The Pixar Theory: Every Character Lives in the Same Universe

皮克斯理論 每一個(gè)動(dòng)畫角色都存在于同一個(gè)時(shí)空中

Jon Negroni spent one year untangling the secret world hidden deep within Pixar films. This thesis (printed in full below) originally appeared on his personal blog and quickly became a viral sensation. Negroni continues to update his post based on interesting feedback from readers.

Several months ago, I watched a fun-filled video on Cracked.com that introduced the idea (at least to me) that all of the Pixar movies actually exist within the same universe.

喬恩·尼格羅尼花了一年的時(shí)間揭開了深藏在皮克斯動(dòng)畫片中的秘密世界。此文（全文如下）最初出現(xiàn)在他本人的博客上，并迅速引起轟動(dòng)。根據(jù)讀者有趣的反饋，尼格羅尼不斷更新他的研究。

幾個(gè)月之前，我在Cracked.com網(wǎng)上看到一個(gè)非常有趣的視頻，它提出這樣一個(gè)概念（至少在我看來的確如此）：實(shí)際上，皮克斯制作的所有動(dòng)畫片中的角色都存在于同一個(gè)時(shí)空中。

Since then, I’ve obsessed over this concept, working to complete what I call “The Pixar Theory,” a working narrative that ties all of the Pixar movies into one cohesive timeline with a main theme.

This theory covers every Pixar production since Toy Story: A Bug’s Life, Toy Story 2, Monsters Inc., Finding Nemo, The Incredibles, Cars, Ratatouille, Wall-E, Up, Toy Story 3, Cars 2, Brave and Monsters University.

自那之后，我就沉迷于這個(gè)概念中，努力完善我所謂的“皮克斯理論”--一個(gè)行之有效的理論，將所有皮克斯的動(dòng)畫片連成一個(gè)有特定主題并且連貫的時(shí)間軸。

這個(gè)理論貫穿于皮克斯的每一部作品中--《玩具總動(dòng)員》、《蟲蟲危機(jī)》、《玩具總動(dòng)員2》、《怪物電力公司》、《海底總動(dòng)員》、《超人特攻隊(duì)》、《汽車總動(dòng)員》、《料理鼠王》、《機(jī)器人瓦力》、《飛屋環(huán)游記》、《玩具總動(dòng)員3》、《汽車總動(dòng)員2》、《勇敢傳說》和《怪獸大學(xué)》。

Every movie is connected and implies major events that influence every single movie. Here we go.

每一部動(dòng)畫片都被聯(lián)系起來，并預(yù)示著影響每一部片子的主要事件?，F(xiàn)在，我們一起來分析一下。

[EDITORS NOTE: All updated text in italics indicate new edits made since the original version published, based on interesting reader feedback.]

【編者注：所有斜體文字為更新內(nèi)容，基于讀者對(duì)已發(fā)表的原版的反饋】

Brave is the first and last movie in the timeline. Obviously, this movie about a Scottish kingdom during the Dark Ages is the earliest time period covered by the Pixar films, but it’s also the only Pixar movie that actually explains why animals in the Pixar universe behave like humans sometimes.

從時(shí)間軸上來看，《勇敢傳說》是第一個(gè)，但也是最后一個(gè)發(fā)生的故事。這個(gè)故事講述的是黑暗時(shí)期的英格蘭王國(guó)，顯然，這是皮克斯作品中故事發(fā)生的年代最早的時(shí)期，但是，事實(shí)上，這同樣也是唯一一部解釋為什么皮克斯世界中的動(dòng)物有時(shí)能表現(xiàn)得像人一樣的片子。

In Brave, Merida discovers that there is “magic” that can solve her problems but inadvertently turns her mother into a bear. We find out that this magic comes from an odd witch seemingly connected to the mysterious will-of-the-wisps. Not only do we see animals behaving like humans, but we also see brooms (inanimate objects) behaving like people in the witch’s shop.

We also learn that this witch inexplicably disappears every time she passes through doors, leading us to believe that she may not even exist. Don’t get ahead of me, but we’ll come back toBrave. Let’s just say, for now, the witch is someone we know from a different movie in the timeline.

在《勇敢傳說》中，瑪莉達(dá)發(fā)現(xiàn)有一種“魔法”能夠解決她的難題，但卻無意間將她的母親變成了一只熊。我們發(fā)現(xiàn)這種“魔法”來自于一個(gè)和神秘“呢喃精靈”聯(lián)系在一起的奇怪的女巫。我們不僅看到動(dòng)物表現(xiàn)得像人一樣，也看到在女巫的木雕店里，掃帚這種無生命的東西竟然表現(xiàn)得像人一樣。

同樣，我們也可以看出，每一次當(dāng)女巫穿過門的時(shí)候，她就莫名其妙的消失了，這讓我們相信女巫或許根本不存在。別打斷我的話，我們最后還會(huì)再回到《勇敢傳說》中來。目前，我們可以說，在這個(gè)時(shí)間軸上，這個(gè)女巫是來自于另外一部影片中我們所熟悉的人。

UPDATE: Some readers pointed out that the animals in Brave gradually regress back into an animal state, disproving the idea that this is the source of animals acting like humans. My rebuttal is simple. They regress because the magic wears off. Over time, their evolving intelligence grows naturally.

更新：一些讀者指出，《勇敢傳說》中被施了魔咒變成動(dòng)物的人在第二個(gè)日出到來時(shí)就會(huì)變成真正的動(dòng)物，因此，對(duì)于這是動(dòng)物的行為舉止像人的起源之說，他們持反對(duì)意見。我的反駁很簡(jiǎn)單：他們最終變成了真正意義上的動(dòng)物是因?yàn)槟Хu漸消失了（譯者注：實(shí)際上是魔法最終定型了），但是隨著時(shí)間的推移，其智能開始不斷進(jìn)化并發(fā)展。

Centuries later, the animals from Brave that have been experimented on by the witch have interbred, creating a large-scale population of animals slowly gaining personification and intelligence on their own.

There are two progressions: the progression of the animals and the progression of artificial intelligence. The events of the following movies set up a power struggle between humans, animals and machines. The stage for all-out war in regards to animals is set by Ratatouille,Finding Nemo and Up, in that order. Notice I left out A Bug’s Life, but I’ll explain why later.

幾個(gè)世紀(jì)后，《勇敢傳說》中被女巫施過咒語(yǔ)的動(dòng)物（譯者注：咒語(yǔ)把人變成動(dòng)物）和其它動(dòng)物雜交之后，繁衍出了大量的后代，它們擁有了人性，且非常聰明。

有兩個(gè)進(jìn)化過程：動(dòng)物的進(jìn)化過程和人工智能的進(jìn)化過程。接下來這部片子中發(fā)生的故事揭示了人類、動(dòng)物和機(jī)器之間的權(quán)力斗爭(zhēng)。這場(chǎng)關(guān)于動(dòng)物的戰(zhàn)爭(zhēng)的全面爆發(fā)體現(xiàn)在《料理鼠王》、《海底總動(dòng)員》和《飛屋環(huán)游記》里，并以這種順序出現(xiàn)。注意在這里我沒有提到《蟲蟲危機(jī)》，但我會(huì)在下文進(jìn)行解釋。

In Ratatouille, we see animals experimenting with their growing personification in small, controlled experiments. Remy wants to cook, something only humans explicitly do. He crafts a relationship with a small group of humans and finds success. Meanwhile, the villain ofRatatouille, Chef Skinner, disappears. What happened to him? What did he do with his newfound knowledge that animals were capable of transcending their instincts and performing duties better than humans?

在《料理鼠王》中，我們看到動(dòng)物們?cè)谛∫?guī)?？煽貙?shí)驗(yàn)中對(duì)它們?nèi)找嬖鲩L(zhǎng)的人性進(jìn)行試驗(yàn)。小老鼠雷米想要做菜，但很明顯，只有人類才會(huì)這樣做。它和幾個(gè)人建立了良好關(guān)系，實(shí)現(xiàn)了它的夢(mèng)想并獲得了成功。與此同時(shí)，斯金納大廚這個(gè)反派人物卻消失了。到底發(fā)生了什么事呢？當(dāng)他發(fā)現(xiàn)了動(dòng)物能夠超越其本能，做得比人類更好的時(shí)候，他會(huì)做什么呢？

It’s possible that Charles Muntz, the antagonist of Up, learned of this startling rumor, giving him the idea to begin inventing devices that would harness the thoughts of animals, namely his dogs, through translator collars. Those collars indicated to Muntz that animals are smarter and more like humans than we think. He needed this technology to find the exotic bird he’s obsessed over, and he even comments on how many dogs he’s lost since he arrived in South America.

因此，在《飛屋環(huán)游記》中那個(gè)瘋狂的冒險(xiǎn)家查爾斯·芒茲才有可能知道這個(gè)令人震驚的傳聞，隨后才萌發(fā)了研制能夠利用動(dòng)物思維的裝置--通過翻譯項(xiàng)圈傳遞動(dòng)物（即：他的狗）的思想。這樣的項(xiàng)圈向芒茲證明了動(dòng)物比我們想象的還要聰明，也更具人性。他需要這樣一個(gè)裝置去找到他所癡迷的神奇巨鳥，他甚至還提到自從他到達(dá)南美洲后，他失去了多少只狗。

But then Dug and the rest of his experiments are set free after Muntz’s demise, and we don’t know the full implications of that, but what we do know is that animosity between the animals and humans is growing steadily. Now that humans have discovered the potential of animals, they are beginning to cross the line. To develop this new technology, the humans begin an industrial revolution hinted in at Up.

但金毛犬逗逗和它的同伴們?cè)诿⑵澦篮螳@得了自由。我們雖不知道這到底意味著什么，但我們知道，人類和動(dòng)物之間的敵對(duì)程度正在不斷加深。既然人類發(fā)現(xiàn)了動(dòng)物的潛能，他們就開始跨越“界限”?！讹w屋環(huán)游記》暗示了為了開發(fā)這項(xiàng)新技術(shù)，人類開始了一次工業(yè)變革。

UPDATE: Some have pointed out that Muntz was working in South America before the events ofRatatouille. This is true, but it is not explicitly stated how and when he developed the collars. Also, we know Ratatouille takes place before Up for several reasons. In Toy Story 3, a postcard on Andys wall has Carl and Ellies name and address on it (including their last names to confirm). This confirms that in 2010, the time of Toy Story 3, Ellie is still alive or hasnt been dead long. This supports the idea that Up takes place years later.

更新：部份讀者指出，在《料理鼠王》里的故事發(fā)生之前，芒茲就已經(jīng)在南美洲工作，這是不爭(zhēng)的事實(shí)。但是，這里沒有明確地指出他是在什么時(shí)候以什么方式發(fā)明項(xiàng)圈的。同樣，我們知道《料理鼠王》里故事發(fā)生的時(shí)間比《飛屋環(huán)游記》發(fā)生的時(shí)間要早。在《玩具總動(dòng)員3》中，安迪墻上的海報(bào)上有卡爾和艾利（《飛屋環(huán)游記》中的老爺爺和他的妻子）的名字和地址（可以確認(rèn)他們的姓氏）。這證實(shí)了在2010年《玩具總動(dòng)員3》上映的時(shí)候，艾利仍然還活著或是才去世不久。這恰好證明了《飛屋環(huán)游記》發(fā)生在此之后。

In the beginning of Up, Carl is forced to give up his house to a corporation because they are expanding the city. Think on that. What corporation is guilty for polluting the earth and wiping out life in the distant future because of technology overreach?

在《飛屋環(huán)游記》一開始的時(shí)候，由于城市化建設(shè)的擴(kuò)張，卡爾不得不把自己的房子讓給一個(gè)公司。好好想一想，因?yàn)榭萍及l(fā)展得過了頭，致使地球環(huán)境遭到破壞，在遙遠(yuǎn)的未來，地球上的生命甚至遭到毀滅性的打擊，到底誰(shuí)才是罪魁禍?zhǔn)祝?/p>

Buy-n-Large (BNL), a corporation that runs just about everything by the time we get to Wall-E. In the “History of BNL” commercial from the movie, we’re told that BNL has even taken over the world governments. Did you catch that this one corporation achieved global dominance?

在《機(jī)器人總動(dòng)員》中，Buy-n-Large（BNL）是在那個(gè)時(shí)代經(jīng)營(yíng)所有業(yè)務(wù)的一個(gè)大公司。從影片中BNL輝煌的商業(yè)歷史中，我們知道，它甚至操控著世界各國(guó)的政府。你發(fā)現(xiàn)了嗎？這個(gè)大公司成功的成為了全球霸主。

Interestingly, this is the same organization alluded to in Toy Story 3:

有趣的是，這家大公司的名字在《玩具總動(dòng)員3》里出現(xiàn)過：（譯者注：注意電池上的紅色商標(biāo)）

In Finding Nemo, we have an entire population of sea creatures uniting to save a fish that was captured by humans. BNL shows up again in this universe via another news article that talks about a beautiful underwater world. In Finding Nemo, lines are being crossed. Humans are beginning to antagonize the increasingly networked and intelligent animals.

Think about Dory from Finding Nemo for a second. She stands apart from most of the other fish. Why? She isn’t as intelligent. Her short-term memory loss is likely a result of her not being as advanced as the other sea creatures, which is a reasonable explanation for how rapidly these creatures are evolving.

在《海底總動(dòng)員》中，我們看到所有的海洋生物團(tuán)結(jié)在一起去解救一條被人類捕獲的魚。在這里，BNL又出現(xiàn)了--通過一則關(guān)于美麗的海底世界的新聞報(bào)道?！对诤５卓倓?dòng)員》里，人和動(dòng)物都跨越自身界限了。人類開始敵對(duì)那些與日俱增的網(wǎng)絡(luò)化、智能化的動(dòng)物。

稍微回想一下該片中的小魚多莉。她能在眾多的魚中脫穎而出，這是為什么呢？她并不是那么的聰明。她的“健忘癥”似乎是她沒有其它海洋生物先進(jìn)所造成的結(jié)果，而這正是對(duì)這些生物進(jìn)化得如此迅速的合理的解釋。

It’s likely that the sequel to Finding Nemo, which is about Dory, will touch on this and further explain why. We may also get some more evidence pointing to animosity between humans and animals.

And that is the furthest movie in the “animal” side of things. When it comes to A.I., we start withThe Incredibles. Who is the main villain of this movie? You probably thought of Buddy, a.ka. Syndrome, who basically commits genocide on super-powered humans.

該片或許會(huì)出關(guān)于多莉的續(xù)集，也許將會(huì)觸及此處，并作出進(jìn)一步的解釋。我們或許能得到更多的證據(jù)證明人類和動(dòng)物之間的敵對(duì)狀態(tài)。

《海底總動(dòng)員》是有關(guān)動(dòng)物這方講得最深入的片子。但講到人工智能，我們首先要講到的是《超人特攻隊(duì)》。誰(shuí)是該片中的大反派呢？你或許會(huì)想到巴迪(也叫做--辛拉登)，因?yàn)樗胍麥缢械某恕?/p>

Or does he?

或者，真是這樣嗎？

Buddy didn’t have any powers. He used technology to enact revenge on Mr. Incredible for not taking him seriously. Seems a little odd that the man went so far as to commit genocide.

And how does he kill all of the supers? He creates the omnidroid, an A.I. “killbot” that learns the moves of every super-human and adapts. The omnidroid eventually turns on Syndrome, which leads us to believe that he was being manipulated by machines the entire time in order to wipe out the biggest threats to robot dominance, super-powered humans. The movie even shows clips of the superheroes with capes being done in by inanimate objects, such as plane turbines…accidentally.

他如何能夠殺死所有的超人呢？他創(chuàng)造了全能機(jī)器人--擁有人工智能的殺戮機(jī)器人。它的學(xué)習(xí)能力很強(qiáng)，它會(huì)在戰(zhàn)斗中學(xué)會(huì)如何打敗這個(gè)超人。但這個(gè)全能機(jī)器人最終攻擊了辛拉登，這使我們相信，由于超人是機(jī)器占據(jù)霸主地位的最大威脅，機(jī)器完全控制了辛拉登（譯者注：機(jī)器想要借刀殺人）。這部影片甚至出現(xiàn)了超人身上披的斗篷不小心被機(jī)器（如飛機(jī)渦輪機(jī)）卷扯進(jìn)去，致使超人壯烈犧牲的畫面。這可真是出乎意料！

UPDATE: Someone suggested that Randall being sent back in time is what inspired Edna to create Violets invisibility suit. Also, some have questioned whether or not Syndrome actually was manipulated by his own technology. Keep in mind that the movie strongly suggests it takes place before modern times. The beginning is set in what appears to be the late 60s or early 70s, meaning the events of the movie must be in the late 80s or early 90s. This is a proper setup forToy Story, as we are starting to see machines questioning their purpose in life. Its possible that Syndrome created this technology to become better than his idol. That doesnt explain his thirst for blood revenge. It seems he became consumed by hatred, and leads me to suggest that the machines wanted him to use them to suit his needs, since they are his slaves after all. Its either that, or the machines knew that killing off the supers was the only thing stopping them from dominating the world via BNL.

更新：一些讀者提出，蘭道（《怪物電力公司》中的頭號(hào)反派怪物，一只變色龍怪物，有隱性能力。）被扔進(jìn)了“時(shí)間之門”（或許扔到了這個(gè)時(shí)代）是激發(fā)艾德娜制造薇薇（鮑勃家的大女兒）的隱身衣的契機(jī)。同樣，許多讀者質(zhì)疑辛拉登事實(shí)上是否被他自己的技術(shù)所操控？要記住一點(diǎn)：該片所暗示的時(shí)間是在現(xiàn)代之前。故事的一開始發(fā)生的時(shí)間應(yīng)該是在60年代末70年代初，這就意味著，后來的故事應(yīng)該發(fā)生在80年代末90年代初。對(duì)于《玩具總動(dòng)員》來說，這個(gè)時(shí)間是恰到好處的，此時(shí)，我們看到機(jī)器開始質(zhì)疑自己生存的意義。辛拉登用高科技使自己變得比他的超人偶像更厲害，這是有可能的。但那并不能解釋他對(duì)血腥復(fù)仇的癡狂。他似乎被仇恨沖昏了頭腦，這使我猜測(cè)機(jī)器希望他能夠使用它們來滿足他的需求，或者，機(jī)器知道只有殺了所有的超人，它們才能通過BNL一統(tǒng)天下。

But why would machines want to get rid of humans in the first place? We know that animals don’t like humans because they are polluting the Earth and experimenting on them, but why would the machines have an issue?

Enter Toy Story. Here we see humans using and discarding “objects” that are clearly sentient. Yes, the toys love it Uncle Tom style, but over the course of the Toy Story sequels, we see toys becoming fed up.

可是，為什么機(jī)器人首先想要擺脫人類的掌控呢？我們知道，動(dòng)物討厭人類是因?yàn)槿祟愇廴镜厍颦h(huán)境并且在它們身上做試驗(yàn)，但是為什么機(jī)器也討厭人類呢？

下面我們走入《玩具總動(dòng)員》來探討這個(gè)問題。我們看見許多人類使用和丟棄的“東西”很明顯都是有感情的。是的，玩具們以“湯姆大叔”般的方式愛著自己的主人，但是在該劇的續(xù)集中，我們看到玩具們開始厭倦了。

The toys rise up against Sid in the first movie. Jesse resents her owner, Emily, for abandoning her. Lotso Huggin’ Bear straight up hates humans by the third movie. Toys are obviously not satisfied with the status quo, providing a reason for why machines would eventually be quick to wipe out the strongest humans.

With the super-humans all but gone, mankind is vulnerable. Animals, who want to rise up Planet of the Apes style, have the ability to take over, but we don’t see this happen.

在第一部影片中，玩具們開始奮起反抗西迪。因?yàn)樵庵魅税惖倪z棄，杰茜憎恨她的主人。在第三部中，大熊開始憎恨人類。顯然，玩具們已經(jīng)開始不滿足于現(xiàn)狀，這恰好說明了為什么機(jī)器最終想要消滅強(qiáng)大的人類。

隨著超人們的消失，人類變得脆弱不堪。那些想像《決戰(zhàn)猩球》里的人猿一樣崛起的動(dòng)物有能力掌管地球，但這發(fā)生了嗎？

Also, A.I. never takes over humans. Why do you think that is? It’s reasonable to assume that machines did take over, just not as we expected. The machines used BNL, a faceless corporation (which are basically faceless in nature) to dominate the world.

In each of the Toy Story movies, it’s made painfully clear that sentient objects rely on humans for everything. For fulfillment and even energy. It’s hinted at that the toys lose all life when put away in “storage” unless they are in a museum that will get them seen by humans.

同樣，人工智能從來就不能取代人類。這是為什么呢？我們可以假設(shè)機(jī)器掌控了地球，雖然這是我們所不想看到的，但這卻又是合理的。機(jī)器在幕后操控著BNL（實(shí)際上這個(gè)公司并沒有露過面）公司以此來稱霸整個(gè)世界。

在每一部《玩具總動(dòng)員》中，我們可以清楚的看到，那些“東西”都擁有感情，但無論是在實(shí)現(xiàn)自我成就上還是在能源獲取上，它們的一切都依賴著人類。該劇暗示了當(dāng)玩具們被束之高閣的時(shí)候，它們的生命也就結(jié)束了--除非它們被放在博物館里供人們觀賞。

So machines decide to control humans by using a corporation that suits their every need, leading to an industrial revolution that eventually leads to…pollution.

When the animals rise up against the humans to stop them from polluting the earth, who will save them? The machines. We know that the machines will win the war, too, because after this war, there are no animals ever to be seen again on Earth. Who’s left?

所以，機(jī)器決定通過一個(gè)可以為人類提供所有服務(wù)的大公司來控制人類。它們開始了一場(chǎng)工業(yè)變革，然而，這樣做卻導(dǎo)致了對(duì)地球的嚴(yán)重污染。

當(dāng)動(dòng)物們揭竿而起想要阻止人類污染地球的時(shí)候，誰(shuí)會(huì)來解救它們呢？是機(jī)器！我們知道，機(jī)器也將會(huì)贏得這場(chǎng)戰(zhàn)爭(zhēng)的勝利，因?yàn)檫@場(chǎng)戰(zhàn)爭(zhēng)過后，地球上將不會(huì)有任何動(dòng)物留下。那么，地球上還剩下什么？

Because the machines tip everything out of balance, Earth becomes an unfit planet for humans and animals, so the remaining humans are put on Axiom (or Noah’s Ark if you want to carry on the Biblical theme where Wall-E is basically Robot Jesus and his love interest is aptly named Eve) as a last-ditch effort to save the human race.

On Axiom, the humans have no purpose aside from having their needs met by the machines. The machines have made humans dependent on them for everything because that is how they were treated as “toys.” It’s all they know.

由于機(jī)器打亂了世間萬(wàn)物之間的平衡，地球?qū)τ谌祟惡蛣?dòng)物來說已不再是一個(gè)宜居星球，所以，在全宇宙最豪華的太空郵輪Axiom號(hào)（或者如果你想對(duì)其灌與圣經(jīng)的主題，你可以叫它“諾亞方舟”，而瓦力就是機(jī)器人版的耶穌，它的愛人則被恰當(dāng)?shù)拿麨橄耐蓿ɑ蛞淋剑┥系某丝途褪侨祟愖詈蟮难}，也是拯救人類最后的努力。

在Axiom號(hào)上，除了讓機(jī)器滿足其需求外，人類別無他求。機(jī)器使人類不得不依賴于它們，因?yàn)樗鼈儽划?dāng)作“玩具”時(shí)，人類也是這樣對(duì)它們的。這就是它們所知道的一切。

Meanwhile on Earth, machines are left behind to populate the world and run things, explaining human landmarks and traditions still being prominent in Cars. There are no animals or humans in this version of Earth because they’re all gone, but we do know that the planet still has many human influences left. In Cars 2, the cars go to Europe and Japan, making it plain that this is all taking place on Earth as we know it.

So what happened to the cars? We’ve learned by now that humans are the source of energy for the machines. That’s why they never got rid of them. In Wall-E, they point out that BNL intended to bring the humans back once the planet was clean again, but they failed. The machines on Earth eventually died out, though we don’t know how.

與此同時(shí)，地球上到處都是機(jī)器，它們處理地球事務(wù)。在《汽車總動(dòng)員》中，常常會(huì)出現(xiàn)機(jī)器（車）解釋人類地標(biāo)性建筑和生活傳統(tǒng)的畫面。在該片中，動(dòng)物和人類都從未出現(xiàn)過，因?yàn)樗ㄋ﹤冊(cè)缫央x開了地球，但我們知道，在地球上仍然留有許多人類存在過的痕跡。在《汽車總動(dòng)員2》中，汽車們?nèi)サ搅藲W洲和日本，顯而易見，故事是發(fā)生在地球上的。

所以說，后來，在汽車世界里到底發(fā)生了什么呢？直到現(xiàn)在我們才知道，原來人類才是機(jī)器能源的來源，這就是為什么機(jī)器從來沒能掌控人類的原因。在《機(jī)器人瓦力》中，它們指出BNL本來打算在凈化地球后將Axiom號(hào)上的人類帶回地球，但是它們失敗了。雖然我們不知道這是如何發(fā)生的，但最終，地球上的機(jī)器都滅絕了。

What we do know is that there is an energy crisis in Cars 2, with oil being the only way society trudges on despite its dangers. We even learn that the Allinol corporation was using “green energy” as a catalyst for a fuel war in order to turn cars away from alternative energy sources.

我們只知道在《汽車總動(dòng)員2》中出現(xiàn)了能源危機(jī)。盡管有其危險(xiǎn)性，但只有石油才能推動(dòng)汽車社會(huì)發(fā)展。我們甚至看到了Allinol公司為了使汽車遠(yuǎn)離其它替代能源而使用其研發(fā)的所謂的”綠色能源“作為這場(chǎng)能源戰(zhàn)爭(zhēng)的催化劑。

That “clean” fuel could have been used to wipe out many of the cars, very quickly.

該公司所謂的“清潔”能源差點(diǎn)就要了絕大部分汽車的命！

UPDATE: Someone pointed out that "all in all" means the same thing as "by and large" making the connection between Cars and Wall-E even more appealing.

更新：一些讀者指出”all in all“（Allinol）和”by and large“(BNL)是同一個(gè)意思。這使得《汽車總動(dòng)員》和《機(jī)器人瓦力》之間的聯(lián)系更具說服力。

Which brings us back to Wall-E.

現(xiàn)在，我們回到《機(jī)器人瓦力》上來。

Have you ever wondered why Wall-E was the only machine left? We know that the movie begins 800 years after humans have left Earth on Axiom, governed by the AutoPilot (another A.I. reference).

Could it be that Wall-E’s fascination with human culture and friendship with a cockroach is what allowed him to keep finding fulfillment and the ability to maintain his personality? That’s why he was special and liberated the humans. He remembered the times when humans and machines lived in peace, away from all of the pollution caused by both sides.

你有沒有想過為什么瓦力會(huì)是留在地球上的最后一個(gè)機(jī)器人？我們知道，這個(gè)故事發(fā)生在豪華太空郵輪Axiom號(hào)離開地球800年后（Axiom號(hào)由擁有人工智能的自動(dòng)駕駛儀操縱）。

或許是因?yàn)橥吡?duì)人類文化的癡迷和對(duì)與小蟑螂的友情的執(zhí)著，才使它不斷的履行自己的職責(zé)，并慢慢的擁有了人性。這就是它與眾不同的原因，也是它解放了Axiom號(hào)中的人類的原因。它還記得人類和機(jī)器和平共處的日子，那時(shí)候，地球還沒有被人類和機(jī)器污染。

After Wall-E liberates the humans and they rebuild society back on Earth, what happens then? During the end credits of Wall-E, we see the shoe that contains the last of plant life. It grows into a mighty tree. A tree that strikingly resembles the central tree in A Bug’s Life.

That’s right. The reason no humans exist in A Bug’s Life is because there aren’t a lot left. We know because of the cockroach that some of the insects survived, meaning they would have rebounded a bit faster, though the movie had to be far enough in the timeline for birds to have returned as well.

瓦力解放了人類，人類在地球上重新建起了家園，然后，發(fā)生了什么呢？在該片的片尾，我們看到人類在一只破鞋子里找到了地球上的最后一顆植物的嫩芽。后來，它長(zhǎng)成了一棵參天大樹，這棵樹和《蟲蟲危機(jī)》里螞蟻島上的那棵大樹是如此驚人的相似。

這就對(duì)了。在《蟲蟲危機(jī)》中沒有人類出現(xiàn)是因?yàn)槭Ｏ碌娜祟愄倭?。該片中出現(xiàn)了大量的昆蟲，如：蟻群、蚱蜢、蒼蠅、瓢蟲、螳螂、蝴蝶等。我們知道，既然蟑螂能夠存活下來，那其它的昆蟲就不能存活下來嗎？且眾所周知，昆蟲的繁衍速度遠(yuǎn)比人類的繁衍速度快。片中還出現(xiàn)了鳥類，這并不奇怪，鳥的出現(xiàn)不過是時(shí)間問題罷了。

But there’s more. There’s something strikingly different about A Bug’s Life when compared to other Pixar portrayals of animals. Unlike Ratatouille, Up and Finding Nemo, the bugs have many human activities similar to what the rats in Ratatouille were just experimenting with. The bugs have cities, bars, know what a bloody mary is and even have a travelling circus. This all assumes that the movie is in a different time period.

The other factor that sets A Bug’s Life apart from other Pixar movies is the fact that it is the only one, besides Cars and Cars 2, that doesn’t revolve (or even include) humans.

但是，我們看到的遠(yuǎn)遠(yuǎn)不止這些。當(dāng)把皮克斯在其它片子中描繪的動(dòng)物角色與《蟲蟲危機(jī)》中的動(dòng)物角色進(jìn)行對(duì)比時(shí)，我們發(fā)現(xiàn)，它們之間有著明顯的不同。不像《料理鼠王》、《飛屋環(huán)游記》和《海底總動(dòng)員》那樣，該片中的蟲蟲們有許多像人類一樣的活動(dòng)，而在《料理鼠王》中，雷米才開始探究人類活動(dòng)。蟲蟲們有自己的城市、酒吧，蚊子們喝著O型血制成的美酒--“血腥瑪麗”，甚至還有一個(gè)巡回馬戲團(tuán)。這都說明了蟲蟲們生活在一個(gè)完全不同的時(shí)代。

此外，還有一點(diǎn)可以說明蟲蟲們所處的時(shí)代和皮克斯其它片子中動(dòng)物所處的時(shí)代不同--該片是除了《汽車總動(dòng)員1、2》之外，再不圍繞著人類（或有人類出現(xiàn)）的片子。

UPDATE: OK there is a a lot of contention over the idea that A Bugs Life takes place post-apocalypse, but hear me out. The reason I am so inclined to push the idea is because of how different the bug world is from the "animal" movies. No other Pixar movie has animals wearing clothing, wild inventions, animals creating machines or so much human influence like bars and cities. In Finding Nemo, the most human thing we see is a school, and even that is pretty stripped down. But in A Bugs Life, we have a world where humans are barely even implied. At one point, one of the ants tells Flik not to leave the island because there are "snakes, birds and bigger bugs out there." He doesnt even bring up humans. Yes, there are some humans, like the kid who allegedly picked the wings off of the homeless bug, but that still fits in a post Wall-Eworld. Also, the bugs have to be irradiated for them to live such long lifespans. The average lifespan of an ant is just three months, but these ants all survive an entire summer and allude to being around for quite some time. One of the ants even says he "feels 90 again." That works if you accept that the ants are sturdier due to evolution and mutated genes.

更新：我知道，關(guān)于蟲蟲們生活在“人類大浩劫”之后的這個(gè)說法，讀者們有許多爭(zhēng)論，但是，請(qǐng)聽我把話說完。我傾向于這個(gè)說法，是因?yàn)橄x蟲們的世界和以前那些動(dòng)物們所處的世界存在很大差異。除了《蟲蟲危機(jī)》，皮克斯再?zèng)]有其它哪部片子里的動(dòng)物會(huì)穿衣服，會(huì)發(fā)明制造機(jī)器并受人類影響如此之深--蟲蟲們甚至有酒吧和城市。在《海底總動(dòng)員》中，在我們看來最具人性化的事情就是海洋動(dòng)物們創(chuàng)辦了一個(gè)學(xué)校，雖然這個(gè)學(xué)校相當(dāng)簡(jiǎn)陋。但是，在《蟲蟲危機(jī)》中，蟲蟲們所處的世界幾乎沒有人類的存在。另外，有一只小螞蟻告訴飛力不要離開這個(gè)島，因?yàn)閸u外有“蛇、鳥和更大的蟲子”，它甚至沒有提到人類的存在。但事實(shí)上，人類是存在的--該片中一只流浪街頭的蟲子聲稱自己的翅膀被一個(gè)孩子拔下來了--這仍然符合“后瓦力時(shí)代”。此外，似乎蟲蟲們是因?yàn)楸惠椛淞?，所以它們才能夠擁有那么長(zhǎng)的壽命。一只螞蟻的平均壽命只有3個(gè)月，但是這些螞蟻渡過了整個(gè)夏天，片中也暗示蟻群已經(jīng)在這里生活了相當(dāng)長(zhǎng)的一段時(shí)間了。其中一只螞蟻甚至說他“感覺自己回到70歲”（譯者注：原文中出現(xiàn)的是90歲，但原劇中實(shí)為70歲）。如果你接受這樣一種觀點(diǎn)，即：由于進(jìn)化和基因突變，螞蟻們變得更加結(jié)實(shí)，那么，那句話就有可能是真的。

So what happens? Humanity, machines and animals grow in harmony to the point where a new super species is born. Monsters. The monsters civilization is actually Earth in the incredibly distant future.

Where did they come from? It’s possible that the monsters are simply the personified animals mutated after the diseased earth was radiated for 800 years. (Not during Wall-E. I would guess that it took hundreds of years after Wall-E for the animals to become monsters.) The alternative could be that humans and animals had to interbreed to save themselves. Gross, I know, but plausible since the lines between animals and humans are constantly up for debate in Pixar.

所以，到底發(fā)生了什么事呢？--人類，機(jī)器和動(dòng)物共處在一種和諧狀態(tài)中，此時(shí)，一個(gè)新的超級(jí)物種誕生了--怪物。不可思議吧？怪物文明實(shí)際上是處在地球遙遠(yuǎn)的未來世界中。

但它們是從怎么出現(xiàn)的呢？有可能是被污染的地球受到了800年的輻射后，那些擁有人性的動(dòng)物產(chǎn)生了變異（并不是在機(jī)器人瓦力時(shí)期，我猜怪獸們的出現(xiàn)是在瓦力之后的幾百年的時(shí)間里。）另一種可能是人類和動(dòng)物為了拯救自己瀕臨滅絕的種族，二者進(jìn)行雜交。我知道，這聽起來很惡心，但這是有可能的，因?yàn)樵谄た怂沟淖髌分校瑒?dòng)物和人類之間的那條界限不斷被越過。

Whatever the reason, these monsters seem to all look like horribly mutated animals, only larger and civilized. They have cities and even colleges, as we see in Monsters University.

無論是什么原因，這些怪物看起來都像是嚴(yán)重變異的動(dòng)物，只不過體積更大，文明程度更高罷了。正如我們?cè)凇豆治锎髮W(xué)》中看到的那樣，它們有自己的城市甚至是大學(xué)。

UPDATE: An issue some have found is that this doesnt properly explain what happened to humans. I havent settled on a theory I really like yet, but Im leaning towards the idea that monsters and machines eventually forgot that they need humans and got rid of them again, not realizing their mistake until all humans died out, leading to the necessity for time travel. Another explanation is that humans just couldnt survive on Earth anymore.

更新：一些讀者發(fā)現(xiàn)這并不能恰當(dāng)?shù)慕忉屓祟惖降装l(fā)生了什么。我還沒有研究出最恰當(dāng)?shù)慕忉?，但我傾向于這樣一個(gè)觀點(diǎn)：最終，怪物和機(jī)器們忘了它們需要人類，于是再次拋棄了人類。然而，直到人類滅絕之后它們才意識(shí)到自己犯下的錯(cuò)誤，因此，時(shí)間旅行變得十分必要。還有另外一種解釋是人類再也無法生存在地球上了。

In Monsters Inc., they have an energy crisis because they are in a future earth without humans. Humans are the source of energy, but thanks to the machines, again, the monsters find a way to use doors to travel to the human world. Only, it’s not different dimensions.

在《怪物電力公司》中，由于怪物們處在遙遠(yuǎn)未來的無人時(shí)代，它們遇到了能源危機(jī)。人類是能量的來源，但是幸好有機(jī)器存在，怪物們通過“時(shí)間之門”穿越時(shí)光隧道回到人類世界。在此，我要說明，怪物和人類存在于同一個(gè)時(shí)空里。

The monsters are going back in time. They’re harvesting energy to keep from becoming extinct by going back to when humans were most prominent. The peak of civilization, if you will.

Though a lot of time has passed, animosity towards humans never really went away for animals/monsters. Monsters must have relied on anti-human instincts to believe that just touching a human would corrupt their world like it did in the past. So, they scare humans to gather their energy until they realize that laughter (green energy) is more efficient because it is positive in nature.

怪物們通過時(shí)間之門回到過去。它們回到了人類最鼎盛的時(shí)期，得到了足夠的能源，并最終解決了怪物世界的能源危機(jī)？如果你同意，我們可以稱它為--文明的巔峰。

雖然已經(jīng)過去很長(zhǎng)時(shí)間了，但動(dòng)物/怪物對(duì)人類的仇視并沒有消失。怪物們一定是依靠”反人類“的本能，才使得它們相信，哪怕只是接觸到一個(gè)人，它們的世界就會(huì)像以前一樣遭到毀滅。所以，在收集能源的時(shí)候，一方面它們必須把孩子嚇到尖聲大叫，另一方面，它們內(nèi)心卻非常懼怕那些孩子。直到它們意識(shí)到實(shí)際上”捧腹大笑“才是最佳的能源，因?yàn)楹⒆觽冃β暿亲匀坏恼芰俊?/p>

UPDATE: An alternative explanation that fits even better that some of you brought up: The machines and monsters created the time travel doors but realized that messing with time could erase their existence and change history. So, they falsely trained monsters to believe that humans are toxic and from another dimension, making it suicide for a monster to interact too much with their world.

更新：有讀者提出了另外一種更為合理的解釋：機(jī)器和怪物們創(chuàng)造了”時(shí)間之門“，但它們意識(shí)到時(shí)間的交錯(cuò)可能會(huì)改變歷史甚至抹去它們的存在。因此，它們向怪物們灌輸人類有毒和他們來自不同的時(shí)空這一荒謬思想，致使怪物們相信，和人類世界接觸太多就等于是在自殺。

We even see a connection between A Bug’s Life and Monsters Inc. via the trailer we see in both movies. As you can see, the trailer looks exactly the same, except the one in A Bug’s Life is noticeably older and more decrepit, while the one in Monsters Inc., where Randall is sent via a door, has humans and looks newer.

我們甚至可以從片中出現(xiàn)的拖車（房車）上找到《蟲蟲危機(jī)》和《怪物電力公司》里之間的聯(lián)系。正如你所看到的，兩部片子中的拖車看起來幾乎完全一樣，除了《蟲蟲危機(jī)》中的那輛明顯較為破舊，而在《怪物電力公司》中出現(xiàn)的那輛拖車上--蘭道被扔進(jìn)“時(shí)間之門”后出現(xiàn)在那輛車上--有人居住，并且看起來更新一些。

Look at the picture below. On the left is the trailer from A Bug’s Life and the one on the right is from Monsters Inc.

看下面的圖片，左邊的來自《蟲蟲危機(jī)》，右邊的來自《怪物電力公司》。

The one on the left looks older and more rundown. Even the vegetation is noticeably dryer and there’s less of it. The trailer on the right has humans and the frame even includes tall grass and a tree hanging overhead.

左邊的拖車看起來更破舊，拖車周邊的植被明顯更干更少。而右邊的拖車?yán)镉腥祟惥幼?，周邊還有茂盛的草和一棵高大的垂下枝葉的樹。

UPDATE: Some have argued that the trailer in A Bugs Life should be nothing but dust. I disagree based on how barely intact other buildings were in Wall-E. They also bring up the bug zapper that is powered by electricity. The zapper could easily be solar powered, just like Wall-E. The bugs probably used it as a light source to signal other bugs to "Bug City." Also, the trailer inA Bugs Life never shows lights in the trailer like it does for Monsters Inc.

更新：一些讀者爭(zhēng)論說，《蟲蟲危機(jī)》中的拖車毫無意義，并不能說明什么。但基于《機(jī)器人瓦力》中幾乎沒有出現(xiàn)完整無損的建筑物，所以我不同意這個(gè)觀點(diǎn)。這些讀者們提出《蟲蟲危機(jī)》中出現(xiàn)了電力驅(qū)動(dòng)的捕蚊燈，但是，捕蚊燈同樣也可以是太陽(yáng)能驅(qū)動(dòng)，正如《機(jī)器人瓦力》中那樣。蟲蟲們可能把它當(dāng)成一個(gè)光源信號(hào)燈，以此來指引其它蟲蟲來到“蟲蟲城”。同樣，《蟲蟲危機(jī)》里的拖車從來沒有像《怪物電力公司》里那樣亮過燈。

That said, Monsters Inc. is so far the most futuristic Pixar movie. By the end, humans, animals and machines have finally found a way to understand each other and live harmoniously.

And then there’s Boo. What do you think happened to her? She saw everything take place in future earth where “kitty” was able to talk. She became obsessed with finding out what happened to her friend Sully and why animals in her time weren’t quite as smart as the ones she’d seen in the future. She remembers that “doors” are the key to how she found Sully in the first place and becomes…

這就是說，《怪物電力公司》是目前為止皮克斯影片中最具前瞻性的影片。人類，動(dòng)物和機(jī)器最終找到了合適的方法來了解彼此，并最終和諧的生活在一起。

然后就該講到《怪物電力公司》中的女主人公阿布。你認(rèn)為在她身上發(fā)生了什么事呢？她看到了未來世界發(fā)生的一切，在那里，”大貓咪“能夠開口說話。她沉迷于找出發(fā)生在她朋友蘇利（大毛怪）身上的事情和為什么在她那個(gè)時(shí)代動(dòng)物們沒有在她所看到的將來那個(gè)時(shí)代中的動(dòng)物那樣聰明。她記得“門”是她第一次遇見蘇利的關(guān)鍵之處，而阿布最后成為了一名--女巫。

A WITCH.

Yes, Boo is the witch from Brave. She figures out how to travel in time to find Sully, and goes back to the source: the will-of-the-wisps. They are what started everything, and as a witch, she cultivates this magic in an attempt to find Sully by creating doors going backwards and forwards in time.

是的，阿布是《勇敢傳說》里的女巫。為了找到蘇利，她發(fā)現(xiàn)了穿梭于時(shí)間隧道的奧秘，并追溯到源頭--呢喃精靈，它們是這一切的起源。為了創(chuàng)建連接過去和未來的“時(shí)間之門”找到蘇利，身為女巫的阿布培養(yǎng)了這一魔力。

UPDATE: Just to clarify: The theory is that Boo discovered a way to use doors to travel through time on her own, possibly by developing magic on her own. She probably went back in time to the Dark Ages to get more magic from the will-o-wisps.

更新：我只是想要說明：阿布發(fā)現(xiàn)了使用“時(shí)間之門”穿梭于時(shí)間中的方法，可能是通過她對(duì)魔力的培養(yǎng)。她可能通過“時(shí)間之門”回到“黑暗時(shí)代”，從呢喃精靈中得到了更多的魔力。

How do we know? In Brave, you can briefly see a drawing in the workshop. It’s Sully.

但我們是如何知道的呢？在《勇敢傳說》中，你可以在雕刻室中發(fā)現(xiàn)一幅畫--畫里面正是蘇利。

We even see the Pizza Planet truck carved as a wooden toy in her shop, which makes no sense unless she’s seen one before (and I’m sure she has since that truck is in literally every Pixar movie). If you look closely, you can see the carved truck below.

我們甚至看見她在店里雕刻了一個(gè)和比薩星球的卡車一樣的木制玩具。除非她見以前見過，否則，在那個(gè)時(shí)代，這個(gè)木雕毫無意義，她怎么會(huì)雕刻這種無意義的東西呢？（我敢確定，她以前一定見過，因?yàn)檫@種卡車幾乎出現(xiàn)在皮克斯的每一部影片中）。如果你仔細(xì)看，就會(huì)看到下面雕刻好的卡車。

You remember Merida opening doors and the witch constantly disappearing? It’s because those doors are made the same way from Monsters Inc. They transport across time and that is why Merida couldn’t find the witch.

還記得梅莉達(dá)一次次打開門，但女巫都沒有出現(xiàn)這一情節(jié)嗎？這是因?yàn)檫@些門和《怪物電力公司》里的門是一樣的。這些門傳輸于不同時(shí)間之間，這就是為什么梅莉達(dá)找不到女巫的原因。

UPDATE: A lot of people have brought up how easter eggs are scattered throughout all the Pixar movies. I barely scratch the surface, but a great theory offered by some that I support is that these easter eggs are planted by Boo either intentionally or accidentally as she travels through time to find Sully. Some support for that is the fact that every easter egg in Brave lies in her workshop.

更新：許多讀者提出類似復(fù)活節(jié)島上巨人石像的大石頭遍布皮克斯影片中。我?guī)缀鯖]有觸及問題的表面，但是我非常支持一些讀者提出的這個(gè)觀點(diǎn)--這些巨石是阿布在穿越時(shí)間隧道尋找蘇利時(shí)有意或無意中留下來的。一些讀者堅(jiān)持認(rèn)為：在《勇敢傳說》中，每一塊巨石都躺在她的雕刻室中。

Does Boo ever find Sully? I like to think so. He surely reunited with her at least once as a child at the end of Monsters Inc. but eventually he had to stop visiting.

But her love for Sully is, after all, the crux of the entire Pixar universe. The love of different people of different ages and even different species finding ways to live on Earth without destroying it because of a lust for energy.

阿布是否找到蘇利了呢？我想應(yīng)該是的。至少在阿布還是個(gè)孩子的時(shí)候（在《怪物電力公司》的片尾），他們團(tuán)員過一次。但最終，蘇利不得不停止看望阿布。

然而，她對(duì)蘇利的愛畢竟是整個(gè)皮克斯世界的癥結(jié)所在。因?yàn)閷?duì)能源的需求，也因?yàn)椴煌挲g的之間的人，甚至不同的物種之間的愛，人類，動(dòng)物和機(jī)器最終和諧的生活在這個(gè)世界中。

And that is the Pixar Theory.

這就是皮克斯理論。

參考資料

[1]原文：http://mashable.com/2013/07/12/the-pixar-theory/