不同國度，各色漫畫

by Lucy Townsend

熱愛漫畫的你，可知道世界上并非只有日本漫畫和歐美漫畫？其實許多國家都有自己的漫畫名作。本期的“動漫后援會”欄目，就給大家來一次漫畫文化的科普吧。你會發(fā)現(xiàn)，漫畫不僅無國界，還能將各國特色體現(xiàn)得淋漓盡致。

How do comics reflect the countries they were created in？ As a series featuring collaborating[合作] artists from around the world concludes， a global look at comic styles offers a glimpse[一看] into national cultures.

The cult[崇拜者] of comic has many followers. Some love the characters， some are in awe of[對……十分崇敬] the artwork.

While the simplicity[簡明] and soul of the comic is universal[普遍的]， the pages can vary[變化] according to the countries they were created in.

“There are different styles and themes[主題]，” says Tim Pilcher注1， author of The Essential Guide to World Comics注2 and the chairman of the Comic Book Alliance[聯(lián)盟]. “These approaches[方法] can make the comics very different.”

While the comic industries in Japan， Europe and the US are well established， in the Middle East it took more time.

The first comic book superheroes were created in 2005. Aya， Zein， Jalila and Rakan from Middle Eastern Heroes have dark pasts that have transformed[轉(zhuǎn)變] them into superheroes. Landmarks[地標(biāo)] such as the Sphinx appear in the background， reinforcing[加強] the setting and the relevance[中肯] to its readers.

漫畫是怎樣體現(xiàn)其產(chǎn)出國特色的呢？正如一套由全世界漫畫家合作而成的系列叢書總結(jié)的那樣，透過世界各地的漫畫風(fēng)格，人們得以一窺不同的民族文化。

漫畫控有龐大的粉絲群。有些人喜歡的是角色本身，有些人則對畫工贊嘆不已。

盡管各地漫畫的簡練與靈魂是共通的，其頁面卻可因其出產(chǎn)國度的不同而變化多樣。

“（各國）漫畫風(fēng)格各異，主題也不盡相同，”《世界漫畫指南》作者，同時也身為漫畫書業(yè)聯(lián)盟主席的蒂姆·皮爾徹這樣說道?！斑@些方法可以讓漫畫截然不同”。

盡管漫畫產(chǎn)業(yè)在日本、歐洲以及美國等地都已經(jīng)成熟，但在中東，其發(fā)展需要更多的時間。

（中東的）第一批漫畫超級英雄誕生于2005年。來自“中東英雄組織”的阿亞、扎因、賈莉拉和拉坎都有自己的黑暗過去——正是這樣的經(jīng)歷激發(fā)他們變身為超級英雄。（漫畫的）背景當(dāng)中還出現(xiàn)了獅身人面像這樣的地標(biāo)，進(jìn)一步強化了故事背景，讓讀者更有共鳴。

Indias comic book history goes back much further. Amar Chitra Katha is a comic book series based on stories from Indian classics. Sprawling[蔓延] epics[史詩] are condensed into[使壓縮] comic strip[連環(huán)漫畫] form.

Cartoonist[漫畫家] Pran Kumars Chacha Chaudhary， is another Indian favourite. Chacha， the wise old man uses his intelligence to outwit[以智取勝] his enemies and storylines[故事情節(jié)] include cricket matches and chapatti[薄煎餅] eating.

“I wanted to create something that is Indian， that covers themes that are important and relevant[有關(guān)的] to India，”says Kumar. “I started making comics in the 1960s but everyone was reading Western ones， I thought why not create an indigenous[土生土長的] comic， based on local themes.”

In Japan， manga are read by children and adults alike. Subject matter varies wildly， from adventure stories to romance and the X-rated[限制級的]. The industry is fast and disposable[可任意使用的]. Artists can turn out 20 to 30 pages a week resulting in phonebook[通訊簿] size booklets[小冊子]， devoured[如饑似渴地閱讀] and then discarded[丟棄].

“Because they are so long， you can get things like a bead[水珠] of sweat on someones forehead moving downwards over three pages，” adds Pilcher. “There is a character called Gon， who is a tiny dinosaur[恐龍]， it has these amazingly detailed and beautiful landscapes[風(fēng)景畫]. People love it.”

印度的漫畫歷史更為久遠(yuǎn)?！恫恍嗟膫髡f》是根據(jù)印度經(jīng)典故事改編而成的系列漫畫，將紛繁復(fù)雜的史詩故事濃縮成連環(huán)畫形式。

另一部在印度大受歡迎的作品則是漫畫家普蘭·庫瑪爾創(chuàng)作的《喬社里大叔》。大叔是一個睿智的老頭兒，憑著聰明才智克敵制勝，故事情節(jié)當(dāng)中還涉及打板球和吃薄餅?zāi)亍?/p>

“我想創(chuàng)作一些極具印度風(fēng)情的東西，能夠涵蓋對印度人來說非常重要、息息相關(guān)的主題，”庫瑪爾說?！拔覐纳鲜兰o(jì)60年代開始創(chuàng)作漫畫，但（當(dāng)時）人人都在看西方的作品。我就想，何不創(chuàng)作立足于本土題材的地道漫畫呢?！?/p>

在日本，無論大人還是小孩都愛看漫畫。創(chuàng)作主題多種多樣，有冒險故事、浪漫愛情乃至限制級題材等等。漫畫產(chǎn)業(yè)出品快捷，而且即用即棄。漫畫家一周就能畫出二三十頁（畫稿），出版在黃頁大小的冊子上，人們津津有味地看完就會扔掉。

“因為這些作品太長了，你會看到整整三頁講的就是一串汗珠沿著一個人的腦門慢慢淌下之類的畫面，”皮爾徹補充道。“有這么一個角色，它是一只名叫阿貢的小恐龍。這部作品的描繪細(xì)膩得驚人，還畫有各種美麗的景色，很受大家喜愛?！?img src="https://cimg.fx361.com/images/2018/07/08/qkimagesfkyzfkyz201303fkyz20130307-2-l.jpg"/>