原文標(biāo)題：
Toon wars
Manga v webtoons
Japan’s cartoon books are being?eclipsed?by the Korean interloper
漫畫之爭
漫畫vs網(wǎng)絡(luò)漫畫
相較于日本傳統(tǒng)漫畫，韓國的網(wǎng)絡(luò)漫畫略勝一籌
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The industry’s business model has hardly changed since the 1960s
自20世紀(jì)60年代以來，該行業(yè)的商業(yè)模式幾乎沒有改變

[Paragraph 1]
LEE HYUN-SEOK grew up in South Korea addicted?to Japanese manga series such as “Dragon Ball” and “Slam Dunk”.
李賢錫在韓國長大，但沉迷于《龍珠》和《灌籃高手》等日本漫畫系列。
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As soon as he could, he emigrated to Tokyo to build a successful career as a manga artist and editor.
他抓住機(jī)會(huì)移民到了東京，并成為了一位成功的漫畫藝術(shù)家和編輯。
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Then in the early 2000s came “webtoons”, a South Korean cartoon innovation optimised?for smartphones.
在21世紀(jì)初，“網(wǎng)絡(luò)漫畫”出現(xiàn)，這是一種針對智能手機(jī)優(yōu)化的韓國卡通創(chuàng)新。
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Mr Lee was at first unimpressed.
起初，李不為所動(dòng)。
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Compared with manga’s inventive graphic styles and sophisticated?plots, he found webtoons crude and superficial.
相較于漫畫富于創(chuàng)造性的圖像風(fēng)格和復(fù)雜的情節(jié)，他覺得網(wǎng)絡(luò)漫畫粗糙而膚淺。
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“I thought: ‘Anybody can make this’.”
“我想:‘普通人都能畫出來’?！?br>?

[Paragraph 2]
Yet Japanese manga is being eclipsed by Korean webtoons.
然而，日本漫畫正在被韓國網(wǎng)絡(luò)漫畫所取代。
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Last year the manga print market shrank by 2.3% to ￥265bn ($1.9bn).
去年，日本漫畫印刷市場萎縮2.3%，計(jì)2650億日元，約19億美元。
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The size of the global webtoons market was meanwhile valued at $3.7bn—and projected to reach $56bn by 2030.
與此同時(shí)，全球網(wǎng)絡(luò)漫畫市場的規(guī)模估值為37億美元，2030年預(yù)計(jì)將達(dá)到560億美元。
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Manga is gravitating to digital slowly, in part because it is still designed for print, so awkward?to read on smartphones.
漫畫正在慢慢地被數(shù)字化所吸引，但速度較慢的原因是因?yàn)樗匀皇菫橛∷⒍O(shè)計(jì)的，在智能手機(jī)上不易閱讀。
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The letters tend to be too small and the way the panels are laid out requires constant zooming in and out.
字體太小，而面板的布局方式需要不斷放大和縮小。
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Seeing which way the wind was blowing, Mr Lee abandoned manga for the webtoon industry in 2014.
看到形勢的發(fā)展，李先生在2014年放棄了漫畫，轉(zhuǎn)身投向了網(wǎng)絡(luò)漫畫行業(yè)。
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[Paragraph 3]
Though webtoons such as “Itaewon Class” and “Solo Levelling” have become popular among Japanese consumers, most Japanese publishers have stuck doggedly?to manga.
盡管《梨泰院Class》和《單人升級》等網(wǎng)絡(luò)漫畫在日本消費(fèi)者中很受歡迎，但大多數(shù)日本出版商仍在頑守漫畫陣地。
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“The Japanese industry is very conservative,” sighs Mr Lee.“There’s a strong belief that it’s better to stick with precedent.”
李嘆息道，“日本漫畫行業(yè)非常保守，他們有一種強(qiáng)烈的信念，那就是最好遵循先例?！?br>?
The manga industry’s business model, in which stories are first published in weekly magazines and then in books, has hardly changed since the 1960s.
自20世紀(jì)60年代以來，漫畫行業(yè)的商業(yè)模式：漫畫故事首先在周刊上發(fā)表，然后在書中出版，這些年幾乎沒有改變。
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[Paragraph 4]
Their format is also sacrosanct.
他們的版式也是一成不變的。
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Japanese manga hew to unique templates which require special knowledge of readers, such as the order in which panels must be read.
日本漫畫采用獨(dú)特的模板，這需要讀者的特殊知識，比如閱讀面板的順序。
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“The only people who know how to read manga are Japanese, Koreans and geeks across the world,” says Iwamoto Keita, who runs a cartoon studio.
經(jīng)營一家漫畫工作室的巖本凱塔說:“會(huì)看漫畫的只有日本人、韓國人和世界各地的極客們?！?br>?
Webtoons have grown so fast, in part, because they can be read more easily and intuitively.
網(wǎng)絡(luò)漫畫發(fā)展得如此之快，部分原因是它們可以更容易、更直觀地閱讀。
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[Paragraph 5]
It is tempting?to see the way manga traditionalists are?ceding the global cartoon market to South Korean innovators as symbolic of a broader malaise: the sluggishness?and introspection of too many Japanese firms.
日本漫畫傳統(tǒng)堅(jiān)持者將全球漫畫市場拱手讓給韓國的創(chuàng)新者，人們不禁將這種做法視為日本更廣泛問題的象征：太多的日本公司反應(yīng)遲鈍，缺乏內(nèi)省。
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Other recent South Korean exports, such as the Netflix sensation “Squid Game” and BTS, a boy band, have taken the world by storm thanks to the same combination of innovation and smart marketing behind webtoons.
最近韓國的其他出口產(chǎn)品，如Netflix的轟動(dòng)之作《魷魚游戲》和男子組合防彈少人團(tuán)，也因?yàn)榫W(wǎng)絡(luò)漫畫背后的創(chuàng)新和巧妙營銷的結(jié)合而風(fēng)靡全球。
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Meanwhile, the “Cool Japan” strategy of the government in Tokyo, intended to emulate that Korean success, has been a flop.?
與此同時(shí)，日本也在效仿韓國的成功，但是東京政府的“酷日本”戰(zhàn)略卻以失敗告終。?
Having run up huge losses, it may soon be abandoned.
由于累積了巨額虧損，東京政府可能很快就會(huì)放棄該政策。
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[Paragraph 6]
And yet, by sticking to what it does best, the manga industry has at least maintained its strengths.
然而，通過堅(jiān)持自己擅長的事情，日本漫畫行業(yè)至少保住了地位。
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Its complicated layouts can convey sophisticated narratives.
它布局復(fù)雜，可以傳達(dá)詳盡的敘事。
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And many manga are artistic wonders, with designs manipulated at the millimetre level.
許多漫畫都是藝術(shù)奇跡，其設(shè)計(jì)精細(xì)到毫米級。
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Witness the intricate ink drawings in “Vagabond”, an epic martial-arts series, or the surrealist illustrations of “Berserk”, a medieval fantasy.
看看史詩級武俠系列作品《浪客行》中錯(cuò)綜復(fù)雜的水墨畫，或者中世紀(jì)幻想作品《劍風(fēng)傳奇》中超現(xiàn)實(shí)主義的插圖。?
By contrast, complex plots with dramatic twists are hard to convey in webtoons, which can display only a limited number of words.
相比之下，復(fù)雜的情節(jié)和戲劇性的轉(zhuǎn)折很難在網(wǎng)絡(luò)漫畫中傳達(dá)，因?yàn)樗荒茱@示有限的字?jǐn)?shù)。
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“I doubt webtoons would ever trump manga in terms of quality,” says Mr Iwamoto.
巖本表示：“我覺得網(wǎng)絡(luò)漫畫在質(zhì)量上不一定會(huì)勝過漫畫?！?br>?
[Paragraph 7]
With its strong stories and craftsmanship, manga maintains a loyal domestic audience, which gives publishers little motivation to innovate or change.
漫畫憑借其有趣的故事和精湛的工藝，在國內(nèi)擁有忠實(shí)的觀眾，出版商也幾乎沒有動(dòng)力去創(chuàng)新或改變。
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Growth in their core business may be flagging; yet they can still find opportunities to boost revenues through anime?adaptations, or by collaborating with businesses that create manga-themed merchandise.
他們核心業(yè)務(wù)的增長可能正在放緩;然而，他們?nèi)匀豢梢酝ㄟ^改編動(dòng)漫，或與制作漫畫主題商品的企業(yè)合作，以此增加收入。
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Shueisha, the publisher that produced “Demon Slayer”, a recent hit manga and anime, had record sales in 2021.
最近熱播動(dòng)漫《弒魔者》的發(fā)行商雪英社在2021年創(chuàng)下了銷售新紀(jì)錄。
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“There’s not much of a sense of crisis among Japanese publishers,” observes Nakayama Atsuo, an entertainment-industry expert.
娛樂產(chǎn)業(yè)專家中山敦夫表示:“日本出版商并沒有多少危機(jī)感?！?br>?
[Paragraph 8]
Some still fret about the future.
一些人仍然對未來憂心忡忡。
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Japan’s manga fans are, like all its population, ageing.
日本的漫畫迷，就像它的人口一樣，正在老齡化。
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The average reader of the Weekly Shonen Magazine, a manga anthology?for children (shonen means “young boy”) launched in 1959, is now over 30.
《少年周刊》是一本1959年創(chuàng)刊的兒童漫畫雜志，目標(biāo)受眾為“年輕的男孩”，而現(xiàn)在的平均讀者已超過30歲。
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“Manga could end up as old people’s culture,” warns Mr Lee.
李提醒道：“漫畫可能最終成為老年人的文化，”
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“Children these days are scrolling through webtoons on their smartphones.
“現(xiàn)在的孩子們都在智能手機(jī)上瀏覽網(wǎng)絡(luò)漫畫。
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Why not make something that suits their taste?”
為什么不做一些他們喜歡的東西呢?”
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（恭喜讀完，本篇英語詞匯量639左右）
原文出自：2022年12月10日《The Economist》Asia版塊。

精讀筆記來源于：自由英語之路

本文翻譯整理: Maree

本文編輯校對: Irene
僅供個(gè)人英語學(xué)習(xí)交流使用。

【補(bǔ)充資料】（來自于網(wǎng)絡(luò)）
webtoon網(wǎng)絡(luò)漫畫，又稱線上漫畫，因著互聯(lián)網(wǎng)特性，網(wǎng)絡(luò)漫畫原則上比正統(tǒng)出版及連載存在更大的自由度，是任何人都可以發(fā)布的媒體。網(wǎng)絡(luò)動(dòng)漫是高科技技術(shù)發(fā)展的產(chǎn)物之一。網(wǎng)絡(luò)動(dòng)漫的基石是計(jì)算機(jī)技術(shù)和信息技術(shù)，其初始并非源于動(dòng)漫行業(yè)，隨著網(wǎng)絡(luò)的普及，計(jì)算機(jī)技術(shù)以及信息技術(shù)的迅速發(fā)展，這些新技術(shù)逐漸被動(dòng)畫領(lǐng)域吸收。網(wǎng)絡(luò)動(dòng)漫正是借助互聯(lián)網(wǎng)的迅速發(fā)展，進(jìn)一步發(fā)展起來，其前景相當(dāng)可觀。
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酷日本(Cool Japan)，是日本“數(shù)字好萊塢大學(xué)”校長杉山知之提出的，是描繪日本現(xiàn)代文化的新詞匯。是把出口“酷日本”文化當(dāng)成國策，在世界上培養(yǎng)更多的“日本游戲迷”和“日本動(dòng)漫迷”。日本希望通過發(fā)展“新文化產(chǎn)業(yè)”，變“產(chǎn)品輸出”為“文化輸出”，推動(dòng)日本經(jīng)濟(jì)發(fā)展?？崛毡緫?zhàn)略旨在向海外推介以動(dòng)漫、游戲?yàn)槭椎娜毡緝?nèi)容產(chǎn)品及食品等領(lǐng)域的國內(nèi)獨(dú)特文化。2013年2月，日本首相安倍晉三開始正式推進(jìn)旨在向海外推介日本食品、動(dòng)漫及地方產(chǎn)品的“酷日本戰(zhàn)略”。安倍把該戰(zhàn)略定位為經(jīng)濟(jì)增長的原動(dòng)力，新設(shè)相關(guān)閣僚并增加了預(yù)算。安倍稱，希望通過向全球展現(xiàn)日本的軟實(shí)力來提升對外形象，幫助“重拾日本人的驕傲和自信”。
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【重點(diǎn)句子】（3 個(gè)）
Yet Japanese manga is being eclipsed by Korean webtoons.
然而，日本漫畫正在被韓國網(wǎng)絡(luò)漫畫所取代。
?
Webtoons have grown so fast, in part, because they can be read more easily and intuitively.
網(wǎng)絡(luò)漫畫發(fā)展得如此之快，部分原因是它們可以更容易、更直觀地閱讀。
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And yet, by sticking to what it does best, the manga industry has at least maintained its strengths.
然而，通過堅(jiān)持自己擅長的事情，日本漫畫行業(yè)至少保住了地位。