載具變奏曲：論條式漫畫的敘事原理及產業趨勢

Device Variations: Principles and Trends of Vertical Scroll

2009年11月，i-phone3GS引進韓國市場。兩年內，智慧型手機創造了67.6%的普及率，也刺激了業者兼容「載具條件」、「敘事手法」與「漫畫圖像」的想像。截至目前，以優勢明顯、針對通訊軟體用戶進行垂直行銷的「LINE webtoon」為代表，韓國共有DAUM、NAVER、Toptoon、Comico等逾30個數位平台，以「Web-toon」概念經營「直式捲動型手機漫畫」，每周連載超過1700部作品。從結果來看，這種俗稱「條漫」的表現形式準確把握了行動載具的發展風向，令韓國快速後設了自身的漫畫文化，在短期內接通了動漫產業與閱聽、影視、娛樂商品的鏈動。
乍看之下，「條漫」崛起似乎與「電子漫畫」的興起同義，甚至猶如日本漫畫以紙本席捲90年代的過程。但事實上，以「間白」的運用為核心，適合演繹內心、情境的「條漫」，卻擁有自己的敘事、接受邏輯，從分鏡到編成方式都存在強、弱項。既不等於紙本漫畫的電子閱讀，更與翻頁漫畫大不相同。作為分割資訊、調控節奏的視覺敘事手法，傳統頁式漫畫能夠累積情節、形成角色符號，有它源自表現形式的理由。換言之，捲動閱讀其實形同一次內在質變，令「條漫」在內容產業中的定位也有所不同。鑑此，本文嘗試以授權圖像解讀「條漫」與「頁漫」的內、外差異，並結合韓、中、臺產業現況，梳理相關創作的未來發展方向。

In 2009, the iPhone 3GS was introduced to the South Korean market. Within two years, the smartphone penetration rate reached 67.6%, prompting industry players to consider ''new comics.'' Currently, including ''LINE Webtoon,'' there are over 30 electronic platforms in South Korea that publish ''vertical scroll comics,'' with 1,700 works serialized every week.
In fact, ''vertical scroll comics'' have effectively capitalized on the smartphone boom. Quickly, comics, dramas, movies, and entertainment products have become commercial networks, forming the ''Korean comic culture.'' This situation is very similar to the Japanese comic boom in the 1990s.However, ''vertical scroll comics'' and ''traditional comics'' are different. Centered around ''white space,'' ''vertical scroll comics'' are more suited to sensory shows and have their own unique storyboard techniques. In other words, the development methods for the two might also differ.
''Traditional comics'' are a technique of controlling rhythm and creating characters through pages. Therefore, the sense of unit and immersion in ''vertical scroll comics'' will certainly change, and the commercialization methods of the works will also differ. Considering this, this study aims to collaborate on original comics and analyze the storyboard principles and application of ''vertical scroll comics.''