Name: 牙科技師如何成為現代恐怖大師 (How a dental technician became the master of modern horror)
Uploaded: 2025-09-21T11:34:01.000Z
Duration: 16 min 15 s

情態副詞

This comic page is terrifying, but what actually makes it terrifying?

這頁漫畫很可怕，但究竟是什麼讓它變得可怕呢？

程度副詞

There's actually a huge amount of very specific techniques happening here just below the surface that are acting on your subconscious.

實際上，這裡有大量非常特殊的技術，就在表面之下，作用於你的潛意識。

轉承詞

That's because this page was drawn by Junji Ito, and the entire time you're reading one of Junji Ito's comics, you are being manipulated.

這是因為這一頁是由伊藤潤二繪製的，在你閱讀伊藤潤二的漫畫的整個過程中，你都在被操縱。

See, early in his life, this adorable cat-loving man discovered a repeatable formula for creating terrifying works of comic art and has used that same formula for over 30 years to create a staggering amount of brilliant, terrifying works and become the god of horror.

瞧，這個愛貓的可愛男人早年就發現了創作恐怖漫畫作品的可重複公式，30 多年來，他一直使用這個公式創作了大量精彩、恐怖的作品，成為恐怖之神。

And the first technique in that formula should be obvious to anyone looking at this page.

而這個公式中的第一個技巧，對於任何瀏覽本頁面的人來說都是顯而易見的。

If you read a lot of manga, it may actually be harder to spot.

如果您經常閱讀漫畫，可能會更難發現這一點。

This page comes from the first chapter of his epic masterpiece Uzumaki, and in this opening chapter, he uses the same technique again here and here.

這一頁來自他的史詩鉅作《烏雲》的第一章，在這一開篇，他在這裡和這裡再次使用了同樣的技巧。

Okay, it might help to contrast this with American comics.

好吧，與美國漫畫對比一下可能會有所幫助。

In American comics, we generally see the same amount of detail across an entire comic from panel to panel and from subject to subject.

在美國漫畫中，我們通常可以看到整幅漫畫中不同板塊和不同主題的細節數量相同。

But in manga, characters are often drawn with varying levels of detail and sometimes at different levels of detail than the backgrounds and other objects.

但在漫畫中，人物的繪製往往有不同程度的細節，有時甚至與背景和其他物體的細節程度不同。

See, to the thoughtful artist, the amount of detail isn't just an inherent part of their style, but a tool for storytelling, and Ito has mastered using that tool to create terror.

你看，對於有思想的藝術家來說，大量的細節不僅是他們固有風格的一部分，也是講故事的一種工具，而伊藤就很好地利用了這種工具來製造恐怖。

We'll get back to this image, but to help understand why this is so psychologically powerful, let me borrow a visual from Scott McCloud's Understanding Comics.

我們會再回到這幅圖上，但為了幫助理解為什麼這幅圖在心理上如此強大，讓我借用斯科特-麥克勞德（Scott McCloud）的《理解漫畫》（Understanding Comics）一書中的一幅圖片。

This chart represents a simplified spectrum of the different levels of detail an artist can use to represent a character, from extremely simplified on one end to photorealistic on the other.

這個圖表代表了藝術家在表現角色時可以使用的不同細節水準的簡化光譜，從一端的極度簡化到另一端的逼真。

Why this matters is when we look at this simple face over here, it doesn't represent anyone in particular.

為什麼說這很重要，因為當我們看到這張簡單的臉時，它並不代表任何特定的人。

Many comic strips and webcomics primarily use this type of symbolic representation because we're supposed to project ourselves into these panels rather than seeing characters from the artist's imagination.

許多連環畫和網絡漫畫主要使用這種象徵性的表現手法，因為我們應該把自己投射到這些板塊中，而不是看到藝術家想象中的人物。

On the other side of this spectrum is realistic or representational styles.

另一種風格是寫實或表現風格。

This image is very clearly not me or you, unless you're Nicolas Cage watching this video, in which case, Nick, please like and subscribe.

這幅影像顯然不是我或你，除非你是尼古拉斯-凱奇（Nicolas Cage）正在觀看這段視頻，在這種情況下，尼克，請點贊並訂閱。

When the rest of us look at an image like this, we see the otherness of the subject, not ourselves.

當我們其他人看到這樣一幅畫面時，我們看到的是主體的另類，而不是我們自己。

You know, all artists have to exist somewhere along this spectrum.

要知道，所有的藝術家都必須存在於這個光譜的某處。

Most American superhero comics tend to operate around Kirish, although that has varied a bit over time, but generally we tend to look from outside in on the exploits of these characters, but they're just symbolic enough to allow some degree of self-projection.

大多數美國超級英雄漫畫傾向於圍繞 "基裡什"（Kirish）展開，儘管隨著時間的推移會有一些變化，但一般來說，我們傾向於從外部觀察這些角色的經歷，但他們只是象徵性地允許一定程度的自我投射。

But something you'll notice in manga is that often the protagonists, the characters we are meant to relate to, are more on the symbolic side of the spectrum.

但你會注意到，漫畫中的主角，也就是我們希望與之產生共鳴的角色，往往更偏向於象徵性。

While characters that are villains, mentors, gag characters, the supporting cast tends to be more on the representational side.

雖然角色有反派、導師、插科打諢的角色，但配角往往更有代表性。

In this way, the artist invites us to project ourselves onto the protagonist, but to look upon that supporting cast from the outside, just like the protagonist would.

通過這種方式，藝術家邀請我們將自己投射到主角身上，但也要像主角一樣，從外部審視這些配角。

It's very clever and allows us to fall deeply into these worlds.

它非常巧妙，能讓我們深深地陷入這些世界。

So after seeing all that, let's look at this panel again.

看完這些，我們再來看看這個面板。

It seems simple, but if this panel had just been this detailed grotesque image, it wouldn't have nearly as much power.

這看似簡單，但如果這幅畫只是一個細節豐富的怪誕形象，就不會有這麼大的力量。

但這不僅僅是一個怪誕的形象。

It's a grotesque image being seen by two characters who are drawn in an exceedingly simple style, barely more than an outline and a few pen strokes.

這是兩個人物看到的怪誕畫面，畫風極其簡單，僅有一個輪廓和幾筆勾勒。

You would think our brains would register the very apparent clash between these two styles, but that's not what our brains do.

你會認為我們的大腦會記錄下這兩種風格之間的明顯衝突，但我們的大腦並不是這樣做的。

Instead, just as Ito intends, we instinctively empathize with the wife and son, and that transforms us from being someone that is just looking at a gross image printed on a page into being the son who is looking upon the distorted body of his father.

相反，正如伊藤所希望的那樣，我們本能地與妻子和兒子產生了共鳴，這讓我們從一個只是看著印刷在紙上的粗俗影像的人，變成了看著父親扭曲的身體的兒子。

As you look across Ito's work, you'll frequently find the same technique of a ghastly, realistically rendered image on the same page or even in the same panel as a cartoonish, simplistic face reacting to that very image.

縱觀伊藤的作品，你會經常發現同樣的手法，即在同一頁甚至同一版面上，一幅逼真渲染的恐怖影像與一張卡通化、簡單化的臉做出反應。

It's simple and brilliant, but Ito's use of detail doesn't stop there.

它簡單而精彩，但伊藤對細節的運用還不止於此。

You see, this idea of simple drawings contrasting with horrific imagery didn't originate with Ito.

要知道，這種將簡單的圖畫與恐怖的影像形成鮮明對比的想法並非源自伊藤。

Ito borrows it from his biggest influence, Kazuo Umezu.

伊藤從受他影響最大的梅津和夫那裡借鏡了這一點。

I'm doing my best on pronunciation today.

Ito discovered Umezu when he was only five years old.

His sisters had given him a copy of Umezu's mummy teacher, which I assume was a prank meant to traumatize him, but instead it got him totally hooked and began his journey to become a master of horror.

他的姐姐們給了他一本梅津老師的《木乃伊老師》，我猜這是一個惡作劇，目的是給他造成心理創傷，但卻讓他徹底迷上了這本書，開始了他的恐怖大師之旅。

You see, Umezu was in the process of basically inventing horror manga.

你看，梅津基本上是在發明恐怖漫畫。

Working primarily in shoujo magazines that targeted young girls, his initial stories were not actually horror stories.

他主要在以年輕女孩為讀者對象的 Shoujo 雜誌上發表作品，最初的故事其實並不是恐怖故事。

But in 1965, he began on a trilogy of stories that is now called Reptilia, in which classic 60s shoujo characters come up against a ghastly snake woman.

但 1965 年，他開始創作三部曲故事，也就是現在的《爬行動物》，故事中 60 年代的經典寫實人物與可怕的蛇女相遇。

Does this contrast of cartoonish stock characters up against ghoulish detailed supernatural forces remind you of anyone?

卡通化的人物形象與細緻入微的超自然力量形成鮮明對比，是否讓你想起了誰呢？

Young Ito fell hard for Umezu, and as early as six or seven, Ito began drawing his own manga imitating Umezu's style.

年幼的伊藤對梅津情有獨鍾，早在六七歲時，伊藤就開始模仿梅津的風格畫自己的漫畫。

Reptilia was a huge hit and started a boom in horror manga across the country.

爬行動物》一炮而紅，掀起了全國恐怖漫畫的熱潮。

And as Ito grew up, so did the popularity and sophistication of horror manga.

隨著伊藤的成長，恐怖漫畫也越來越流行和成熟。

When Ito was 11 years old, Umezu began on what is generally considered his masterpiece, The Drifting Classroom.

伊藤11歲時，梅津開始創作被公認為其代表作的《漂流的教室》。

Young Ito became so obsessed with The Drifting Classroom that he actually drew his own 12th volume to continue the story after it was over.

年輕的伊藤對《漂流教室》如此痴迷，以至於在《漂流教室》完結後，他還自己畫了第 12 卷，繼續講述這個故事。

Even today, he considers it the largest influence on his work.

時至今日，他仍認為這是對他創作影響最大的作品。

And I think it's directly from Umezu that Ito draws this next technique in his formula, which was not only varying the detail between the characters, but between the characters and the worlds they inhabit in very specific ways.

我認為伊藤在他的公式中直接借鏡了梅津的下一個技巧，那就是不僅要改變人物之間的細節，還要以非常特殊的方式改變人物和他們所居住的世界之間的細節。

In both Ito's Uzumaki and Umezu's Drifting Classroom, these cartoonish protagonists inhabit a relatively realistic landscape.

在伊藤的《烏雲》和梅津的《漂流教室》中，這些卡通化的主角都居住在相對現實的環境中。

And while Umezu and Ito figured out how to use that technique in their formula for terror, it actually dates back further.

雖然梅津和伊藤想出瞭如何在他們的恐怖公式中使用這種技術，但它實際上可以追溯到更早的時候。

And it's fairly common in manga thanks to the influence of two men, the Walt Disney of Japan, Osamu Tezuka, and the Walt Disney of America, Walt Disney.

在日本的華特-迪斯尼--手冢治虫和美國的華特-迪斯尼--沃爾特-迪斯尼這兩個人的影響下，漫畫中的這一現象相當普遍。

The method of producing early Disney films involved photographing a succession of hand-drawn characters on transparent sheets in front of static painted backdrops, which gave this effect of a cartoon character living in a realistic painted world.

早期迪斯尼電影的製作方法是在靜態繪畫背景前的透明膠片上拍攝一系列手繪角色，從而呈現出卡通人物生活在逼真繪畫世界中的效果。

This may have been a technical necessity for Disney or a creative choice, and was probably a mix of the two, but the resulting images are inarguably powerful and set the tone not only for decades of animation, but also for the entire manga industry.

這可能是迪斯尼技術上的需要，也可能是創意上的選擇，也許兩者兼而有之，但由此產生的畫面無疑是震撼人心的，不僅為數十年的卡通片奠定了基調，也為整個漫畫產業奠定了基調。

Someday I'll be able to afford a translator and make a full Tezuka video, but his influence on the development of manga, as well as his ability to unironically rock a beret, cannot be overstated.

總有一天，我會請得起翻譯，製作一個完整的手冢視頻，但他對漫畫發展的影響，以及他戴貝雷帽的能力，無論怎樣強調都不為過。

Young Tezuka was an absolute Disney fanatic.

年輕的手冢絕對是迪士尼的狂熱粉絲。

He famously saw Bambi more than 80 times.

他看了 80 多遍《小鹿斑比》，名聲大噪。

And so a few years later, when he's basically inventing manga, he borrowed Disney's style, placing his cartoonish characters in more realistic settings, setting the tone for the thousands of manga artists who would see him as their main inspiration.

是以，幾年後，當他發明漫畫時，他借鏡了迪斯尼的風格，將他的卡通人物放在更逼真的環境中，為成千上萬的漫畫家奠定了基調，他們將迪斯尼視為自己的主要靈感來源。

梅扎就是其中一位年輕藝術家。

And just as he had with his work in the shoujo magazines in the 60s, Umeza applied that classical manga technique to horror.

正如他在 60 年代的壽司雜誌上的作品一樣，梅座將這種經典的漫畫技巧運用到了恐怖作品中。

He took his ultra simplified characters and placed them in realistic, well-detailed, oftentimes horrific landscapes.

他將極度簡化的人物形象置於逼真、細膩，有時甚至是恐怖的場景中。

I mean, The Drifting Classroom is about an entire elementary school that gets transported into an alternate dimension, and the entire book could just be a case study in the contrast of detail.

我的意思是，《漂流教室》講述的是整個小學被傳送到另一個時空的故事，整本書就是一個細節對比的案例研究。

He plays out his dark drama of innocent, almost cute drawings of children against the more well-rendered drawings of the adults in a world that is realistic, rectilinear, claustrophobic, and then breaks apart into pure painterly abstraction.

他用天真無邪、近乎可愛的兒童畫來襯托成人畫，在一個寫實、直角、幽閉的世界裡上演著他的黑暗戲劇，然後又分裂成純粹的抽象繪畫。

Can you tell I really like The Drifting Classroom?

你能看出我非常喜歡《漂流教室》嗎？

Umeza needs his own video, but let's bring this all back to Ito for now.

梅薩需要自己的視頻，但我們還是先把話題拉回到伊藤身上吧。

Because Ito, absorbing all of this at like 12 years old, would take all of Umeza's innovations in The Drifting Classroom to new heights.

因為伊藤在 12 歲左右就吸收了這一切，他將把《漂流教室》中梅扎的所有創新推向新的高度。

See, Ito grew up in a remote part of Japan and has spent most of his life there.

伊藤在日本的一個偏遠地區長大，大半生都在那裡度過。

And I think that lends all of his stories a real awareness of a sense of place.

我認為這讓他的所有故事都充滿了真正的地方意識。

Unlike other manga artists who often use interchangeable cityscapes, abstract backgrounds that imply motion or emotion, or dispense with backgrounds entirely in favor of readability, Ito grounds almost all of his stories in very tangible locations.

其他漫畫家經常使用可替換的城市景觀、暗示運動或情感的抽象背景，或者為了提高可讀性而完全不使用背景，而伊藤則不同，他幾乎所有的故事都以非常具體的地點為基礎。

So let's go back to that opening chapter of Uzumaki, starting back at the beginning.

讓我們回到《烏雲》的開篇，從頭開始。

We're introduced to Kiri and her friend Shuichi, two high schoolers in this small town.

我們認識了小鎮上的兩個高中生 Kiri 和她的朋友 Shuichi。

Well, the foreground action of these pages involves Kiri telling us about her life and learning from Shuichi about his father's strange obsession with spirals.

這幾頁的主要內容是：桐向我們講述她的生活，並從真一那裡瞭解到他父親對螺旋的奇怪痴迷。

These scenes don't take place just anywhere.

We begin on a high vista and have this beautiful rendition of the town.

我們從高處俯瞰，小鎮的美景盡收眼底。

And then we gradually sink further in, going down the forest path, through the crowded streets, looking down the dense alleyways, hanging out in an empty playground.

然後，我們逐漸沉入其中，沿著林間小道，穿過擁擠的街道，望著密集的小巷，在空曠的操場上閒逛。

Because the foreground characters are simple, we're encouraged to read quickly, to move along with the dialogue.

由於前景人物都很簡單，我們可以快速閱讀，跟著對話走。

But the realistic backgrounds surround us.

So as we empathize with the characters and become engaged with the story, we're subconsciously sinking deeper into this world that Ito has created.

是以，當我們對人物產生共鳴並投入到故事中時，我們會下意識地更深地沉入伊藤創造的這個世界。

But this whole video isn't about realism, because if Ito had stopped the development of his formula there, he would just be another imitator of Umeza.

但是，整部視頻並不是關於現實主義的，因為如果伊藤在這裡停止了他的配方開發，那麼他就只是梅扎的另一個模仿者而已。

But as a teenager, he began to look outside of Japan for influences, to an Italian filmmaker, an American writer, and a Swiss painter.

但在青少年時期，他開始從日本以外的地方尋找影響，如意大利電影製片人、美國作家和瑞士畫家。

The two movies Ito most references being influenced by growing up were The Exorcist and Suspiria.

伊藤在成長過程中最受影響的兩部電影是《驅魔人》和《嫌疑人X的獻身》。

And while The Exorcist is great, I think it's Dario Argento's influence that really shows up in his work.

雖然《驅魔人》很棒，但我認為達里奧-阿金託的影響才真正體現在他的作品中。

Now, I could easily talk for a while about Italian horror films, but I'll just oversimplify and say that what often characterizes these films is the abundance of mean graphic violence that is presented in shockingly beautiful ways.

關於意大利恐怖電影，我可以輕鬆地講上好一陣子，但我還是要簡單地說，這些電影的特點往往是以令人震驚的優美方式呈現大量刻薄的暴力畫面。

It's like a hybridization of Italian artsy directors like Fellini, Antonioni, and Bertolucci with the gory, oftentimes ugly American horror films of the early 70s.

它就像是意大利文藝導演（如費里尼、安東尼奧尼和貝託魯奇）與 70 年代早期血腥、時常醜陋的美國恐怖電影的混合體。

And Suspiria may be the most dramatic example of this mixture of beauty and ugliness.

而《嫌疑人X的獻身》可能是這種美醜交織的最戲劇化的例子。

And this tracks with something that Ito has said.

I enjoy drawing both extremes, extremely ugly or extremely beautiful.

我喜歡畫兩個極端，極醜或極美。

And Ito's use of formal beauty is something we don't see a lot in Umezu's work.

伊藤對形式美的運用在梅津的作品中並不多見。

Ito talks about using the golden ratio to draw attractive faces, the influence he's taken from Degas, Vermeer, and Dali.

伊藤談到利用黃金比例繪製迷人的面孔，以及他從德加、維米爾和達利那裡受到的影響。

But that attention to beauty is part of his formula for terror because when the ugliness finally arrives, it seems so much uglier by contrast.

不過，對美的關注也是他的恐怖公式的一部分，因為當醜陋最終降臨時，對比之下就顯得醜陋多了。

So let's talk about that ugliness because while Italian horror generally draws a lot of its ugliness from blood and guts, Ito generally avoids that.

讓我們來談談這種醜陋，因為意大利恐怖片一般都從血腥和內臟中汲取大量醜陋，而伊藤一般都避免這種醜陋。

He was looking for a deeper source of fear and that is when he discovered H.P.

他一直在尋找更深層次的恐懼來源，就在那時，他發現了 H.P.。

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牙科技師如何成為現代恐怖大師 (How a dental technician became the master of modern horror)

specific

entire

approach

extremely