时许多人
04:13
probably thought he was a bit of a kook.
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或许认为他是一个疯子。
04:15
And, yeah, we can look back in retrospect and say,
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或许我们现在看来，会说：
04:17
yeah, ha-ha, you know -- it's all microfilm. But that's --
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“耶，哈哈，你看，不就是微型胶片吗。”但那不是关键。
04:21
that's not the point. He understood the shape of the future.
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他明白未来是什么样子的。
04:24
So did J.C.R. Licklider and his notions for computer-human interaction.
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J.C.R. Likider 和他的人机互动概念也是如此。
04:28
Same thing: he understood the shape of the future,
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同样地：他明白未来是什么样子的，
04:31
even though it was something that would
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即使那仅仅是
04:34
only be implemented by people much later.
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多年之后人们才能做出的东西。
04:37
Or Paul Baran, and his vision for packet switching.
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还有 Paul Barron，以及他对于包交换的先见之明。
04:40
Hardly anybody listened to him in his day.
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同一时代里几乎没有人理睬他。
04:43
Or even the people who actually pulled it off,
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甚至是真正将其实现的人们，
04:45
the people at Bolt, Beranek and Newman in Boston,
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波士顿的 Bolt Beranek and Newman 公司的人们，
04:48
who just would sketch out these structures
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他们将这最终连接全球的网络
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of what would eventually become a worldwide network,
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的结构描绘出来，
04:53
and sketching things on the back of napkins and on note papers
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描绘在纸巾背面和笔记本上，
04:57
and arguing over dinner at Howard Johnson's --
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在麻省莱克星顿的 Howard Johnson 旅店
04:59
on Route 128 in Lexington, Massachusetts,
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的晚餐上争论不休 ─
05:01
just two miles from where I was studying the Queen's Gambit Deferred
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离我学习“后翼弃兵”以及
05:04
and listening to Gladys Knight & the Pips
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听 Gladys Knight & the Pips 唱 "Midnight Train to Georgia"
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singing "Midnight Train to Georgia," while --
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的地方仅两英里之遥 ─
05:08
(Laughter)
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（笑声）
05:09
-- in my dad's big easy chair, you know?
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─ 在我爸爸的摇椅上。
05:12
So, three types of vision, right?
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有三种看事物的方式。
05:14
Vision based on what one cannot see:
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一种着眼于人们看不到的东西：
05:17
the vision of that unseen and unknowable.
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着眼于不可见和不可知的事物。
05:20
The vision of that which has already been proven or can be ascertained.
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一种着眼于已经被证明或可确定的事物。
05:23
And this third kind
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还有第三种
05:26
of vision, of something which
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着眼于可能的事物，
05:28
can be, which may be,
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根据现有知识来说
05:30
based on knowledge, but is as yet unproven.
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有可能，但尚未证明的事物。
05:33
Now, we've seen a lot of examples of people who are pursuing that sort of vision in science,
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我们知道许多在科学领域中追寻那样的事物的人，
05:38
but I think it's also true in the arts, it's true in politics,
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但我认为在艺术和政治中，也同样大有人在。
05:40
it's even true in personal endeavors.
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甚至在个人奋斗历程中。
05:43
What it comes down to, really, is four basic principles:
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归根结底，四条基本原则：
05:45
learn from everyone,
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向所有人学习，
05:47
follow no one,
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不盲从任何人，
05:49
watch for patterns,
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注意观察模式，
05:51
and work like hell.
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和卖力工作。
05:52
I think these are the four principles that go into this.
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我认为这四条原则是关键。
05:55
And it's that third one, especially,
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尤其是第三条，
05:57
where visions of the future
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对未来的展望
05:59
begin to manifest themselves.
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开始自我实现。
06:01
What's interesting is that this particular way of looking at the world,
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有趣的是，这种看世界的方式，
06:04
is, I think, only one of four different ways
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我认为，是四种方式中唯一一种
06:06
that manifest themselves in different fields of endeavor.
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在不同的奋斗领域中能自我实现的。
06:08
In comics, I know that
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在漫画界，我知道
06:10
it results in sort of a formalist attitude
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它促成了一种严谨的态度，
06:13
towards trying to understand how it works.
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引导我们尝试明白它的原理。
06:15
Then there's another, more classical, attitude
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然后，还有一种更古典的态度，
06:18
which embraces beauty and craft.
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囊括美和工艺。
06:20
Another one which believes in the pure transparency of content.
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还有一种相信内容的纯透明性。
06:24
And then another
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还有一种
06:26
which emphasizes the authenticity of human experience --
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强调原汁原味的人文体验，
06:28
and honesty, and rawness.
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强调诚实和本性。
06:30
These are four very different ways of looking at the world. I even gave them names.
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这是看待世界的四种迥异方式。我还给它们命了名。
06:32
The classicist, the animist, and formalist and iconoclast.
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古典主义者，泛灵主义者，形式主义者，和标志主义者。
06:36
Interestingly, it seemed to correspond more or less
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有趣的是，其恰好和
06:37
to Jung's four subdivisions of human thought.
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荣格的四类人类思维相吻合。
06:42
And they reflect a dichotomy of art and delight
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他们反映了一种二分法：艺术在左，
06:44
on left and the right;
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喜悦在右；
06:46
tradition and revolution on the top and the bottom.
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传统在上，革新在下。
06:48
And if you go on the diagonal, you get content and form --
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在对角线，则是内容和形式，
06:50
and then beauty and truth.
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以及美与真实。
06:52
And it probably applies just as much
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这同样可以被运用在
06:53
to music and to movies and to fine art,
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音乐、电影、和高雅艺术上，
06:56
which has nothing whatsoever to do with vision at all,
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它们和视觉之间并无关系，
06:59
or for that matter, nothing to do with our conference theme of
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或者说，和我们这次的“来于自然的灵感”的主题
07:02
"Inspired by Nature" --
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毫无关系；
07:03
except to the extent of the fable of the frog
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除了那个关于青蛙的寓言：
07:06
who gives the ride to the scorpion on his back to get across the river
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青蛙让蝎子坐在它背上渡河，
07:09
because the scorpion promises not to sting him,
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条件是蝎子承诺不蛰它，
07:11
but then the scorpion does sting him anyway and they both die,
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但蝎子最后还是蛰了它，结果它们都淹死了，
07:13
but not before the frog asks him why and the scorpion says,
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在临死之前，青蛙问为什么，蝎子说：
07:16
"Because it's my nature" --
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“因为这是我的自然天性” ──
07:17
in that sense, yes.
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从这个意义上来说，有关系。
07:19
(Laughter)
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（笑声）
07:21
So --
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因此，
07:23
so this was my nature. The thing was, I saw
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这就是我的天性。我曾回顾
07:26
that the route that I took to discovering
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我追寻我工作的
07:28
this focus in my work
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这个重心的历程，
07:31
and who I was,
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以及曾经的我，
07:33
I saw it as just this road to discovery.
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我当时认为，那只是一条通往探索的道路。
07:35
Actually, it was just me embracing my nature,
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事实上，我只是在拥抱我的天性，
07:37
which means
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也就是说
07:39
that I didn't actually fall that far from the tree after all.
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我其实离我父亲的期望并不算远。
07:44
So what does a "scientific mind"
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那么，在艺术中，
07:46
do in the arts?
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“科学思维”有何作用呢？
07:49
Well, I started making comics,
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嗯…当我开始画漫画时，
07:50
but I also started trying to understand them, almost immediately.
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我也几乎同时开始了解漫画。
07:52
And one of the most important things about comics, I discovered,
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我发现，关于漫画最重要的事情之一，
07:55
was that comics are a visual medium,
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就是：漫画是一种视觉媒介，
07:57
but they try to embrace all of the senses within it.
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但它也尝试将其它感官囊括其中。
08:01
So, the different elements of comics, like pictures and words,
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因此，漫画的不同元素，比如说图像和文字，
08:05
and the different symbols and everything in between
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和不同的符号，以及两者间种种
08:08
that comics presents
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漫画表现的东西，
08:09
are all funneled through the single conduit of vision.
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都通过视觉这一条途径涉入。
08:11
So you have things like resemblance,
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因此，你就有了表相，
08:13
where something which resembles the physical world can be abstracted
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也就是说代表现实世界的事物，
08:16
in a couple of different directions:
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可以被不同的方式抽象化：
08:18
abstracted from resemblance,
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将表相抽象化，
08:20
but still retaining the complete meaning,
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但仍保留完全的含义，
08:22
or abstracted away from both resemblance and meaning towards the picture plan.
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或者将表相和含义两者都抽象化，趋于图形化。
08:26
Put all these three together, and you have a nice little map
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将这三者放在一起，你就有了这一幅有趣的小图，
08:28
of the entire boundary of visual iconography
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表现了漫画所能表现的视觉符号
08:31
which comics can embrace.
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的整个领域。
08:33
And if you move to the right you also get language,
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如果你再往右移，就是语言，
08:36
because that's abstracting even further from resemblance,
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因为其将表相进一步抽象化，
08:39
but still maintaining meaning.
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但仍旧保留含义。
08:42
Vision is called upon to represent sound
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视觉被用来重现声音
08:44
and to understand the common properties of those two
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以明白这两者，以及他们的共同来源
08:47
and their common heritage, as well.
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之间的共性。
08:49
Also, to try to represent the texture of sound
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也用来重现声音的质感；
08:52
to capture its essential character through visuals.
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用视觉捕捉其关键的特性。
08:57
And there's also a balance
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漫画中还有可见和不可见事物
08:59
between the visible and the invisible in comics.
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的平衡。
09:02
Comics is a kind of call and response
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漫画是一种呼应：
09:04
in which the artist gives you
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漫画家让你在格子里看到
09:05
something to see within the panels,
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一些东西，
09:06
and then gives you something to imagine between the panels.
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然后让你在格子之间想象另一些东西。
09:11
Also, another sense
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漫画视觉还表现了
09:13
which comics' vision represents, and that's time.
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另一种感觉：时间感。
09:17
Sequence is a very important aspect of comics.
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序列是漫画中重要的一个方面。
09:21
Comics presents a kind of temporal map.
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漫画表现了一种时间图序。
09:24
And this temporal map was something that energizes modern comics,
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这时间图序使得现代漫画充满了活力，
09:27
but I was wondering if perhaps it also energizes
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但我猜想它可能也使得
09:30
other sorts of forms,
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别的艺术形式充满活力，
09:32
and I found some in history.
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我在历史中找到了一些。
09:34
And you can see this same principle operating
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你能看到同样的原则在这些
09:37
in these ancient versions of the same idea.
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古老的版本中支配着相同的主意。
09:40
What's happening is, the art form is colliding
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事实上，艺术形式随着科技条件
09:42
with the given technology,
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而转变：
09:43
whether it's paint on stone, like the Tomb of the Scribe in ancient Egypt,
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在古埃及的墓穴碑文上，它被画在石头上；
09:47
or a bas-relief sculpture rising up a stone column,
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在石柱的浮雕上；
09:50
or a 200-foot-long embroidery,
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在200英尺长的刺绣上；
09:52
or painted deerskin and tree bark
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在88折长的
09:54
running across 88 accordion-folded pages.
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鹿皮和树皮画上。
09:57
What's interesting is, once you hit print --
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有趣的是，当进入印刷时代后 ──
09:59
and this is from 1450, by the way --
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顺带一提，这来自1450年 ──
10:01
all of the artifacts of modern comics start to present themselves:
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所有现代漫画的元素一目了然：
10:03
rectilinear panel arrangements,
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直线性格子排列，
10:05
simple line drawings without tone
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简单线条描绘，无色调，
10:07
and a left-to-right reading sequence.
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还有由左至右的阅读顺序。
10:11
And within 100 years,
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接下来100年里，
10:12
you already start to see word balloons and captions,
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你已经开始看到对话泡泡和图片说明，
10:16
and it's really just a hop, skip and a jump from here to here.
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事实上从这到这真的几小步而已。
10:19
So I wrote a book about this in '93,
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于是，我在1993年写了一本相关的书，
10:21
but as I was finishing the book,
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但当我快写完时，
10:23
I had to do a little bit of typesetting,
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我要做一些排版，
10:24
and I was tired of going to my local copy shop to do it,
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因为我厌倦了跑复印店，
10:26
so I bought a computer.
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所以我买了一台电脑。
10:29
And it was just a little thing -- it wasn't good for much except text entry --
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那是电脑还很落后，除了文字输入之外用处不大。
10:32
but my father had told me about Moore's Law,
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但我父亲在70年代曾告诉我摩尔定理，
10:35
about Moore's Law back in the '70s, and I knew what was coming.
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因此我知道将要到来的是什么。
10:39
And so, I kept my eyes peeled
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于是，我拭目以待，
10:41
to see if the sort of changes that happened
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看看当我们由前印刷时代漫画，
10:43
when we went from pre-print comics to print comics
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到印刷时代漫画，再到后印刷时代漫画时
10:46
would happen when we went beyond, to post-print comics.
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会发生什么。
10:49
So, one of the first things that were proposed
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最先猜想的事情之一，
10:51
was that we could mix the visuals of comics
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是我们能够将漫画的视觉因素
10:53
with the sound, motion and interactivity
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与声音、动态、和当时生产的
10:55
of the CD-ROMs that were being made in those days.
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CD-ROM 的互动性相结合。
10:57
This was even before the Web.
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这甚至在互联网时代之前。
10:59
And one of the first things they did was,
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他们最先做的事情之一，
11:00
they tried to take the comics page as-is
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是尝试将漫画原封不动地
11:02
and transplant it to monitors,
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搬到显示屏上。
11:03
which was a classic McLuhanesque mistake
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这是一个典型的麦克卢恩式错误：
11:06
of appropriating the shape of the previous technology
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将上一代科技的形式作为
11:09
as the content of the new technology.
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新一代科技的内容
11:11
And so, what they would do is,
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因此，他们做的是
11:12
they'd have these comic pages that resemble print comics pages,
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采用印刷体的漫画页面
11:14
and they would introduce all this sound and motion.
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并加入声音和动态。
11:18
The problem was, that if you go with this idea --
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问题在于，如果你这么做 ──
11:20
this basic idea that space equals time in comics --
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这基本的空间等于时间的观念 ──
11:23
what happens is that when you introduce sound and motion,
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当你加入声音和动态时，
11:25
which are temporal phenomena that can only be represented through time,
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它们本身就是只能通过时间表现的现象，
11:29
then they break with that continuity of presentation.
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结果它们会打断表现的连续性。
11:35
Interactivity was another thing.
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互动性是另一个问题。
11:36
There were hypertext comics.
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超文本漫画问世了。
11:37
But the thing about hypertext
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但超文本的问题
11:38
is that everything in hypertext is either here, not here or connected to here;
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在于超文本中的一切只能是在这，不在这，或者链接到这 ──
11:41
it's profoundly non-spatial.
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非常地没有空间性。
11:43
The distance from Abraham Lincoln to a Lincoln penny,
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从阿伯拉罕·林肯到林肯硬币，
11:46
the Penny Marshall to the Marshall Plan
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从 潘尼·马歇尔 到马歇尔计划
11:48
to "Plan 9" to nine lives:
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到“九号计划”到九条命：
11:49
it's all the same.
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都是一样的。
11:51
(Laughter)
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（笑声）
11:52
And -- but in comics, in comics,
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但在漫画中，
11:55
every aspect of the work, every element of the work
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作品的每个方面，每个元素，
11:58
has a spatial relationship to every other element at all times.
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都总和其它的每个元素有着一种空间关系。
12:01
So the question was:
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问题在于：
12:02
was there any way to preserve that spatial relationship
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能不能保留那种空间关系，
12:05
while still taking advantage of all of the things
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同时又能利用数据时代
12:07
that digital had to offer us?
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提供给我们的优势？
12:09
And I found my personal answer for this
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我在之前的古代漫画中
12:11
in those ancient comics that I was showing you.
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找到了我个人的答案。
12:14
Each of them has a single unbroken reading line,
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它们每一个都有一条不间断的阅读线，
12:17
whether it's going zigzag across the walls
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无论是在墙上迂回，
12:19
or spiraling up a column
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或是沿圆柱回旋而上，
12:21
or just straight left to right, or even going in a backwards zigzag
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或者简单地由左至右，或者甚至是在
12:24
across those 88 accordion-folded pages.
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88折的页面上反向迂回。
12:26
The same thing is happening, and that is that the basic idea
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同样的事情发生了，那就是当你在空间上移动时，
12:29
that as you move through space you move through time
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你也在时间上移动 ──
12:31
is being carried out without any compromise,
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这个概念被圆满地实现了。
12:33
but there were compromises when print hit.
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但在印刷时代并非如此。
12:36
Adjacent spaces were no longer adjacent moments,
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相邻的空间并不代表相邻的时刻，
12:39
so the basic idea of comics was being broken again and again
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于是漫画的基本概念被打断了，一次又一次
12:42
and again and again.
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一次又一次
12:43
And I thought, O.K., well,
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我想：好吧，
12:44
if that's true, is there any way,
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既然如此，是不是有办法，
12:47
when we go beyond today's print,
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当我们超越现今的印刷时代，
12:49
to somehow bring that back?
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将那种概念寻回？
12:52
Now, the monitor
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现在，显示屏，
12:55
is just as limited as the page, technically, right?
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技术上来说，就和页面一样有限，对吧？
12:57
It's a different shape, but other than that
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它的形状不同，但除此之外，
12:59
it's the same basic limitation.
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它有同样的基本局限。
13:01
But that's only if you look at the monitor as a page,
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但只有当你将显示屏看作页面时才是如此，
13:05
but not if you look at the monitor as a window.
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如果你将显示屏看作一扇窗口就不同了。
13:08
And that's what I proposed: that perhaps we could create these comics
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我的提议就是：也许我们能在一幅无限的画布上
13:10
on an infinite canvas:
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创作这些漫画：
13:12
along the X axis and the Y axis and staircases.
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沿X轴，Y轴，以及阶梯递进。
13:17
We could do circular narratives that were literally circular.
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我们能做出名符其实的循环故事。
13:19
We could do a turn in a story that was literally a turn.
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我们能在故事中做出名符其实的转折。
13:23
Parallel narratives could be literally parallel.
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平行故事可以是名符其实地平行的。
13:27
X, Y and also Z.
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X，Y，和Z。
13:30
So I had all these notions. This was back in the late '90s,
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我的这些看法，成型于90年代后期，
13:32
and other people in my business thought I was pretty crazy,
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我公司里的其他人认为我是疯子，
13:36
but a lot of people then went on and actually did it.
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但之后很多人真的这么做了。
13:38
I'm going to show you a couple now.
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我现在向你们展示一些。
13:41
This was an early collage comic by a fellow named Jason Lex.
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这是一个叫 Jason Lex 的人画的早期拼贴漫画。
13:48
And notice what's going on here.
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注意这里。
13:50
What I'm searching for is a durable mutation --
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我追寻的是一个可持续的转变 ──
13:52
that's what all of us are searching for.
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那也是我们所有人追寻的。
13:54
As media head into this new era,
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当媒体进入一个新时代时，
13:56
we are looking for mutations
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我们开始寻找可持续的转变，
13:59
that are durable, that have some sort of staying power.
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一种最终有能力持续下来的转变。
14:03
Now, we're taking this basic idea of presenting comics in a visual medium,
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我们在谈用视觉媒介展现漫画这一基本概念，
14:07
and then we're carrying it through all the way from beginning to end.
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然后我们从头到尾将它看下来。
14:10
That's that entire comic you just saw
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现在屏幕上显示的是
14:12
is up on the screen right now.
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你刚刚看到的整篇漫画。
14:14
But even though we're only experiencing it one piece at a time,
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但即使我们现在只能一部分一部分地看，
14:17
that's just where the technology is right now.
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那也只是因为当今的科技水平。
14:19
As the technology evolves,
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当科技进步，
14:21
as you get full immersive displays and whatnot,
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当有了全面沉浸显示之类后，
14:24
this sort of thing will only grow.
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这样的东西会愈演愈烈。
14:26
It will adapt. It will
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它会适应。
14:28
adapt to its environment:
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它会适应它的环境：
14:30
it's a durable mutation.
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它是一种可持续的转变。
14:33
Here's another one I'll show you. This is by Drew Weing;
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接下来一个，Drew Weing 画的
14:35
this is called,
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叫做：
14:36
"Pup Contemplates the Heat Death of the Universe."
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《泊普深思宇宙的热寂》。
15:04
See what's going on here
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看看这里
15:06
as we draw these stories on an infinite canvas
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当我们在一幅无限的画布上画出这些故事时，
15:11
is you're creating a more pure expression
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你在创造一种对于媒介的本质
15:15
of what this medium is all about.
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更纯粹的体验。
15:22
We'll go by this a little quickly -- you get the idea.
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我们快进一下，你知道大概意思了。
15:24
I just want to get to the last panel.
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我想给你们看最后一格。
15:32
(Laughter)
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（笑声）
15:35
There we go.
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来了。
15:38
(Laughter)
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（笑声）
15:43
(Laughter)
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（笑声）
15:49
Just one more.
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最后一篇。
15:52
Talk about your infinite canvas.
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关于无限的画布。
15:55
It's by a guy named Daniel Merlin Goodbrey in Britain.
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这是一个名叫 Daniel Merlin Goodbrey 的英国人画的。
15:58
Why is this important?
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这为什么重要？
16:01
I think this is important because media,
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我认为媒介使其尤为重要，
16:04
all media,
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所有媒介
16:06
provide us a window back into our world.
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给我们一个通往我们世界的窗口。
16:09
Now, it could be that motion pictures --
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这媒介可以是电影 ──
16:11
and eventually, virtual reality, or something equivalent to it --
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以及最终，虚拟现实之类的东西 ──
16:14
some sort of immersive display,
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一种沉浸式显示，
16:16
is going to provide us with our most efficient escape from the world that we're in.
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给我们最高效地逃避现实世界的方式。
16:21
That's why most people turn to storytelling, is to escape.
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这就是为什么大多数人喜欢故事，为了逃避。
16:24
But media provides us with a window
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但媒介也给了我们一扇窗口
16:27
back into the world that we live in.
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通往我们生活的世界。
16:31
And when media evolve
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当媒介转变，
16:34
so that the identity of the media becomes increasingly unique.
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媒介的性质变得越来越独特。
16:39
Because what you're looking at is, you're looking at comics cubed:
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因为你现在看到的，是多次元的漫画：
16:42
you're looking at comics that are more comics-like than they've ever been before.
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你看到的是比之前的一切都更为漫画化的漫画。
16:46
When that happens, you provide people with multiple ways
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它们给人们提供了从不同的窗口
16:49
of re-entering the world through different windows,
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重新进入世界的多种方式。
16:53
and when you do that, it allows them to triangulate the world that they live in
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同时，它还使人们三分他们生活的世界，
16:56
and see its shape.
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看清它的形状。
16:58
And that's why I think this is important.
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这就是我认为这个话题很重要
17:00
One of many reasons, but I've got to go now.
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的原因之一。但我该就此打住了。
17:02
Thank you for having me.
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谢谢你们。
ABOUT THE SPEAKER
Scott McCloud - CartoonistScott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists.
Why you should listen
If not for Scott McCloud, graphic novels and webcomics might be enjoying a more modest Renaissance. The flourishing of cartooning in the '90s and '00s, particularly comic-smithing on the web, can be traced back to his major writings on the comics form. The first, Understanding Comics, is translated into 13 languages, and along with Reinventing Comics and Making Comics, its playful and profound investigations are justly revered as something like the Poetics of sequential art.
McCloud coined the term "infinite canvas" -- for the new comics medium made possible by web browsers. He's an avid user of the medium: My Obsession With Chess was widely popular online, as was The Right Number. Back on the printed page, he wrote and illustrated Zot!, a colorful response to then-trendy grimness and gore in comic books. (He describes the book as "a cross between Peter Pan, Buck Rogers and Marshall McLuhan.")
He's the inventor of the game 5-Card Nancy.
Scott McCloud | Speaker | TED.com