Qunhua's Week2

According to Horricks (2004), how have perceptions of comics as a media changed?

In the 50s, anti-comics protesters were socials liberals who were shocked by the violence and anti-communism found in American comics. These comics perceived to bring bad adversity to society and children and as such were banned to prevent further bad influence on the children then.

With the emergence of other Medias-such as TV, Internet and gaming machine, ithe brought a differentdynamic to the world-better grapics, animation, languages, geographic and realistic.

There are mang comics, research and criticism focused on comics. According to "Understanding Comics"(MacCloud, S.1993), who explored the history, language and formal structure of medium. There were many debates by academics and critics and cartoonists.

The vision of art as world-building had been the central contentious of James kochaika where some comic stories emerged as a kind of anxiety.This undisciplined brawl violated all theories of Wesley of organized game conduct and discipline and a failure of comics. Gamers loved it anyway and soon pestered him to run another Braunstein.

This is particularly so with the development of the Role-player games.As more games developed through the global, gamers now can choose to set their games in any of hundreds of published settings, they can set their enviroments, characters and even clothing sunch that of SIMS.
Besides, so-called “Physics engines” give gamers more realistic outcome in a given situation. In contrast, “Narratives” systems give a game as an improvised story and seek to empower player to generate scenes which served the overall plot or themes rather than emulating the law of physics. “Cinematic” games on the other hand give the play the feel of particular cinematic or genres by encouraging character to behave in appropriate ways and generating particular outcome that fit the convention of the genre – be it real or not.

Hence, with the unpredictability forces authors and game moderators (GM) of Role Playing Games to adopt a narrative paradigm quite different from traditional novel. Unlike traditional novel, GM cannot predict or know which paths his or her players will take. Hence the trick is to create an interesting landscapes, situations and possible outcomes for the player to explore and interact. Some RPG are pregnant with greater adventures, and also emotion resonance, themes, allusion, metaphor etc.
In gist, RPGs have actualized an aspect of story-telling that has always been potentially present. Just as the development of the European novel in the eighteenth century highlighted aspects of narrative that were always latent in epic poems and other early literary forms (e.g., the plot structure and characterization of plays), and the introduction of cinema clarified and established a vocabulary for latent concepts in both theatre and the novel, so too the role-playing game has highlighted the idea of the fictional world autonomous from a discreet body of work, that grows, changes, and develops through the collaboration of many contributors. Imaginary-entertainment environments, in fact, can be retroactively identified as the great playthings of some of the most lauded artists in the tradition of Western and Eastern arts.

References

Horricks, D. (2004). The Perfect Planet: Comics, games and world-building in Williams, M. (Ed),         

         writing at the Edge of the Universe. Chust church: U of Canterbury Press