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Auto-Referenciação Em Jogos Retro: Uma Framework

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Auto-Referenciação Em Jogos Retro: Uma Framework MESTRADO MULTIMÉDIA - ESPECIALIZAÇÃO EM TECNOLOGIAS INTERATIVAS E JOGOS DIGITAIS Auto-Referenciação em Jogos Retro: Uma Framework Guilherme Vasconcelos Alves de Lima M 2020 FACULDADES PARTICIPANTES: FACULDADE DE ENGENHARIA FACULDADE DE BELAS ARTES FACULDADE DE CIÊNCIAS FACULDADE DE ECONOMIA FACULDADE DE LETRAS FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Auto-Referenciação em Jogos Retro: Uma Framework Guilherme Vasconcelos Alves de Lima Mestrado em Multimédia Tecnologias Interativas e Jogos Digitais Orientador: Pedro Jorge Couto Cardoso (Professor Auxiliar Convidado) Co-orientador: António Fernando Vasconcelos Cunha Castro Coelho (Professor Associado com Agregação) 20 de julho, 2020 Página intencionalmente em branco. Auto-Referenciação em Jogos Retro: Uma Framework Guilherme Vasconcelos Alves de Lima Mestrado em Multimédia Tecnologias Interativas e Jogos Digitais Aprovado em prova pública pelo júri: Presidente: Jorge Manuel Gomes Barbosa (Professor Auxiliar) Vogal Externo: Nelson Troca Zagalo (Professor Associado) Orientador: Pedro Jorge Couto Cardoso (Professor Auxiliar Convidado) 20 de julho, 2020 Página intencionalmente em branco. Abstract Retro games have as one of their main structural elements the representation of classic games, technologies and past platforms. This dissertation proposes a framework based on the characteristic of self-referencing exercised by retro games as media in order to assist in the design of retro games and in the identification of fundamental principles to the experience of playing these games. Considering that retro games have an implied player, this work proposes the creation of a design tool focused on the key principles related to experience design. Twenty retro games were analyzed and different types of referencing used by video games were identified: mechanic, dynamic, aesthetic and narrative. These typologies allowed different functionalities to be analyzed for each application. In addition, the elements that fundamentally represent the retro style were identified and analyzed. The framework was responsible for allowing the identified principles to be used in a retro game design canvas format based on self-referencing. This dissertation proposes that the analysis of self-referencing is considered an essential resource for the design of retro gaming experiences. It is intended that the results achieved can contribute to the conception and design of this category of video games. Keywords: Design, Experience, Framework, Nostalgia, Referencing, Retro Games, Video Games. i Página intencionalmente em branco. Resumo Os jogos retro possuem como um de seus principais elementos estruturais a representação de jogos clássicos, tecnologias e plataformas passadas. Esta dissertação propõe uma framework baseada na característica da auto-referenciação exercida pelos jogos retro como media com o objetivo de auxiliar na concepção de jogos retro e na identificação de princípios fundamentais à experiência de jogar estes jogos. Considerando que os jogos retro possuem um jogador implícito, este trabalho propõe a criação de uma ferramenta de concepção focada nos princípios-chave relacionados ao design de experiência. Foram analisados vinte jogos retro e identificadas diferentes tipologias de referenciação utiliza- das pelos videojogos: mecânicas, dinâmicas, estéticas e narrativas. Estas tipologias permitiram que fossem analisadas diferentes funcionalidades para cada aplicação. Em adição, foram identificados e analisados os elementos que constituem fundamentalmente a representação do estilo retro. A framework foi responsável por permitir que os princípios identificados fossem instrumentalizados em um formato de canvas de design de jogos retro baseado na auto-referenciação. Esta dissertação propõe que a análise da auto-referenciação seja considerada um recurso essencial para o design de experiência de jogos retro. Pretende-se que os resultados atingidos possam contribuir para a concepção e para o design desta categoria de videojogos. Palavras-chave: Design, Experiência, Framework, Jogos Retro, Nostalgia, Referenciação, Videojogos. iii Página intencionalmente em branco. Agradecimentos Pedro Cardoso, pela sua valiosa contribuição, disponibilidade e ensinamentos transmitidos, sem os quais esta dissertação não seria possível. Agradeço especialmente pela sua incansável orientação, paciência e colaboração. António Coelho, agradeço pela sua disponibilidade, incentivo, contribuição e co-orientação prestada na elaboração desta dissertação. André Sousa, Bruno Boaro, Eduardo Pedro, Ivo Amaro, João d’Almeida, Leandro Camara, Luís Teixeira, Miguel Duarte, Ricardo Baptista, Rita Moreira, Rui Rodrigues, e Teresa Matos pela ajuda, colaboração e conselhos. Minha família, pelo apoio incondicional, paciência, incentivo, e carinho de sempre. Guilherme Vasconcelos v Página intencionalmente em branco. Índice de Conteúdos Lista de Figuras ix Lista de Tabelas xi 1 Introdução 1 1.1 Contexto e Problema . .1 1.2 Relevância . .2 1.3 Objetivos e Contribuições . .2 1.4 Metodologia . .3 1.5 Descrição e Considerações Sobre a Estrutura da Dissertação . .4 I Revisão de Literatura 7 2 Jogos Retro: Conceitos Fundamentais e Contextos 9 2.1 Jogos Retro e Cultura Retrogaming . .9 2.2 Estilo Independente . 11 2.3 Autenticidade e Tecnologia . 13 3 Auto-Referenciação nos Jogos Retro 19 3.1 Remediação, Hipermediação e Imediação . 19 3.2 Emulação . 22 3.3 Expressão Computacional, Poder dos Videojogos . 24 4 Experiência de Jogar Jogos Retro e Nostalgia 29 4.1 Memória Coletiva . 29 4.2 Nostalgia na Experiência de Jogar Jogos Retro . 31 4.3 Jogador Implícito . 34 II Projeto 39 5 Para uma Framework da Auto-Referenciação em Videojogos 41 5.1 Tipos de Auto-Referenciação . 42 5.1.1 Mecânicas . 42 5.1.2 Dinâmicas . 44 5.1.3 Estéticas . 47 5.1.4 Narrativas . 50 5.2 Funções da Auto-Referenciação . 51 vii ÍNDICE DE CONTEÚDOS 5.2.1 Gatilhos Nostálgicos . 52 5.2.2 Instrução . 54 5.2.3 Continuidade . 55 5.2.4 Transgressão . 57 5.2.5 Ritmo . 59 5.3 Leituras da Auto-Referenciação . 60 5.3.1 Memória Coletiva . 61 5.3.2 Dependência de Conteúdo Exógeno . 62 5.3.3 Adaptações ao Contexto Atual . 64 6 Testes e Validação 67 6.1 Objetivos . 67 6.2 Caracterização da Amostra . 68 6.3 Instrumentos . 69 6.4 Metodologia e Procedimentos . 71 6.5 Resultados e Considerações . 74 7 Conclusões e Trabalho Futuro 77 7.1 Conclusões . 77 7.2 Limitações do Estudo . 78 7.3 Considerações Finais e Trabalho Futuro . 78 Bibliografia 83 Ludografia 85 Glossário 89 A Leandro Camara - More Work Games 95 A.1 Entrevista . 95 A.2 Análise Temática . 105 B Retro Game Design Canvas 111 C Workshop 113 C.1 Dupla 1 - Conceito 1 . 113 C.2 Dupla 2 - Conceito 1 . 115 C.3 Dupla 2 - Conceito 2 . 117 C.4 Dupla 3 - Conceito 1 . 118 C.5 Dupla 3 - Conceito 2 . 120 viii Lista de Figuras 1.1 Principais tópicos encontrados na Revisão de Literatura. .3 1.2 Esquema metodológico desenvolvido para a segunda parte do projeto. .4 2.1 À esquerda, Manic Miner (1983), e à direita, VVVVVV (2010). 10 2.2 Shovel Knight (2014) capta a essência NES, mas não reproduz fielmente as suas limitações tecnológicas. 12 2.3 Dys4ia (2012) de Anna Anthropy. 15 2.4 Starseed Pilgrim (2013). 17 3.1 Hotline Miami (2012). 21 3.2 A consola NES Classic Edition (2016). 24 5.1 Categorias e subcategorias da auto-referenciação em videojogos . 41 5.2 The Legend of Zelda (1986) à direita, e Minit (2018) à esquerda. 43 5.3 Um microcomputador MSX à esquerda, e um cartucho MSX à direita. 44 5.4 O MSX à esquerda e os cartuchos à direita, representados como itens de jogo em La-Mulana (2005). 44 5.5 Ghosts ’n Goblins (1985) à direita, e Maldita Castilla (2012) à esquerda. 45 5.6 Metal Slug X (1999) à esquerda, e Blazing Chrome (2019) à direita. 45 5.7 Contra: Hard Corps (1994). 46 5.8 Bloodstained: Curse Of The Moon (2014) reproduz a dinâmica de padrão de ataques vista frequentemente nos jogos clássicos. 46 5.9 Mega Man 4 (1991), à esquerda, sofre referenciação estética não-diegética por Battle Kid: Fortress of Peril (2010), à direita. 48 5.10 Os sprites de personagens em Castlevania III: Dracula’s Curse (1989), no topo, e em Bloodstained: Curse of The Moon (2018) em baixo. 48 5.11 O ecrã inicial de The Legend of Zelda (1986) à esquerda é referenciado em Fez (2012) à direita como parte do cenário, um exemplo de auto-referenciação estética diegética. 49 5.12 A relação estética entre Duck Tales (1989) à esquerda, e Shovel Knight (2014) à direita. 50 5.13 Super Mario 64 (1996), à esquerda, sofre uma referenciação narrativa por Fez (2012), à direita. 51 5.14 O diálogo de Breath of Fire II (1994), à esquerda, é referenciado como gatilho nostálgico em Undertale (2015), à direita. 52 5.15 Frisk, no topo, é a personagem principal em Undertale (2015). Ness, em baixo, é a personagem principal em EarthBound (1994). 53 5.16 The Messenger (2018) utiliza um gatilho nostálgico referente ao clássico Ninja Gaiden (1988). 53 ix LISTA DE FIGURAS 5.17 Metal Slug X (1999) à esquerda. Blazing Chrome (2019) à direita. 54 5.18 As similaridades entre as interfaces gráficas de The Maze of Galious (1987), à esquerda, e de La-Mulana (2005), à direita. 55 5.19 Super Mario Bros. (1985) à esquerda. Super Mario Maker (2015) à direita. 56 5.20 Wolfenstein 3D (1992) à esquerda. Wolfenstein: The New Order (2014) à direita. 56 5.21 Rock N’ Roll Racing (1993) à esquerda. Bloodstained: Curse Of The Moon (2018) à direita. 57 5.22 Em Contra (1987), à esquerda, o Konami Code garante 30 vidas extras ao jogador. Em Retro City Rampage (2012), à direita, o código libera o acesso a todas as armas do jogo. 57 5.23 Cave Story (2010). 58 5.24 O hadouken de Ryu em Street Fighter II: The World Warrior (1991), à esquerda, é referenciado por Mega Man X (1993), à direita, através de um segredo de jogo. 58 5.25 O world map em Ghosts ’n Goblins (1985) à esquerda e o mesmo recurso em Maldita Castilla (2012) à direita.
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