动画剧本创作是动画专业学生的必修课，是学习动画专业知识的核心课程。

本书共分为7章，内容包括动画剧本概述、故事、人物、场景、幕、写作、经典影片分析。为学生提供了一套全面、系统、规范的动画剧本创作学习的内容结构。

本书选取了多部不同风格类型的优秀影片，例如《Wall-E 》、《风之谷》、《美食总动员》、《小鸡快跑》、《飞屋环游记》、《僵尸新娘》、《我在伊朗长大》、《蓝精灵》、《加菲猫》、《哈尔的移动城堡》、《借东西的小人阿莉埃蒂》、《天空之城》，以及《丑小鸭》、《彼得与狼》等多部经典短片。针对以上影片片段中有关故事结构、人物要素、幕结构、场景设计、写作技巧、对白设计、剧作元素等进行了全面彻底的分析。

本书不仅适用于全国高等院校动画、游戏等相关专业的教师和学生，还适用于从事动漫游戏制作、影视制作以及专业入学考试的人员。

随着信息全球化和知识经济的迅猛发展，世界进入了一个以文化和创意为主导的新经济时代。在这个新时代里，经济的发展模式与理念已经发生了翻天覆地的改变，知识资本的重要性越来越为世人所认可，并逐渐得到大力推崇。甚至一个国家或地区的经济、文化、社会命运、竞争力，以及它所占有的文化资源和文化产品的创新、创意能力紧密地联系在一起。文化创意产业所具有的知识化、创意化、科技化、生态化、综合化、跨国化、产业化、多学科交叉化，高附加值与高效益等特征，使得文化创意产业达到了一个空前的高度。

就世界范围来看，动画创意产业作为文化创意产业的一个重要组成部分，以技术为依托、以文化为载体、以创意为核心、以产业链的延伸和扩张为基础，彼此之间相互联系、相互依托，而又相对独立，其所蕴含的文化、艺术、经济价值极其巨大，且影响深远。

在此大背景下，国家“十二五”规划提出要大力推动文化产业成为国民经济支柱性产业，大力发展动画等重要产业。因此，我国的动画创意产业在各级政府的大力扶持下得以迅猛发展。但相较发达国家的动画产业的发展态势与格局，我国的动画产业还存在着诸多方面的差距。要改变种种局面，只有依靠人才，尤其是优秀的，对产业的发展起着举足轻重作用的策划与营销、创作与制作人才。因为，产业的发展繁荣之根本在于创新，而创新则离不开适应时代发展要求、极富进取精神，且勇于创新的高素质专业人才。而人才的培养则离不开教育，高质量的教育培养出优秀的高素质人才，人才又会推动产业的大发展，产业的发展壮大又会对人才培养提出新的要求，如此循环，才是健康的发展道路。

当下的中国动画教育虽然规模庞大，从高等院校到培训机构，林林总总，蔚为壮观。但由于历史原因，我们的动画教育在师资与教学方面均存在诸多弱点。由于办学规模的迅速扩大，专业师资较少，也导致了在教学方面的课程设置、教学安排、教材建设等大都缺乏科学化、系统化、规范化，这在很大程度上成了我们动画教育发展的掣肘。因此，顺应国家动画发展的趋势，编写出一套高水平、系统化的专业教材是我国动画高等教育健康持续发展所必需的，同时也是高校动画教育者所要尽心去做的。

天津市的动画事业发展较早，人才辈出。各高校的动画专业发展已有经年，积累了大量宝贵的办学经验与师资力量。同时，各高校的国内外交流与校企合作均开展得有声有色，这也充分地促进了师资的国际化视野的开拓、学术研究的提升、实践与创新能力的提高。因此，清华大学出版社联合多所高校以及国内多家相关产业部门、企业共同组成教材编委会，集合了众多有着多年实践生产经验和教学心得的青年才俊，共同编著本套丛书。由于高校肩负动画教育、动画艺术推广、学术研究、产学研合作的多重任务，因此本着理论指导与实践能力培养相结合的原则，强调知识、技能学习与生产实践相结合，注重传播国内外相关领域的先进经验，突出案例的时效性、涵盖面。摒弃空洞干瘪的说教，行之以质朴简练的文字，辅之以众多生动鲜明的案例，让广大动画学生得以从最直接、最直观的角度与途径获取重要的知识。

本系列教材从方案策划、资料整理、分工合作，再到作者撰写、协调统筹，及至付梓出版，工作量巨大，且千头万绪，加之编著者们还要完成繁重的教学、科研任务，期间所付出的心血可以想见！但这同时也体现了广大工作者对中国动画教育事业的热爱，对中国动画事业的热爱，以及严谨认真的工作作风。这些来自于不同院校、不同岗位的编著者团结奋进、攻坚克难。他们以自己宽广的胸怀，科学严谨的工作态度，睿智的文化思考与敏锐的艺术判断凝练文字，更加上在一线岗位上的身体力行，为我们的动画教育事业默默地奉献着青春和热情，感谢他们的无私奉献！在成书过程中，清华大学出版社的许多朋友，业界的专家、学者都给予了大量的帮助与建议，在此一并致以诚挚谢意！

我们的动画艺术创造了辉煌的“中国学派”，那是几代优秀艺术家共同奋斗的结果。如何再续辉煌，是每一个动画从业者的梦想！衷心希望本套丛书能在一定程度上给那些有志于此的动画从业者以帮助，这也是我们编撰本套丛书的初衷。

由于时间紧迫，教学任务繁重，再加上动画艺术创作的复杂性，更要兼顾国际动画艺术的飞速发展带来的理论研究与技术更新，在丛书的编写过程中难免存在不足和纰漏，还请广大专家、同行不吝给予指正。

 天津大学软件学院视觉艺术系主任、硕导

剧本创作是动画创作的基础，就像人类发明宇宙飞船登上月球探索外太空，那么地

球则是人类创造这一奇迹的唯一基础平台。剧本就如同我们生活的地球一样，早在几亿

年前地球就像一张白纸，自从人类出现在地球上，就开始了神来之笔的创造，建筑、汽

车、电脑、网络、手机、机器人等高科技产业，就如同白纸黑字一样烙印在地球上。

近年来随着中国对动画创意产业的大力支持，大批量地生产动画，可是我们看到的

优秀作品却只是凤毛麟角。因为原创性的东西太少，大多数公司只是盲目地模仿日本和

欧美的优秀动画片，从整体风格、人物设定到故事结构都如出一辙，就连镜头角度和人

物的位置关系都一成不变地挪用过来，只是给影片换了一张“中国脸”。作为一个动漫

人，或多或少我们应该对此有所反省。

中国动画创意产业的发展离不开优秀的剧本，如今各大院校都陆续开设了动画专

业课程，但是对动画剧本创作方面的教育研究仍然有所不足。至今为止，几乎所有学校

都在复制同一种课程的内容，有些模式的条条框框太多。甚至一些院校还没有剧本创

作课程，以至于学生在做毕业设计的时候作品不是缺乏创意，就是让人们看了之后不知

所云。在创新方面，皮克斯和迪士尼公司，都是行业中的先驱。曾经华特﹒迪士尼还是

小学生时，老师让他在美术课上画花朵。迪士尼在每朵花的中心都画上了一张脸作为装

饰，而老师却对他违背常理的画法颇为不满。幸好这位老师没能扼杀这位创意天才的创

作激情，迪士尼乘着想象的翅膀，成功地跻身史上最著名的艺术家之列。

动画剧本创作与影视剧本创作极为相似，大多数基础理论也植根于电影剧作的结构

范围之内。但不同的是，动画的表现形式的独特性决定了在故事整体构思、塑造人物形

象、场景设计等方面，有其独特的创作方法。动画创作者需要一本针对于动画剧本创作

特性的图书。本书共分为7章，内容包括动画剧本概述、故事、人物、场景、幕、写作、

经典影片分析。为学生提供了一套全面、系统、规范的动画剧本创作学习的内容结构。

本书由高思编写，在成书的过程中，得到了李兴、王宁、杨宝容、杨诺、白洁、张

乐鉴、张茫茫、赵晨、刘晓宇、马胜、赵更生、陈薇、贾银龙、黄友良、王红蕾、刘绍

捷、赵頔、刘冬美、尚彤、孙倩、王海鹏、王梓力、刘爱华、周莉、陆鑫、刘智梅、齐

新、蒋立军、戴时影等人的大力帮助和支持，在此表示感谢。由于作者编写水平有限，

书中难免有错误和疏漏之处，恳请广大读者批评、指正。

作　者

第1章　动画剧本概述

1.1　动画剧本概述 ····································································2

1.2　如何创意············································································2

1.3　动画剧本的形式 ·································································5

1.3.1　实验动画短片 ·················································································6

1.3.2　系列动画片 ·····················································································6

1.3.3　连续动画片 ·····················································································8

1.3.4　影院动画片 ·····················································································9

1.4　动画题材类型 ··································································10

1.4.1　爱情类型·······················································································11

1.4.2　成长类型·······················································································13

1.4.3　动作冒险类型 ···············································································14

1.4.4　犯罪/侦探类型 ··············································································16

1.4.5　恐怖/惊悚类型 ··············································································17

1.4.6　超级英雄类型 ···············································································19

1.4.7　麻烦家伙类型 ···············································································21

1.4.8　愚者成功类型 ···············································································22

1.4.9　如愿以偿类型 ···············································································23

1.4.10　家庭生活类型 ·············································································25

1.4.11　惩罚类型 ·····················································································27

1.4.12　体育竞技类型 ·············································································28

1.4.13　机器人科幻类型 ··········································································29

1.4.14　魔法奇幻类型 ·············································································30

第2章　故　事

2.1　故事概述··········································································34

2.1.1　故事结构·······················································································34

2.1.2　故事事件·······················································································35

2.1.3　故事价值·······················································································35

2.2　情节 ·················································································35

2.2.1　悬念 ······························································································36

2.2.2　冲突 ······························································································36

2.3　故事背景··········································································41

2.3.1　时代 ······························································································41

2.3.2　期限 ······························································································41

2.3.3　地点 ······························································································41

2.3.4　冲突层面·······················································································41

2.4　故事主线··········································································42

2.4.1　不自觉与自觉欲望 ········································································43

2.4.2　求索之路·······················································································43

2.4.3　激励事件·······················································································44

2.4.4　故事鸿沟·······················································································45

第3章　人　物

3.1　人物塑造··········································································48

3.1.1　人物压力·······················································································49

3.1.2　人物揭示·······················································································50

3.1.3　两难选择·······················································································51

3.2　人物设计的要素 ·······························································53

3.2.1　戏剧性需求 ···················································································53

3.2.2　观点 ······························································································54

3.2.3　态度 ······························································································56

3.2.4　变化、转变 ···················································································57

3.3　主人公 ·············································································58

3.3.1　主人公的类型 ···············································································58

3.3.2　主人公的特点 ···············································································60

3.3.3　主动主人公与被动主人公 ·····························································64

3.4　小人物、小角色 ·······························································65

3.5　台词 ·················································································67

3.5.1　潜台词 ··························································································67

3.5.2　对白 ······························································································68

3.5.3　旁白 ······························································································70

3.5.4　内心独白·······················································································71

3.6　人物塑造的5个诀窍 ·························································72

3.6.1　人物就是自知 ···············································································72

3.6.2　动作就是人物 ···············································································72

3.6.3　给人物一个安身之处 ·····································································73

3.6.4　热爱所有的人物 ············································································73

3.6.5　负面角色要更强大 ········································································74

第4章　场　景

4.1　场景的基本概念 ·······························································76

4.2　场景的要素 ···················································································77

4.2.1　地点 ······························································································77

4.2.2　时间 ······························································································77

4.3　场景目标··········································································78

4.4　场景内的冲突 ··································································79

4.5　场景的转折点 ··································································80

4.6　节拍、序列 ······································································82

4.7　场景设计技巧 ···············································································85

4.7.1　确定冲突·······················································································85

4.7.2　确认开篇价值 ···············································································85

4.7.3　将场景分为节拍 ············································································86

4.7.4　比较结尾和开端价值 ·····································································88

4.7.5　确定转折点的位置 ········································································88

第5章　幕

5.1　幕的基本概念 ··································································90

5.1.1　一幕故事·······················································································90

5.1.2　两幕故事·······················································································91

5.1.3　三幕故事·······················································································91

5.2　第一幕 ············································································95

5.2.1　前10分钟 ······················································································95

5.2.2　推动 ······························································································96

5.2.3　争执 ······························································································96

5.3　第二幕 发展 ···································································102

5.3.1　衔接点 ······················································································· 103

5.3.2　第二故事···················································································· 103

5.3.3　娱乐游戏···················································································· 103

5.3.4　中间点 ······················································································· 103

5.3.5　一无所有···················································································· 104

5.3.6　黎明前的黑夜 ············································································ 104

5.3.7　假结尾 ·······················································································110

5.4　第三幕 结局 ··································································· 111

5.4.1　闭合式结局 ·················································································112

5.4.2　开放式结局 ·················································································114

第6章　写　作

6.1　作家的工作 ····································································118

6.2　剧本格式········································································118

6.2.1　字体和行间距 ·············································································119

6.2.2　片名标题页设置 ··········································································119

6.2.3　场景的写作 ·················································································119

6.2.4　声效 ··························································································· 122

6.3　写作技巧········································································123

6.3.1　从里到外写作 ············································································ 123

6.3.2　展示、不要告知 ········································································· 124

6.3.3　对抗的原理 ················································································ 124

6.3.4　伏笔、分晓 ················································································ 126

6.3.5　因果与巧合 ················································································ 127

6.3.6　闪回 ··························································································· 128

6.3.7　噱头、反复的噱头 ····································································· 129

第7章　影片剧本结构分　析

7.1　《风之谷》剧本结构分析 ··············································132

7.1.1　第一幕 ······················································································· 133

7.1.2　第二幕衔接点 ············································································ 137

7.1.3　第三幕衔接点 ············································································ 146

7.1.4　潜藏的含意 ················································································ 148

7.2　《机器人总动员》剧本结构分析 ····································150

7.2.1　似而不同···················································································· 151

7.2.2　第一幕 ······················································································· 152

7.2.3　第二幕衔接点 ············································································ 155

7.2.4　第三幕衔接点 ············································································ 160

7.2.5　核心问题···················································································· 162

7.2.6　人物设定···················································································· 163