樂高幻影忍者官方小說

作者: Tommy Andreasen

原文與圖片來自ninjago wiki

譯者：醉酒異客

若有翻譯不準處請在評論區(qū)糾正

一切都說得通了－－所有那些我已經習以為常的怪事。畫像中的楊大師用他那難以捉摸的神情凝望著我，我也望著他。這幅畫像與博物館和寺廟里的那兩幅不太一樣，這一幅沒那么精細。 “楊大師不光教我們飛天旋轉術，”賈拉漢說，“還有它背后那一整套思想和智慧。飛天旋轉術是一種從無到有的實現(xiàn)，一種需要高度靜心與專注還有大量的冥想才能達到的境界。楊大師為了讓我們明白這些，采用了各種各樣的教授方式，他曾命令我們花好幾個小時來畫他冪想時的樣子，一開始我覺得這么做很愚蠢?！闭f到這里，賈拉漢的臉變紅了。 “不過最終，我還是領悟到了他想向我們傳達的道理。明白了之后，我前方道路上的障礙就被清除了，學習的過程變得容易了很多?！?我又向他問起這幅畫是怎么來到這里的，他聳了聳肩。 “之前我們還是幽靈的時候，經常有盜賊來寺廟偷東西，白天晚上都有。對他們你得客氣點，不然你可就遭殃了。我看見有些專門偷江戶時代的東西的盜賊把它拿走了，估計這就是為什么它現(xiàn)在跟這些真古董在一塊兒吧。”他笑了起來。 “那些盜賊竟然以為我的這幅破畫是江戶時代的藝術品，你敢相信嗎??？呵呵，這可真是至高的評價?！?我被畫中楊大師那逼真的嚴肅神情迷住了。這幅畫能解釋得通楊大師是怎么離開寺廟來到諾姆的，但我還有新的疑問。我先向賈拉漢問起了關于他的夢境的事，他如釋重負地長舒了一口氣。但接下來，他的話簡直讓我感到脊背發(fā)涼。 “在那個夢里，我感覺很冷，就好像我死了一樣……我正在某個用冰建的迷宮里，你們也和我在一起－－我是說你們幾個忍者。而我并不認識你的朋友們，所以我知道我肯定在做夢，不過感覺就好像一切都是真實的一樣。你們幾個正在盯著冰墻看，所以我覺得我也應該這么做。然后，我就聽見了一個孩子的聲音－－那個聲音充滿了決心，但也充滿了矛盾和痛苦……我不知道他在跟誰說話，他好像在自言自語，用兩種不同的聲音與自己斗爭。我順著聲音找過去，結果發(fā)現(xiàn)那是綠色忍者。他的聲音好像是從另一個時空傳來的，而且他的精神狀態(tài)很不好。他使勁地搖頭，好像要擺脫掉什么，然后戴上了兜帽，拿出了武器。當時你與他之間只隔著一堵冰墻，他擊碎了這堵墻，直接撲向了你，并將你的頭劈成了兩半……我完全嚇呆了，你的傷疤懸在半空中震動著，我就是被它所發(fā)出的綠光照醒的。” 賈拉漢望著我，就好像我能做出解釋一樣。 我扭頭望向楊的畫像，到了做決定的時候了。這整件事情變得越來越復雜，我又不像贊那樣會分析問題。賈拉漢和我都有秘密，我們能在這里相遇全都是因為塞莉爾的好心，而我們卻沒有對她以誠相待。可在這件事情上，我們真的能對她全盤托出嗎？諾姆這個地方到底在發(fā)生什么事？這些江戶時代的建筑和古董的原主人都神秘失蹤了，而人們卻打算用這些沒有人要的遺物來重建諾姆，塞莉爾知道這一切嗎？她父親知道嗎？他可是這兒的鎮(zhèn)長??！我覺得我需要好好地理理頭緒。賈拉漢好像能看出來我在想什么，他繼續(xù)說道： “你也知道那些鄉(xiāng)村里面都發(fā)生了什么怪事，而我現(xiàn)在還在用那些失蹤的人的家來重建諾姆，這可真夠瘋狂的，不是嗎??？我是說－－” “賈拉漢??！你到底在哪兒？?。　睒窍聜鱽砹巳驙枒嵟慕泻奥?。賈拉漢望向我，希望我能告訴他該怎么做?！澳銢]法躲她一輩子。你去告訴她，說我們今天晚上會和她談一些事情，讓她把她爸也叫上。我待在這兒再好好看看，走的時候我會把入口封上的，你不用管了?！辟Z拉漢很感激地點了點頭，就出去了。 我又獨自一個人了，但我知道這次我沒法獨自呆太久。我盯著肖像的眼睛，有一種如夢一般的恍惚感覺，這種感覺過去我只有過一次。突然，畫像中的楊大師動了起來。 他的畫像中移動的方式很奇怪，就好像他無法完全擺脫賈拉漢的筆跡自由移動一樣。最終他還是找到了一個舒服的姿勢，并把他的注意力轉向了我?！翱?，我的孩子……我很……很高興你找到了這幅畫，我們終于能再次相見了。”我開始向他講述我這兩天的經歷。當我講到賈拉漢的時候，他的兩眼放出了光；而當我講到江戶時代的時候，他看上去非常吃驚，神情也變得嚴肅和擔憂。 “江戶時代是一個充滿魔力的時代。那個時期流行巫術，當時的巫師主要都集中在南方。絕大多數巫師沒有什么邪心，但巫術本身就是一種不安全的東西，它雖然給人們帶來方便，但也很容易出差錯。一旦出差錯，根本無法預料它會帶來什么樣的破壞。我對江戶巫術的了解很有限，在我活著的那個時代，它基本上已經失傳了。寺廟剛建成的時候，我對它進行過一些研究，大多研究成果現(xiàn)在也沒了。我只知道，‘江戶’在古忍者文中是大地的意思。江戶巫術的力量來源于大地，巫師們需要將這種力量集中起來以便利用，于是，他們建成了那些古村落。村落里的那些尖塔，就是為了聯(lián)結土地的力量，以便巫師們使用巫術。但就像我說的，江戶巫術很難控制，最后，它將它自己與它的使用者們都消滅了，那個文明也成為了歷史?？扇缃瘢@一切好像要在諾姆重現(xiàn)了，大量的江戶魔力將會蘇醒。這一切的背后會是誰呢？”楊大師陷入了沉思。 巫師？我這輩子只見過一個巫師。上一次我見到他還是在黑暗之島上，那時我還是個幽靈，他也是個幽靈。

補充信息：

結尾處寇說的巫師顯然是克勞斯……關于克勞斯的故事，詳見官方的書《暗島三部曲》

Dark Island Trilogy

。

暗島三部曲的故事發(fā)生在第六季與第七季之間。由于杰的第三個愿望，克勞斯沒能找到泰拉漢之壺，于是他來到了黑暗之島，打算用暗物質（就是紅石武士用來腐蝕妮雅的紫黑色泥巴）來腐蝕光明神殿，從而重新將忍者國與黑暗之島合并成由他控制的原始大陸。他還用巫術召回了厄運堡壘號的船員做他的手下。惡運堡壘號的船員們劫走了美紗子和羅南，忍者們?yōu)榱藢ふ宜麄儯粉櫨€索來到了黑暗之島，并發(fā)現(xiàn)了克勞斯的陰謀。最終吳大師用黃金機甲取得了勝利，克勞斯被放逐進地下世界。

至于納達可汗的船員們的結局，書上好像沒有提。官方之前有個說法說他們可能進了監(jiān)獄，不過Tommy Andreasen在《盲者之眼：碎片》

The Splinter in the Blind Man's Eye

中說他們與忍者達成協(xié)議，永遠留在了暗島。（后來小清跑了，詳情見《盲者之眼》，B站上@NinjaGogoko翻譯過，但他還沒更完）

值得一提的是，忍者們在《魔咒幽靈的進擊》與第七集開始時乘坐的交通工具 就是壞壞猴給克勞斯建的，結果被他們搶走了。

貼幾個圖↓

實際上，《三部曲》的故事在動畫片中也被提及過。在十四季的結尾，忍者們發(fā)現(xiàn) 羅南用假冒的海怪來騙取海島原始部落的祭品時，杰認為羅南是可信任的，并向忍者們提起了他們在暗島上見到羅南的經歷。

另附原文： It makes sense now. At least that nonsensical and elusive ghost sense that I've gotten used to dealing with. Here is a painting of Master Yang looking back at me. It is different from the one at the museum and the ones still hanging in our temple. This one is more crudely painted. "Master Yang did not just teach us Airiitzu," Jerahn says, "it was a whole philosophy. A lot of pieces that needed to fit together. Patience, focus, meditation and such; Master Yang combined the lessons in various different ways. In the earlier hours on end painting him while he was in some meditative trance. In the beginning I found the whole thing stupid and vain on his part." Jerahn has a guilty look on his face saying that. "But eventually I got it. He was teaching us tolerance, focus and patience. Realizing that, the obstacle moved out of the way, and my path to Airjitzu became much easier." I ask him about how the painting got here. He shrugs. "We saw a LOT of lootings during our time as ghosts in the temple. Thieves would come at any time during the day or night. You got those guys to please. You know all too well what happens. Some thieves made it with some of those Edo period artifacts they came for though. I guess that's how the painting ended up here." He laughs. "Someone must have thought my strokes were authentic Edo period artwork. Can you believe that?!? I think I should feel proud." I am transfixed on Master Yang's stern look on the painting. So that's one question answered: that's how he could reach out to this place and knew where I should go. But the answer just opens up new ones. First one that comes to mind is about Jerahn's dream. He seems almost relieved by my question. I have been holding it for too long. When he started to tell me, it sent to shiver down my spine. "It's cold. It's almost like I'm dead. I am in some Ice labyrinth. I know it's just a dream because I am with you guys. The Ninja I mean. And since I do not know you guys and I am in a place which I do not know, I figure that it's just a dream. Still it feels pretty real though. You guys are staring at the ice, so I figure that I should do that too. But I get distracted by a voice. It's a young voice filled with determination, but also conflict and pain. I do not know who he is talking to and sometimes it even seems like he is arguing with himself in two different voices. I found my way around the ice wall to check it out. It's the green ninja . . . but his voice sounds like it comes from a different place and he looks pale. He shakes his head violently, put on his cowl and gets out his weapons. I see you on the other side of the ice. He lunges at you, slashes the ice and cleaves your head in two . . . I am paralyzed. Your scar hangs in mid air convulsing. It's the big green glow of light that wakes me up." I look at it like it can offer some explanation. I look back at the painting and decide to play my cards close to the chest. This is getting complicated and I am not as smart as Zane. Jerahn and I both have secrets. We are both here because of Seliel and Nom's kindness, but we are not being honest. Can we be honest? What is going on here in Nom? The town is being mended using materials from Edo period cities. Cities whose houses are being re-purposed because they were uninhabited. People have gone missing, and now this place is being ornamented by their cities' remains. Does Seliel know about that? Does her father? He is the greatest after all! This is getting too complicated and I need time to think. As if reading my mind Jerahn continues. "You know how I found out about those cities, some of the others, some students, some of whose homes, and their families are missing. I'm here decorating Nom with THEIR homes . . . how messed up is that?!?! I have been talking—" "JERAHN!!! WHERE ARE YOU?!!!" Seliel's irate call echoes from below. Jerahn looks to me as if I can offer some advice. "You can not avoid her for long. Go meet her and say we will all talk tonight, and tell her to bring her father too. I will have a look at this stuff and board up. Don't worry about it." Jerahn gives me a grateful nod and exits. I am alone again, but I know I won't be for long. Staring into the eyes of the painting brings me to a dreamlike trance that I have experience only once before. Master Yang starts to move and it's time to get some answers. It is odd to see him animate in the picture. It seems like it can not be removed to Jerahn's brush strokes, and the situation becomes somewhat awkward. He finally gets comfortable or just ignores it. Then he focuses his attention on me. "Cole my boy . . . I am . . . glad that you have found this painting and that we have this opportunity to talk." I looked at the rift on my head, I quickly fill it in. As I talk about Jerahn his spirit seems uplifted, but as I get to the Edo he was towns he looks shocked. But when he does, it is with great concern and seriousness. "The Edo period was a time to know for great magic. The Edo magic was practiced by many sorcerers in the southern parts of Ninjago. Most used it for good, but the magic was not safe. It was unpredictable and disruptive. Easy to use but not hard to get wrong. I do not know much about since it was mostly lost. I did some studying on the subject when first moved into the temple, but not many texts existed. I did find out that Edo is ancient ninjargan for earth. Edo magic drew upon the power of the earth. The Edo Sorcerers needed to draw up and focus the power. That is the origin of the Edo era villages. Their towers and spiers, just like the Temple of Airjitzu, were designed to channel and concentrate the power of the earth so the sorcerers had easy access to it and could draw upon it when they needed to. But as I said Edo magic often produced unpredictable results. It wiped itself and its users out. But now it seems that Nom is bringing all of these Edo relics here. An enormous amount of Edo power will build up. Who can be behind this?" Master Yang silences. Sorcerer? I know only one sorcerer. The last time I saw him I was still a ghost and so was he. On the Dark Island.