Comics and Games - Transitional spaces in comics and games

Taylor's "Compromised Divisions: Thresholds in comics Books and Videogames" When looking at the study of comic books and video games, Laurie Taylor has noted that both these media have been looked at as juvenile work. However the association of video games to film or digital media have given them scholarship and popular reception, which seems odd considering that comics have an influence on video games. Hence, the need for comic books to be explicated on their importance in their relation to other media, which authors like Lev Manovich and Jay Bolters have chosen to neglect in their discussions on hybrid media. On the other hand, Scott McCloud distinctively states the difference in interactivity between comics and video games are based on spatial interaction, rather than sequential or narrative interaction.

The places where the view point dramatically changes after movement over a specific line or point are thresholds. In her discussion on threshold and demarcated spaces Taylor says, "Exacting thresholds exist in both video games and graphic novels, and their usage in one medium bears more than a passing resemblance to their usage in other, relating to the depth of field in the spaces of each." The significance of spatial borders in comics and video games illustrates the connection between panels and frames within each medium.

In discussing the role of thresholds as applied to the South Park's version of "Super Mario Bros. 2" the focus is on the character action which can vary in position depending on the action done, though as stated by Taylor it is always in the center of the screen even though the center of the screen can some times be the borders. Re-tracing or re-covering certain spaces in the game is required to be done by the player in order to continue the game's narrative, this mostly happens when the player loses a life in the game therefore causing the player to start play from the beginning.

Super Mario Bros. 2 allows the player to move back and forth in a linear manner, which though possible has no consequential purpose except loss of life if the time limit expires before completing a stage. However, back and forth movement is not possible as far as thresholds of this games are concerned.

The single panel used in the game does give an overall placement within the larger story, though the individual relationship of the panels on a certain level does change the understanding of the story.


In conclusion, "space is the defining element of video games, but as that space must be transversed movement is equally pivotal to any video game design and play." (Espen Aarseth) This essay looked specifically at the role of thresholds in the South Park, Super Mario Bros. 2 video games.

Reference:
Taylor, L. Compromised Divisions: Thresholds in Comic Books and Video Games.