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  • The way we tell stories has naturally changed

    譯者: Lilian Chiu 審譯者: 易帆 余

  • since Aristotle defined the rules of tragedy

    我們說故事的方式 已經很自然地改變了,

  • about 2,500 years ago.

    與大約兩千五百年前亞里斯多德

  • According to him,

    定義的悲劇規則已經不相同了。

  • the role of storytelling is to mimic life and make us feel emotions.

    根據他的定義,

  • And that's exactly what storytelling as we know it

    敘事的角色要模仿生命

  • has done very well since then.

    並讓我們感受到情緒。

  • But there is a dimension of life

    在那之後,我們都知道

  • that storytelling could never really reproduce.

    如此的陳述方式 一直都表現地很好。

  • It is the notion of choices.

    但有一種生命的維度,

  • Choices are a very important part of our lives.

    是敘事永遠無法複製再現的。

  • We as individuals are defined by the choices we make.

    就是「選擇」這個概念。

  • Some of our decisions can have very significant consequences

    選擇是我們人生中 非常重要的一部分。

  • and totally change the courses of our lives.

    我們每個人所做出的選擇, 定義了我們是什麼樣的人。

  • But in a play, a novel or a film,

    有些決定會造成很顯著的後果,

  • the writer makes all the decisions in advance for the characters,

    完全改變我們人生的軌道。

  • and as the audience,

    但在戲劇、小說,或電影中,

  • we can only watch, passively,

    編劇會預先為角色做好決定,

  • the consequences of his decisions.

    身為觀眾,

  • As a storyteller, I've always been fascinated

    我們只能被動地觀看

  • with the idea of recreating this notion of choices in fiction.

    他的決定造成什麼後果。

  • My dream was to put the audience in the shoes of the main protagonists,

    身為說故事的人,我一直很迷戀

  • let them make their own decisions,

    以虛構方式重新創造出

  • and by doing so, let them tell their own stories.

    「選擇」這個概念的想法。

  • Finding a way to achieve this is what I did in the past 20 years of my life.

    我的夢想是要讓觀眾

  • Today, I would like to introduce you to this new way of telling stories,

    能站到主角的立場,

  • a way that has interactivity at its heart.

    讓觀眾自己來做決定, 透過這麼做,

  • Rather than exposing the theory behind it,

    讓觀眾能說出自己的故事。

  • which could have been kind of abstract and probably a little bit boring,

    我在過去二十年一直在尋找 有什麼方法能做到這件事。

  • I thought it would be a great opportunity to do a little experiment.

    今天,我想要向各位介紹 一種新的說故事方式,

  • I would like you, the people here at TED,

    這種方式的核心是互動性。

  • to tell your own story.

    我不想要揭露 這種方式背後的理論,

  • So I came with an interactive scene that we are going to play together.

    因為那有點抽象,可能還有點無聊,

  • I've asked Vicky --

    我認為,這是個好機會, 可以做一個小實驗,

  • hello, Vicky --

    TED 的朋友們,我希望你們

  • to control the main character for us.

    能講你們自己的故事。

  • And your role -- you, the audience --

    所以,我帶來了一個互動場景, 讓我們可以一起玩。

  • will be to make the choices.

    我請維琪——哈囉,維琪——

  • So Vicky and I don't know what's going to happen,

    為我們控制主角。

  • because it will all be based on your decisions.

    而你們的角色——你們,觀眾——

  • This scene comes from our next game, called "Detroit: Become Human,"

    要負責做出選擇。

  • and we are in the near future,

    所以,我和維琪都不知道 會發生什麼事,

  • where technology made possible the creation of androids

    因為那會依你們的 決定而有所不同。

  • that look exactly like human beings.

    這個場景來自我們的下一個遊戲,

  • We are in the shoes of this character called Connor,

    叫做《底特律:變人》,

  • who is an android,

    背景是不久後的未來,

  • and he can do very fancy things with coins, as you can see.

    在這個未來的科技能夠創造出

  • He has this blue triangle on this chest,

    外表和人類一樣的機器人。

  • as all androids do,

    我們要扮演的角色 叫做康納,他是機器人,

  • and now Vicky is in control of this character.

    你們可以看到, 他連玩硬幣都可以玩得很炫。

  • She can walk around, she can go anywhere, she can look around,

    他的胸口上有個藍色三角形,

  • she can interact with her environment,

    所有的機器人都有,

  • and now she can tell her own stories by making choices.

    現在維琪在控制這個角色。

  • So here we have our first choice.

    她可以四處走動, 她可以到任何地方,

  • There is a fish on the ground.

    她可以到處看看, 她可以和環境互動,

  • What should we do?

    現在她可以透過做選擇, 來說她自己的故事。

  • Should we save it or should we leave it?

    這裡是我們的第一個選擇。

  • Remember, we are under time pressure,

    地上有一條魚。我們該怎麼做?

  • so we'd better be fast.

    我們應該救牠?或是不管牠?

  • What should we do?

    別忘了,我們有時間壓力,

  • Audience: Save it!

    我們最好快點。我們該怎麼做?

  • David Cage: Save it? Save the fish?

    觀眾:救牠! 講者:救牠?救魚?

  • (Video) (Fish plops)

    (影片)(撲通聲) 講者:好了。

  • DC: There we go.

    好,我們有一位 喜歡動物的機器人。

  • OK, we have an android who likes animals.

    好,繼續吧。別忘了, 我們有一個人質事件要處理。

  • OK, let's move on.

    (影片)女子:拜託,拜託, 請你救救我的小女兒!

  • Remember, we have a hostage situation.

    等等——你們要派機器人去處理?

  • (Video) Woman: Please, please, you've got to save my little girl!

    警官:好了,女士,你得離開了。 女:你不能那麼做!

  • Wait -- you're sending an android?

    為什麼你們不派真人來處理?

  • Officer: All right, ma'am, you need to go.

    講者:好,她不太高興。

  • W: You can't do that!

    她的女兒被一個機器人 挾持當作人質,

  • Why aren't you sending a real person?

    當然,她正在驚嚇的狀態中。

  • DC: OK, she's not really happy.

    現在我們可以繼續探索這間公寓。

  • Her daughter's been taken hostage by an android,

    我們看到所有 霹靂小組隊員都就位了。

  • and of course, she's in a state of shock.

    但我們得要先找到艾倫隊長。 那是我們最先要做的事。

  • Now we can continue to explore this apartment.

    所以,同樣的, 我們走可以到任何地方。

  • We see all the SWAT forces in place.

    維琪仍然在控制這個角色。

  • But we need to find this Captain Allen first.

    咱們來瞧瞧——喔,我想這就是 艾倫隊長。他在講電話。

  • That's the first thing we need to do.

    (影片)康納: 艾倫隊長,我是康納。

  • So, again, we can go anywhere.

    我是由「電腦生命」 派來的機器人。

  • Vicky's still in control of the character.

    艾倫隊長:咱們對所有 會動的東西開火。

  • Let's see -- oh, I think this is Captain Allen. He's on the phone.

    它已經槍殺了我的兩個手下。

  • (Video) Connor: Captain Allen, my name is Connor.

    我們很容易就能殺了它, 但他們位在陽台的邊緣——

  • I'm the android sent by CyberLife.

    如果它掉下去,她也會掉下去。

  • Captain Allen: Let's fire at everything that moves.

    講者:好,現在我們得要 決定我們要問隊長什麼。

  • It already shot down two of my men.

    我們要選什麼?暴走機器人的 名字?它的行為?情緒衝擊?

  • We could easily get it, but they're on the edge of the balcony --

    (影片)康納:它最近 有遇到任何情緒衝擊嗎?

  • it if falls,

    隊長:我不清楚。這很重要嗎?

  • she falls.

    康納:我需要這項資訊 來決定最好的處理方式。

  • DC: OK, now we need to decide what we want to ask the captain.

    講者:好,第二個選擇。 也許我們能得到點資訊。

  • What should be our choice?

    我們該選擇什麼? 觀眾:行為。

  • Deviant's name? Deviant's behavior? Emotional shock?

    講者:暴走機器人行為,維琪。

  • (Video) C: Has it experienced an emotional shock recently?

    (影片)康納:它在此事之前 有沒有奇怪的行為?

  • Capt A: I haven't got a clue. Does it matter?

    隊長:聽著……唯一重要的 就是救出那個小孩。

  • C: I need information to determine the best approach.

    講者:好,我們從這個傢伙身上 是無法得到什麼資訊了。

  • DC: OK, a second choice. Maybe we can learn something.

    我們得做點什麼。

  • What should we choose?

    咱們試試看回到大廳。

  • Audience: Behavior.

    喔,等等——我好像看到在你的 右邊有一個房間,維琪。

  • DC: OK, deviant behavior, Vicky.

    也許從那裡能得到一些資訊。

  • (Video) C: Do you know if it's been behaving strangely before this?

    喔,有個平板電腦。

  • Capt A: Listen ... saving that kid is all that matters.

    咱們來看看。

  • DC: OK, we are not going to learn anything from this guy.

    (影片)女孩:這是丹尼爾, 世界上最酷的機器人。

  • We need to do something.

    說「嗨」,丹尼爾。 丹尼爾:哈囉!

  • Let's try to go back in the lobby.

    女孩:你是我最好的朋友, 我們會永遠在一起!

  • Oh, wait -- there's a room over there on your right, Vicky, I think.

    講者:這只是玩 這個場景的一種方式,

  • Maybe there's something we can learn here.

    但還有很多其它方式可以玩它。

  • Oh, there's a tablet.

    根據你所做的選擇, 我們可以看到很多不同的行為,

  • Let's have a look.

    許多不同的後果,

  • (Video) Girl: This is Daniel, the coolest android in the world.

    許多不同的結果。

  • Say "Hi," Daniel.

    所以這應該能讓你們稍微了解 我身為互動編劇的工作是什麼。

  • Daniel: Hello!

    線性編劇需要處理的是 時間和空間,

  • G: You're my bestie, we'll always be together!

    而我身為互動編劇,

  • DC: That was just one way of playing the scenes,

    我需要處理的就是 時間、空間,和可能性。

  • but there are many other ways of playing it.

    我得要管理很大的樹狀結構,

  • Depending on the choices you make,

    每一條分枝都是 故事的一個新變化。

  • we could have seen many different actions,

    針對一個場景,我需要 想出當中所有的可能性,

  • many different consequences,

    並想像所有可能會發生的事。

  • many different outcomes.

    我需要處理數以千計的

  • So that gives you an idea of what my work is about as an interactive writer.

    變數、條件,和可能性。

  • Where a linear writer needs to deal with time and space,

    就結果來說,一般 電影劇本大約一百頁,

  • as an interactive writer,

    像這樣的互動式劇本 大約是四千到五千頁。

  • I need to deal with time, space and possibilities.

    這樣你們就對 這項工作有點概念了。

  • I have to manage massive tree structures,

    但,我認為,最終,

  • where each branch is a new variation of the story.

    這段體驗是非常獨一無二的,

  • I need to think about all the possibilities in a given scene

    因為它是合作的結果,

  • and try to imagine everything that can happen.

    由編劇來創造這個 敘述故事的地景,

  • I need to deal with thousands and thousands of variables,

    再由玩家做他自己的決定, 說他自己的故事,

  • conditions and possibilities.

    成為共同編劇,

  • As a consequence, where a film script is about 100 pages,

    同時也是這個故事的 共同演員和共同導演。

  • an interactive script like this is between four and five thousand pages.

    互動敘事是說故事方式的革命。

  • So that gives you an idea of what this work is about.

    隨著新平台的出現,如:

  • But I think, in the end, the experience is very unique,

    互動式電視、虛擬實境, 以及電玩遊戲,

  • because it is the result of the collaboration

    它變成了娛樂的一種新形式,

  • between a writer creating this narrative landscape

    甚至是藝術的一種新形式。

  • and the player making his own decisions,

    我深信,在接下來幾年,

  • telling his own story and becoming the cowriter

    我們將會看到更多更多

  • but also the coactor and the codirector of the story.

    感人的且有意義的互動式體驗,

  • Interactive storytelling is a revolution in the way we tell stories.

    由新一代的才子創造出來。

  • With the emergence of new platforms like interactive television,

    這是一種媒體, 在等它的奧森威爾斯,

  • virtual reality and video games,

    或是它的史丹利庫柏,

  • it can become a new form of entertainment

    且我不懷疑它們很快就會出現

  • and maybe even a new form of art.

    並得到這樣的認可。

  • I am convinced that in the coming years,

    我相信,互動敘事會像是

  • we will see more and more moving and meaningful interactive experiences,

    二十世紀時電影扮演的角色:

  • created by a new generation of talents.

    深深改變該時代的一種藝術。

  • This is a medium waiting for its Orson Welles

    謝謝。

  • or its Stanley Kubrick,

    (掌聲)

  • and I have no doubt that they will soon emerge

  • and be recognized as such.

  • I believe that interactive storytelling can be

  • what cinema was in the 20th century:

  • an art that deeply changes its time.

  • Thank you.

  • (Applause)

The way we tell stories has naturally changed

譯者: Lilian Chiu 審譯者: 易帆 余

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B1 中級 中文 美國腔 TED 康納 機器人 隊長 編劇 故事

【TED】大衛-凱奇:電子遊戲如何把玩家變成講故事的人(電子遊戲如何把玩家變成講故事的人|大衛-凱奇)。 (【TED】David Cage: How video games turn players into storytellers (How video games turn players into storytellers | David Cage))

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