Publication: La narración del videojuego: cómo las acciones cuentan historias
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2017-08-10
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Universidad Complutense de Madrid
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Abstract
El videojuego representa una sofisticada forma narrativa en permanente estado de mutación. La seducción que el videojuego ejerce sobre el jugador se debe a esa posibilidad de control efectivo y performativo sobre el relato nunca antes ofrecida al observador por las narrativas tradicionales. Mientras las narraciones «hegemónicas» heredadas de la tradición narrativa, someten al discurso del videojuego a una simplificación basada en el “estímulo ー respuesta” de unas acciones sin aportaciones a la historia, las narraciones «no hegemónicas», afectadas por mecánicas de juego que obligan a la reflexión, producen aportaciones al texto en tanto que las decisiones tomadas son determinantes para la historia que el juego cuenta. La narrativa emergente, lejos de acceder a la posición hegemónica, ha escindido los discursos y con ello, los puntos de vista sobre la creación: discurso alternativo — jugador alternativo — modelo independiente. Las dinámicas son las mismas que en otras formas de creación, y en este punto, el discurso del videojuego encuentra en el cine no sólo la “ruina simbólica” precedente sobre la que establecer sus modos de relato, sino también sus procesos formales de evolución. La emergencia permite superar el hermetismo narrativo del videojuego al dar un paso adelante respecto de los procesos narrativos de otros medios y favorecer lo que consideramos le es específico: para provocar una ＜experiencia＞ de juego, el diseño narrativo tiene que exceder las convenciones tradicionales de representación y añadir una integración entre el diseño del juego y el contenido narrativo, esto es, considerar de manera indispensable y prioritaria las decisiones tomadas por los jugadores en el entorno propuesto por las mecánicas de juego...
The video game shows a sophisticated narration in a state of constant change. The seduction exercised by the video game over the player is due to the possibility of effective and performative control over the narration which was never offered before by the traditional narratives. While the “hegemonic” narration, inherited from the traditional storytelling, subdue the video game story to a simple fact caused by the “stimulus-response” effects of some actions with no inputs into the story; on its part, “non-hegemonic” narration, affected by the game mechanics which compel the player to reflect, produces inputs to the text as far as the decisions taken by the player are decisive for the story told in the vide game. The emerging narrative, far from supporting the hegemonic position, has split the discourses and thus, the points of view about the creation: alternative discourse – alternative player- independent model. The dynamics continue to be the same ones as in other creation forms, and at this point, the video game discourses find in the cinema not only its preceding “symbolic ruin” on which its storytelling methods are based, but also its formal development processes. The lack of time has allowed to overcome the static nature of the video game narration as it takes a step forward with regard to the narrative processes used in other media and it has favoured what we consider is its own specificity. In order to provoke a game ˂experience˃, the narrative design has to outperform traditional ways of representation and add an integration between the game design and the narrative content, this means, imperatively and mainly considering the decisions taken by the player within the environment proposed by the game mechanics...
The video game shows a sophisticated narration in a state of constant change. The seduction exercised by the video game over the player is due to the possibility of effective and performative control over the narration which was never offered before by the traditional narratives. While the “hegemonic” narration, inherited from the traditional storytelling, subdue the video game story to a simple fact caused by the “stimulus-response” effects of some actions with no inputs into the story; on its part, “non-hegemonic” narration, affected by the game mechanics which compel the player to reflect, produces inputs to the text as far as the decisions taken by the player are decisive for the story told in the vide game. The emerging narrative, far from supporting the hegemonic position, has split the discourses and thus, the points of view about the creation: alternative discourse – alternative player- independent model. The dynamics continue to be the same ones as in other creation forms, and at this point, the video game discourses find in the cinema not only its preceding “symbolic ruin” on which its storytelling methods are based, but also its formal development processes. The lack of time has allowed to overcome the static nature of the video game narration as it takes a step forward with regard to the narrative processes used in other media and it has favoured what we consider is its own specificity. In order to provoke a game ˂experience˃, the narrative design has to outperform traditional ways of representation and add an integration between the game design and the narrative content, this means, imperatively and mainly considering the decisions taken by the player within the environment proposed by the game mechanics...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 12/12/2016