事件映射 消息映射

When I was a child, I had a voracious appetite for books. I was constantly visiting the library and picking new volumes to read, but one I always came back to was The Phantom Tollbooth, written by Norton Juster and illustrated by Jules Feiffer. In it, a boy named Milo arrives home from school to discover a mysterious tollbooth in his room. He drives through the tollbooth and finds himself in The Lands Beyond, a fantastical world where the Kingdom of Wisdom has fallen into disarray. The Princesses of Wisdom — Rhyme and Reason — have been banished to the Castle in the Air, and two dueling kings — King Azaz the Unabridged of Dictionopolis and the Mathemagician of Digitopolis — have caused a rift in the kingdom. Milo and his newfound friends, Tock the Watchdog and the Humbug, set off on a quest to rescue the Princesses and restore peace to Wisdom.

當(dāng)我還是個(gè)孩子的時(shí)候，我對(duì)書本的胃口很大。 我一直在訪問圖書館，并挑選新的書卷來閱讀，但我經(jīng)常回過頭去看的是《幻影收費(fèi)站》 ，該書由諾頓·賈斯特(Norton Juster)撰寫，并由儒勒·費(fèi)弗(Jules Feiffer)插圖。 在其中，一個(gè)名叫米洛(Milo)的男孩從學(xué)校回到家中，在他的房間里發(fā)現(xiàn)了一個(gè)神秘的收費(fèi)站。 他駛過收費(fèi)站，發(fā)現(xiàn)自己身處“超越王國”(The Lands Beyond)，這是一個(gè)夢(mèng)幻般的世界，智慧王國陷入混亂。 智慧的公主-押韻與理性-被放逐到空中的城堡中，兩名決斗之王-迪卡波利斯的未刪節(jié)國王阿扎茲和迪格托波利斯的數(shù)學(xué)家-在王國引起了裂痕。 米洛(Milo)和他的新朋友托克(Tock)看門狗(Tock the Watchdog)和騙子(Humbug)出發(fā)，目的是營救公主并恢復(fù)智慧的和平。

The Phantom Tollbooth is still one of my favorite novels and I reread it whenever I want to escape to another world, but I’ve recently found myself trying to trace Milo’s journey through the Kingdom of Wisdom in my head. Jules Feiffer illustrated a map of The Lands Beyond for the book, and I wondered if I could record the story on the map. As a challenge, I started reading the novel again, this time with a copy of the map from the book by my side. While reading, I drew Milo’s journey.

幻影收費(fèi)亭仍然是我最喜歡的小說之一，每當(dāng)我想逃脫到另一個(gè)世界時(shí)，我都會(huì)重讀它，但是最近我發(fā)現(xiàn)自己試圖在我的腦海中追尋米洛穿越智慧王國的旅程。 朱爾斯·費(fèi)弗(Jules Feiffer)為這本書畫了一張《超越土地》的地圖，我想知道是否可以在地圖上記錄這個(gè)故事。 作為挑戰(zhàn)，我再次開始閱讀這本小說，這次是從我身邊拿本書的地圖副本。 在閱讀時(shí)，我畫了米洛的旅程。

After tracing the path on Feiffer’s map, my immediate thought was, “Can I make this more clear?” Since the map is black and white, my black pen didn’t show up well, and the original map, though descriptive and functional, didn’t encapsulate the vibrancy of the world I was imagining in my head. I knew then that I wanted to redesign Jules Feiffer’s map and make it my own, with all the flair that I was envisioning.

在費(fèi)弗地圖上找到路徑后，我立即想到：“我能說得更清楚嗎？” 由于地圖是黑白的，所以我的黑色筆筆無法很好地顯示出來，原始的地圖雖然具有描述性和功能性，但并沒有在腦海中凝聚我所想象的世界的活力。 那時(shí)，我知道我想重新設(shè)計(jì)Jules Feiffer的地圖，并按照我的設(shè)想將其制作為我自己的地圖。

Jules Feiffer’s drawing of The Lands Beyond, the fantasy world that Milo explores in “The Phantom Tollbooth” by Norton Juster.朱爾斯·菲佛(Jules Feiffer)繪制的《超越土地》，米洛在諾頓·賈斯特(Norton Juster)的《幻影收費(fèi)亭》中探索的幻想世界。

米洛去哪里 (Where Milo Went)

I started by creating all of the geographic features — the Sea of Knowledge, the Foothills of Confusion, the Forest of Sight — and letting them shape the landscape of the map. I used color to help provide some liveliness and varied the hues to indicate depth and distance. My next step was to add the road that Milo and his fellow adventurers drive on to navigate The Lands Beyond. This resulted in a cohesive but unfinished map.

首先，我創(chuàng)建了所有地理特征-知識(shí)海，混亂的山麓小丘，視線森林-并讓它們塑造了地圖的景觀。 我使用顏色幫助提供一些活潑性，并改變了色調(diào)以指示深度和距離。 我的下一步是增加米洛(Milo)和他的冒險(xiǎn)家們駕車通向超越土地(The Lands Beyond)的道路。 這導(dǎo)致了一張銜接但未完成的地圖。

Next, I added manmade features, like cities and fortresses. Dictionopolis and Digitopolis are the most prominent, but the Old City of Wisdom, Expectations, the Soundkeeper’s Fortress, and others all appear. To top it off, I labeled every feature with a whimsical font, drew a compass to contribute an air of officiality, and completed my new map of The Lands Beyond!

接下來，我添加了人造功能，例如城市和堡壘。 Dictionopolis和Digitopolis是最著名的，但是智慧老城，Expectations，Soundkeeper's Fortress等都出現(xiàn)了。 最重要的是，我用異想天開的字體標(biāo)記了每個(gè)功能，繪制了一個(gè)指南針以增強(qiáng)官僚作風(fēng)，并完成了新的The Lands Beyond地圖！

My map of The Lands Beyond我的《超越土地》地圖

Since I had already documented Milo’s journey on my copy of Feiffer’s map, I decided to add that path to my own map. Using a purple dotted line, I traced Milo, Tock, and the Humbug’s adventure, winding from the Doldrums to Dictionopolis, through the Valley of Sound to Digitopolis, and finally to the Castle in the Air.

由于我已經(jīng)在Feiffer的地圖副本中記錄了Milo的旅程，因此我決定將該路徑添加到我自己的地圖中。 我用一條紫色的虛線追蹤了米洛(Milo)，托克(Tock)和騙子(Humbug)的冒險(xiǎn)經(jīng)歷，從多德魯姆斯(Doldrums)到迪迪科波利斯(Dictionopolis)，經(jīng)過桑迪谷(Valley of Sound)到Digitopolis，最后到空中城堡。

My map of The Lands Beyond with Milo’s journey included包括米洛(Milo)旅程的我的《超越土地》地圖

誰遇到了米洛 (Who Milo Met)

The path shows their progression through the Kingdom of Wisdom well, but I noticed that my map was missing any indication of what happened in the places our adventurers visited. Knowing the book, I thought that showing how many characters were introduced in each place would help the viewer understand how much activity occurred during that leg of the journey. To indicate this, I placed a circle in the location where each character in the book was introduced.

這條路很好地顯示了他們?cè)谥腔弁鯂械那斑M(jìn)，但是我注意到我的地圖上沒有任何跡象表明我們的冒險(xiǎn)家們?nèi)ミ^的地方發(fā)生了什么。 了解這本書后，我認(rèn)為顯示每個(gè)地方引入了多少個(gè)角色將有助于觀眾了解旅程的那段時(shí)間發(fā)生了多少活動(dòng)。 為了說明這一點(diǎn)，我在介紹書中每個(gè)字符的位置上畫了一個(gè)圓圈。

Although the plain circles helped, I knew I could add even more information. One of the first questions most people ask about a character in a story is, “Are they good or bad?” I made the question of alignment slightly more complex and categorized each character as good, bad, or neutral. But some characters change throughout the book, such as the Humbug, who is initially a nuisance but by the end of the book is Milo’s friend. To accommodate character development, I determined each characters’ alignment when the reader initially meets them in the book and then again at the end of the book.

盡管普通圈子有所幫助，但我知道我可以添加更多信息。 大多數(shù)人問故事中的角色的第一個(gè)問題是：“他們好還是壞？” 我使對(duì)齊問題稍微復(fù)雜一些，并將每個(gè)字符分為好，壞或中性。 但是整本書中有些字符會(huì)發(fā)生變化，例如Humbug，起初是令人討厭的事情，但到書末是Milo的朋友。 為了適應(yīng)角色的發(fā)展，當(dāng)讀者最初在書中遇到每個(gè)字符時(shí)，然后在書的結(jié)尾再次遇到它們時(shí)，我確定了每個(gè)字符的對(duì)齊方式。

To represent character alignment, I colored the circles I had made previously. The color on the left half of the circle shows the character’s alignment when the reader meets them and the color on the right half shows the character’s alignment at the end of the book. Red represents a bad character, purple is a neutral character, and blue shows a good character. For example, if the left half of a circle is red and the right half is blue, then the character was initially bad and turned good throughout the course of the novel. This tactic resulted in my finalized map!

為了表示字符對(duì)齊，我給以前制作的圓圈上色。 當(dāng)讀者遇到時(shí)，圓圈左半邊的顏色表示字符的對(duì)齊方式，而書本末尾的右半邊的顏色顯示字符的對(duì)齊方式。 紅色代表壞字符，紫色代表中性字符，藍(lán)色代表好字符。 例如，如果一個(gè)圓圈的左半部分是紅色，而右半部分是藍(lán)色，則在整個(gè)小說創(chuàng)作過程中，角色最初是不好的，并且變好了。 這種戰(zhàn)術(shù)使我最終確定了地圖！

My map of The Lands Beyond with Milo’s journey and character alignments included我的米洛(Milo)旅程和角色調(diào)整后的《超越土地》地圖

By looking at this map, it’s easy to get a sense of where much of the action takes place. Milo spends multiple chapters in Dictionopolis, exploring the city from the market to the castle and even attending a royal banquet. He also makes many stops throughout the Forest of Sight and the Valley of Sound, meeting benevolent individuals along the way. In contrast, Milo, Tock, and the Humbug encounter many demons in the Mountains of Ignorance who wish to keep Rhyme and Reason imprisoned and hinder the adventurers on their quest.

通過查看此地圖，可以輕松了解發(fā)生了很多操作的位置。 Milo在Dictionopolis中度過了許多章節(jié)，從市場到城堡探索這座城市，甚至參加了皇家宴會(huì)。 他還在視線森林和聲音之谷停了許多站，沿途遇到了仁慈的人。 相比之下，米洛(Milo)，托克(Tock)和騙子(Hugbug)在無知之山遇到了許多惡魔，他們希望將押韻和理智關(guān)押起來，并阻止冒險(xiǎn)者的追求。

米洛做了什么 (What Milo Did)

Despite all the wonderful information embedded in the map, geography is just one way to tell a story. Words are data just as much as locations or categorizations, so I decided to use Voyant Tools to dig up what I could from The Phantom Tollbooth. Voyant is a free online tool that allows users to upload or type in a text and automatically performs a variety of language analyses on it. I specifically used the “document terms” tab, which reports the number of instances of each word in the given text and ranks them from most to least used.

盡管地圖中嵌入了所有奇妙的信息，但是地理只是講故事的一種方式。 單詞的數(shù)據(jù)與位置或類別一樣多，因此我決定使用Voyant Tools挖掘The Phantom Tollbooth的功能 。 Voyant是一個(gè)免費(fèi)的在線工具，允許用戶上傳或鍵入文本，并自動(dòng)對(duì)其進(jìn)行各種語言分析。 我專門使用了“文檔術(shù)語”選項(xiàng)卡，該選項(xiàng)卡報(bào)告給定文本中每個(gè)單詞的實(shí)例數(shù)量，并將它們從最不使用到最不使用排列。

To get a sense of the book as a whole, I uploaded the full text of The Phantom Tollbooth to Voyant. Looking at just the top five terms, the words tell a clear story. From most to least used, the top five terms in the entire book are, “milo,” “said,” “just,” “tock,” and “humbug.” These words encapsulate the three most prominent characters (Milo, Tock, and the Humbug) as well as begin to indicate what these characters do — talk to people. To visualize these five terms, I made a simple line chart of their use throughout each chapter of the book.

為了全面了解這本書，我將“幻影收費(fèi)站”的全文上載到了Voyant。 僅查看前五個(gè)詞，這些詞就說明了一個(gè)清楚的故事。 從最常用到最不常用，整本書中排名前5位的術(shù)語是“ milo”，“ said”，“ just”，“ tock”和“ humbug”。 這些單詞封裝了三個(gè)最突出的字符(Milo，Tock和Humbug)，并開始表明這些字符的作用-與人們交談。 為了使這五個(gè)術(shù)語形象化，我在本書的每一章中都做了一個(gè)簡單的折線圖。

A line graph depicting instances of the five most used words in the whole of “The Phantom Tollbooth”折線圖描繪了整個(gè)“幻影收費(fèi)站”中五個(gè)最常用詞的實(shí)例

Though “milo,” “said,” “just,” “tock,” and “humbug” are the most-used words in the entire book, it’s clear that this may not be true for individual chapters. Chapter 6 in particular appears to have relatively few instances of the five terms, and there are large differences in the number of instances of “milo” and “said” versus instances of “just,” “tock,” and “humbug” between many of the chapters. This made me curious: what are the most-used words in each chapter, and will they tell a more detailed story?

盡管“ milo”，“ said”，“ just”，“ tock”和“ humbug”是整本書中最常用的詞，但很明顯，這可能不適用于各個(gè)章節(jié)。 尤其是第6章，這五個(gè)術(shù)語的實(shí)例似乎相對(duì)較少，并且在許多實(shí)例中，“ milo”和“ said”實(shí)例與“ just”，“ tock”和“ humbug”實(shí)例之間的數(shù)量差異很大。的章節(jié)。 這讓我感到好奇：每章中最常用的詞是什么，它們會(huì)講更詳細(xì)的故事嗎？

I split the text of the book into each of the 20 chapters and uploaded them to Voyant individually, recording the top five terms for each chapter, hoping the results would fill the gaps left by my previous visualization. Amazingly, they did!

我將本書的內(nèi)容分為20章，分別上載到Voyant，記錄下每章的前5個(gè)術(shù)語，希望結(jié)果能填補(bǔ)我以前的可視化所留下的空白。 令人驚訝的是，他們做到了！

A line graph depicting instances of the five most used words per chapter in “The Phantom Tollbooth”線形圖描述了“幻影收費(fèi)亭”中每章五個(gè)最常用詞的實(shí)例

In the more detailed look at most-used terms by chapter, the words tell a very clear story that lines up perfectly with the journey shown on the map. For instance, chapters 3–5 are all set in Dictionopolis, the city run by King Azaz the Unabridged. In those chapters, Milo visits the “market” (the fifth most-used word in chapter 3), meets the Spelling “Bee” (the second most-used word in chapter 4), and gets in trouble with Officer Short Shrift, a “policeman” (the fifth most-used word in chapter 5).

在按章更詳細(xì)地查看最常用的術(shù)語時(shí)，這些單詞講述了一個(gè)非常清晰的故事，與地圖上顯示的旅程完全吻合。 例如，第3–5章全都設(shè)置在Dictionopolis中，這是由未刪節(jié)的國王Azaz掌管的城市。 在這些章節(jié)中，Milo參觀了“市場”(第3章中第五個(gè)最常用的詞)，遇到了拼寫“ Bee”(第4章中第二個(gè)最常用的詞)，并遇到了Short Shrift軍官， “警察”(第5章中第五常用的單詞)。

Chapter 6 is particularly unusual because it is a flashback to the history of the Kingdom of Wisdom, which is why “kingdom,” “city,” “king,” and “l(fā)and” feature so prominently. That is when Milo, Tock, and the Humbug learn of Rhyme and Reason and set out on their quest to free the Princesses.

第六章特別不尋常，因?yàn)樗菍?duì)智慧王國歷史的回顧，這就是“王國”，“城市”，“國王”和“土地”如此突出的原因。 那時(shí)，米洛(Milo)，塔克(Tock)和騙子(Humbug)學(xué)會(huì)了押韻和理性，并著手尋求釋放公主的追求。

Moving through their journey, the adventurers meet Alec Bings in the Forest of Sight in chapters 9 and 10 and pass through the Valley of Sound in chapters 11 and 12, running into Doctor Kakofonous A. Dischord, Dynne, and the Soundkeeper. Chapters 14 and 15 are set in Digitopolis, the city of numbers ruled by the Mathemagician. Each of these characters’ names rise into the top five terms along with words associated with them, like “noise,” “sound,” and “dodecahedron.”

在整個(gè)旅程中，冒險(xiǎn)家們?cè)诘?章和第10章的視線森林中遇見了Alec Bings，并在第11章和第12章的穿越了音谷，遇到了Kakofonous A. Dischord醫(yī)生，Dynne和Soundkeeper。 第14章和第15章是在Digitopolis(數(shù)學(xué)家統(tǒng)治的數(shù)字之城)中設(shè)定的。 這些字符的名稱以及與之相關(guān)的單詞(例如“噪音”，“聲音”和“十二面體”)均排在前五位。

Before making a deep dive into various ways to discern the story of The Phantom Tollbooth, I was already in love with the work, but now that I’ve dissected it, the book holds a special kind of nuance. Each of my visualizations represents Milo’s adventure in a new way and reveals just how well Norton Juster and Jules Feiffer constructed it. There is always more than one interpretation of a piece of literature, and visualizing the data behind the book provides a fantastical world of insights I never could have imagined.

在深入研究各種方式以了解《幻影收費(fèi)亭》的故事之前，我已經(jīng)愛上了這部作品，但是現(xiàn)在我已經(jīng)對(duì)其進(jìn)行了剖析，這本書擁有一種特殊的細(xì)微差別。 我的每幅可視化作品都以一種新的方式代表了米洛的冒險(xiǎn)經(jīng)歷，并揭示了諾頓·賈斯特和朱爾斯·費(fèi)弗的構(gòu)建方式。 一部文學(xué)作品總是有不止一種解釋，而可視化本書背后的數(shù)據(jù)則提供了一個(gè)我從未想過的奇幻世界。

翻譯自: https://medium.com/nightingale/mapping-the-phantom-tollbooth-2559c494e73

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