不同国度，各色漫画

by Lucy Townsend

热爱漫画的你，可知道世界上并非只有日本漫画和欧美漫画？其实许多国家都有自己的漫画名作。本期的“动漫后援会”栏目，就给大家来一次漫画文化的科普吧。你会发现，漫画不仅无国界，还能将各国特色体现得淋漓尽致。

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[对……十分崇敬] the artwork.

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

“There are different styles and themes[主题]，” says Tim Pilcher注1， author of The Essential Guide to World Comics注2 and the chairman of the Comic Book Alliance[联盟]. “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[转变] them into superheroes. Landmarks[地标] such as the Sphinx appear in the background， reinforcing[加强] the setting and the relevance[中肯] to its readers.

漫画是怎样体现其产出国特色的呢？正如一套由全世界漫画家合作而成的系列丛书总结的那样，透过世界各地的漫画风格，人们得以一窥不同的民族文化。

漫画控有庞大的粉丝群。有些人喜欢的是角色本身，有些人则对画工赞叹不已。

尽管各地漫画的简练与灵魂是共通的，其页面却可因其出产国度的不同而变化多样。

“（各国）漫画风格各异，主题也不尽相同，”《世界漫画指南》作者，同时也身为漫画书业联盟主席的蒂姆·皮尔彻这样说道。“这些方法可以让漫画截然不同”。

尽管漫画产业在日本、欧洲以及美国等地都已经成熟，但在中东，其发展需要更多的时间。

（中东的）第一批漫画超级英雄诞生于2005年。来自“中东英雄组织”的阿亚、扎因、贾莉拉和拉坎都有自己的黑暗过去——正是这样的经历激发他们变身为超级英雄。（漫画的）背景当中还出现了狮身人面像这样的地标，进一步强化了故事背景，让读者更有共鸣。

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[史诗] are condensed into[使压缩] comic strip[连环漫画] form.

Cartoonist[漫画家] Pran Kumars Chacha Chaudhary， is another Indian favourite. Chacha， the wise old man uses his intelligence to outwit[以智取胜] his enemies and storylines[故事情节] include cricket matches and chapatti[薄煎饼] eating.

“I wanted to create something that is Indian， that covers themes that are important and relevant[有关的] to India，”says Kumar. “I started making comics in the 1960s but everyone was reading Western ones， I thought why not create an indigenous[土生土长的] 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[限制级的]. 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[通讯簿] size booklets[小册子]， devoured[如饥似渴地阅读] and then discarded[丢弃].

“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[恐龙]， it has these amazingly detailed and beautiful landscapes[风景画]. People love it.”

印度的漫画历史更为久远。《不朽的传说》是根据印度经典故事改编而成的系列漫画，将纷繁复杂的史诗故事浓缩成连环画形式。

另一部在印度大受欢迎的作品则是漫画家普兰·库玛尔创作的《乔社里大叔》。大叔是一个睿智的老头儿，凭着聪明才智克敌制胜，故事情节当中还涉及打板球和吃薄饼呢。

“我想创作一些极具印度风情的东西，能够涵盖对印度人来说非常重要、息息相关的主题，”库玛尔说。“我从上世纪60年代开始创作漫画，但（当时）人人都在看西方的作品。我就想，何不创作立足于本土题材的地道漫画呢。”

在日本，无论大人还是小孩都爱看漫画。创作主题多种多样，有冒险故事、浪漫爱情乃至限制级题材等等。漫画产业出品快捷，而且即用即弃。漫画家一周就能画出二三十页（画稿），出版在黄页大小的册子上，人们津津有味地看完就会扔掉。

“因为这些作品太长了，你会看到整整三页讲的就是一串汗珠沿着一个人的脑门慢慢淌下之类的画面，”皮尔彻补充道。“有这么一个角色，它是一只名叫阿贡的小恐龙。这部作品的描绘细腻得惊人，还画有各种美丽的景色，很受大家喜爱。”