論漫畫敘事中的視覺管理及運用：以視線引導、功能背景、筆觸效果為經緯

The Visual Management In Comic Narrative: About Sight, Background and Brush Stroke

作為一種技能複合、體系多元的圖像敘事方式，漫畫對於流暢表述和視覺滿足感的給予，一直有其獨到的法門。如何不畫背景卻能視覺韻味十足？為何紛亂、疊線的另類筆觸卻不至於干擾讀者的視覺接受，甚至可能成為特化的風格體驗？黑白、彩色前提下，相關手法的操作、構成條件有何不同？除了偷懶妄為、肆無忌憚，終於只剩白框黑字的冨樫流原稿，存不存在可能成立的表現／演出邏輯？
透過不同屬性的案例分析，本篇嘗試回歸漫畫文學的接受理論基礎，交錯「方法」、「文法」的理路軸線，一探其更在走格、運鏡以外的敘事心法。

As an image narrative with complex skills and multiple systems, comics have always had their own unique methods for smooth expression and visual satisfaction. How to have a full visual appeal without drawing the background? Why the chaotic and overlapping alternative brushstrokes will not interfere with the reader's visual acceptance, and may even become a specialized style experience? Under the premise of black and white and color, what are the differences in the operation and composition conditions of the related techniques? In addition to laziness and recklessness, only the white-framed and black-printed original manuscripts are left. Is there a possible performance/performance logic?
Through case analysis of different attributes, this article attempts to return to the basis of accepted theories of comic literature, interlacing the logical axis of “method” and “grammar”, to explore its narrative attempt.