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Desenvolvimento De Jogos Eletrônicos Revista Eletrônica da Faculdade Metodista Granbery http://re.granbery.edu.br - ISSN 1981 0377 Curso de Sistemas de Informação - N. 7, JUL/DEZ 2009 Desenvolvimento de Jogos Eletrônicos Mônica de Lourdes Souza Batista 1, Sérgio Muinhos Barroso Lima 1 1Faculdade Metodista Granbery CEP: 36010-532 – Juiz de Fora – MG – Brazil [email protected], [email protected] Resumo Como acontece no desenvolvimento de um Sistema de Informação, a produção de um jogo eletrônico, seja ele 2D ou 3D, necessita da adoção de um processo de desenvolvimento. No caso dos jogos eletrônicos, é necessário levar em consideração os aspectos artísticos. O objetivo deste artigo é analisar quais são as etapas do processo de elaboração de um jogo e quais as ferramentas que auxiliam este processo. Palavras-Chave : jogos eletrônicos, desenvolvimento de jogos, ferramentas para jogos, máquinas de jogos. Abstract. As it happens in the development of an Information System, the production of an electronic game, be it 2D or 3D, requires the adoption of a development process. In the case of electronic games, you must take into account the artistic aspects. This article aims to examine wich are the steps of the process drafting a game and what are the tools that help this process. Key-words: eletronic games, game development, game tools, game engines. 1. INTRODUÇÃO O fascínio exercido pelos jogos eletrônicos vem atraindo consumidores e profissionais para as áreas de computação e artes gráficas, tornando a indústria dos jogos eletrônicos tão próspera quanto a do cinema (SANTOS e VALE, 2006). O desenvolvimento de um game torna-se complexo devido a sua natureza interdisciplinar e ao fato de que se espera que games atuais sejam capazes de prover, em tempo real, o maior grau de realismo possível, tanto no aspecto gráfico como no aspecto de simulação. O interesse pelo acréscimo de realismo físico em jogos digitais é suportado, atualmente, pelo aumento de velocidade das CPUs e da evolução das unidades de processamento gráfico que implementam em hardware muitas das funções de visualização. Este trabalho apresenta, então, as etapas do processo de elaboração de um jogo, as máquinas de jogos ( game engines ), as considerações finais e as referências bibliográficas utilizadas. 2. ETAPAS DO PROCESSO DE ELABORAÇÃO DE UM JOGO Para se desenvolver um jogo eletrônico, é necessário realizar as seguintes etapas: confecção do Design Bible, produção de áudio, produção de imagens 2D (duas dimensões), modelagem 3D (três dimensões) e a escolha do engine que será utilizado ou o desenvolvimento do mesmo. 2.1 Design Bible Design bible (bíblia do projeto) é um documento que possui todas as especificações do jogo, ou seja, é um manual de instruções para quem desenvolverá o game . Este documento é composto por um design document (detalhamento do jogo), game play (jogabilidade) e interface gráfica (CLUA e BITTENCOURT, 2005). O Design document é parecido com o roteiro de um filme (CLUA e BITTENCOURT, 2005). A partir deste documento os artistas irão criar o visual e os programadores desenvolver o produto. Todos os itens da etapa de game design (projeto do jogo) e as perguntas analisadas na fase de detalhamento do jogo são descritas no design document . Este documento é muito trabalhoso e exaustivo de se desenvolver, pois ele detalha tudo o que vai acontecer no jogo. Com ele é possível repensar as decisões tomadas, validar alguns conceitos, suprimir algumas regras e adicionar outras (PERUCIA et al , 2005). O design document é muito requisitado pelos investidores para que eles possam ter uma visão mais precisa de como será o jogo; então, ele é um elemento crucial para convencê-los do potencial de venda (CLUA e BITTENCOURT, 2005). Neste documento se encontra o nome do jogo, uma apresentação resumida, público-alvo, estilo de jogo, história; especificações técnicas de hardware , de sistema 2 operacional, gráficos; dispositivos de entrada e sonorização, onde são definidas as músicas nos menus e nas fases (PERUCIA et al , 2005). No detalhamento do jogo é necessário pensar em cada ação do jogador. Para isso deve-se levar em conta algumas perguntas como: o que o jogador fará no jogo? Ele anda, nada ou voa? Como e quando ele realiza cada uma dessas ações? Qual a personalidade do personagem principal? Quantos inimigos o personagem enfrentará? Como são estes inimigos? Quais as armas que o jogador usará para enfrentá-los? Como será o sistema de vida do jogador? Como ele ganhará novas vidas? Qual o objetivo do jogo? Quantas fases o jogador terá que passar para alcançar o objetivo final? Como será o cenário, dificuldades e objetivos destas fases? Quantos jogadores poderão jogar o jogo? Qual será a visualização gráfica? 2D, 3D, primeira pessoa ou terceira pessoa? Qual será a trilha sonora do jogo? (PERUCIA et al , 2005). O Game Play é o documento que descreve as regras do jogo, ou seja, como será a sua jogabilidade. O Game Play é o documento que irá guiar o programador na etapa de scripting , ou seja, na etapa de programação (codificação) do jogo (CLUA e BITTENCOURT, 2005). Na interface gráfica é necessário analisar a interface ingame e outgame . A interface ingame é responsável pela entrada dos dados do jogador para a aplicação. Já a interface outgame é responsável por apresentar a introdução do jogo, a sua configuração, as instruções, carregar um jogo que foi salvo anteriormente, entre outras funções (CLUA e BITTENCOURT, 2005). 2.2 Produção de áudio A ambientação sonora é uma das características mais importantes de um jogo. Um jogo com belos gráficos torna-se incompleto sem uma boa trilha musical e efeitos sonoros bem selecionados. Os recursos de áudio dão mais vida ao jogo, tornando-o muito mais emocionante (SANTEE, 2005). Duas ferramentas comerciais são utilizadas para a produção do áudio: o Cubase e o SoundForge . O Cubase é um software utilizado por músicos, compositores e produtores para a criação de músicas (AUDIOWARE, 2007). Já o Sound Forge é um software que permite a edição de áudio. Ele é muito produtivo, estável e intuitivo. Permite gravar, editar, produzir loops , corrigir e limpar material de áudio, processar 3 efeitos, gerar áudio para Internet, entre outros. Este é usado mais para a produção de trilhas e efeitos sonoros; é muito comum no cinema, na televisão e na produção de vinhetas (PEOPLEWARE, 2007). Existe também o Audacity que é um software livre, de código aberto e multiplataforma, compatível com os sistemas operacionais GNU/Linux , Mac OSX e Windows . Este software é utilizado para edição de áudio profissional ou caseiro, no qual pode-se fazer gravações ao vivo, criar vinhetas, mixagem final de arquivos de áudio e muitas outras atividades, tendo para isso os mais diversos recursos e plugins 1 para que o profissional de áudio tenha um bom resultado no seu trabalho (AMARAL, 2007). O Audacity permite (AUDACITY, 2007) transformar fitas cassete em gravações digitais e CD`s; gravações ao vivo; editar arquivos em formato Ogg Vorbis, MP3 e WAV ; cortar, copiar, colar e juntar sons e faixas de áudio; alterar a velocidade ou timbre de uma gravação; grava em até 16 canais; efetuar dublagem de faixas sobre outras previamente gravadas; edição e mixagem de infinitas faixas de áudio; alterar o volume de uma faixa suavemente com os envelopes; remove sons de estática, cliques e estalos no som de fundo; mudança de frequência dos sons; incrementar efeitos; alterar a qualidade; e adicionar plug-ins para ampliar a quantidade de formatos de áudios suportados. 2.3 Produção de imagens 2D Na produção de um game , tanto 2D quanto 3D, é necessário compor imagens bidimensionais (SANTEE, 2005). Estas imagens serão utilizadas como texturas para compor a interface gráfica ingame e outgame , como por exemplo, botões, janelas, barra de energia do jogador, munição, dentre outros. Na produção destas imagens são utilizadas algumas ferramentas de editoração gráfica como o Adobe Photoshop e GIMP (CLUA e BITTENCOURT, 2005). O Adobe Photoshop é uma ferramenta de edição de imagens muito usada em computadores com plataforma Macintosh ou Windows . Apesar da forte concorrência entre os mais variados programas ao longo dos anos, as vendas do Photoshop são responsáveis por mais de 80% do mercado de edição de imagens. É importante ressaltar 1 Segundo Portalinfornet (2007), plugin é um software que é acoplado a um aplicativo para ampliar suas funções. 4 que esse número está crescendo, fazendo com que esta ferramenta se torne quatro vezes mais usada do que todos os seus concorrentes juntos. O Photoshop possui ferramentas de seleção que são rápidas e que permitem o acabamento das bordas de uma imagem; uma interface bem simples, permitindo que o usuário utilize o aplicativo com mais facilidade; converte imagens que estão em preto para branco, além de possuir um alto processamento de imagens (ADOBE PHOTOSHOP, 2007). O GIMP oferece, basicamente, as mesmas funcionalidades do Photoshop . Ele é uma ferramenta free de edição de imagens que permite a criação e manipulação de imagens. Para isso ele oferece vários recursos, dentre eles, uma série de pincéis que permite trabalhar com várias camadas, converte e salva as imagens em diferentes formatos (BMP, PNG, JPG, TIG, TGA, PCX, GIF, SVG, ICO, PSD, TIF); permite, ainda, o uso de máscaras, oferece grande quantidade de filtros (detecção de bordas, distorções, efeitos de luz), apresenta suporte a macros e permite adicionar novas funcionalidades (filtros e formatos de arquivos) no programa através de plug-ins desenvolvidos em C (CLUA e BITTENCOURT, 2005; SISNEMA, 2007). Esta ferramenta é multiplataforma, ou seja, funciona na plataforma Windows , Unix , Linux e MacOS (SISNEMA, 2007). O GIMP permite que o usuário adicione novas funcionalidades ao programa através de uma extensão que se chama Script-Fu . O Script-Fu interpreta scripts e permite a automatização de certas tarefas do programa, como, por exemplo, executar, para várias imagens, um determinado número de passos para a obtenção de um determinado efeito.
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