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Videojuegos, Cultura Y Sociedad

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Videojuegos, Cultura Y Sociedad PRESURA VIDEOJUEGOS, CULTURA Y SOCIEDAD NÚMERO XVII MÚSICA Y VIDEOJUEGOS El número XVII, XVII estilo y dirigida a un ni- números de Presura en cho, no aspira a ser un un año. Un número que éxito de masas, pero que no es redondo pero que cada vez seamos más y para mi significa muchí- más es algo a lo que no simo, hemos alcanzado estamos acostumbrados la mayoría de edad. El y nos encanta. Como proyecto no para de cre- sabéis no conseguimos PRESURA cer, estas semanas he- ningún beneficio econó- VIDEOJUEGOS, CULTURA Y SOCIEDAD mos retomado, con éxito, mico con Presura, voso- la actividad en la web. tros, como decía La Cabra Nuestras redes sociales Mecánica, sois nuestra siguen creciendo y todo única riqueza. Sin más, esto es gracias a voso- disfrutad de nuestra ma- tros. Una revista como yoría de edad. Bienveni- Presura, tan ceñida a un dos de nuevo a Presura. ALBERTO VENEGAS RAMOS. Profesor de Histo- al Shams o Témpora Ma- ria en la educación se- gazine y estudiante del cundaria, estudiante de máster Estudios Árabes Antropología Social e e Islámicos Contempo- PRESENTACIÓN investigador en temas ráneos de la Universidad relacionados con la iden- Autónoma de Madrid. tidad en el mundo islá- Colabor de medios como mico además de redactor FS Gamer, CTXT, eldiaro. MÚSICA Y VIDEOJUEGOS. en páginas como Baab es o Akihabara Blues. [email protected] NÚMERO XVII. @albertoxvenegas ATRAVESANDO LA BRECHA VIRTUAL: MÚSICA, VIDEOJUEGOS Y REALIDAD AUMENTADA DE ROBERTO CARLOS FERNÁNDEZ CONTENIDOS: SÁNCHEZ. PÁGINA 16 TRIBUNA - PÁGINA 10 LA MÚSICA Y EL VIDEOJUEGO ABSOLUTO, DE ÍKER GARCÍA ROSO. PÁGINA 28. REPORTAJE - PÁGINA 24 “REIGN IN BLOOD”: LA OSCURA EVOLUCIÓN MUSICAL DE ID SOFTWARE DE XABIER PÉREZ DEL VAL. PÁGINA 40 ARTÍCULOS - PÁGINA 28 “THE BINDING OF ISAAC” Y EL TOTEMISMO NOSTÁLGICO ESPECIAL TEAM ICO - PÁGINA 112 DE ÁLEX GARCÍA DE GREGORIO. PÁGINA 56. EL CONTRAPUNTO ELECTRÓNICO. LA IDENTIDAD CRÍTICASPRESURA - PÁGINA 148 DE LA MÚSICA DE VIDEOJUEGOS DE ÉDGAR SÁNCHEZ. VIDEOJUEGOS, PÁGINA 76. CULTURA Y SOCIEDAD. BREVE HISTORIA DE LA MÚSICA EN LOS VIDEOJUEGOS, DE RICARDO LARA CABAÑERAS. PÁGINA 88. COLOSOS, SOMBRAS Y ROMANTICISMO, DE FERNANDO PALACIOS DUESO. PÁGINA 114. BAJO LA SOMBRA DE LOS COLOSOS, DE ALBERTO ESCALANTE VARONA. PÁGINA 126 PRESURA CRÍTICA DE “HEARTS OF IRON IV” DE ALBERTO VIDEOJUEGOS, CULTURA Y SOCIEDAD VENEGAS RAMOS. PÁGINA 148 Alejandro García de Gregorio. Músico y compositor, a ve- ces para videojuegos. Su banda Fisherman’s Horizon está AUTORES: especializada en arreglos de temas exclusivamente de juegos. Adentrándose en la jungla del desarrollo inde- pendiente y lamentando no tener más tiempo para jugar y escribir. Hace todo eso en su estudio casero, rodeado de instrumentos, cables y papeles con anotaciones in- descifrables. Fernando Palacios Dueso se dedica a escribir sobre arte en sus diversas formas. Acaba de terminar el grado en Periodismo, cuyo TFG lo ha enfocado a la Introducción Filólogo Hispánico y doctorando en Lenguas y Culturas a la Crítica Artística del Videojuego como Medio. En el en la UEx. Aparte del teatro popular y la cultura medieval, ensayo habla de las ocho vías a través de las que, (con- me interesan las relaciones entre literatura y los lengua- sidera), se puede y/o se debe tratar un videojuego como jes audiovisuales. Escribo sobre cine, música y cultura obra puramente artística. popular en mi blog Descendiendo desde Orión. Edgar Sánchez. Músico compositor, fundador del estudio Roberto Carlos Fernández Sánchez (@rofersan22). Ar- Bruma Records sobre creación musical para medios au- queólogo de la Junta de Extremadura. En la actualidad, diovisuales y redactor en Vandal, encargado de la colum- se continúa formando como especialista en documen- na VGM sobre música de videojuegos. Ha trabajado para tación y virtualización gráfica del patrimonio histórico y Studio Paint con la BSO de Niko Through The Dream, así cultural. Apasionado de los videojuegos e inmensamen- como para Cadena SER y otros proyectos independien- te interesado en conocer su historia y su impacto en la tes. Fue colaborador de RE Center y de la inconclusa tra- sociedad moderna. ducción de Policenatus al castellano. brumarecords.com / @MrX_Horror Gaymer.es es la principal comunidad online para juga- Ricardo Lara no es muchas cosas.De un tiempo a esta dores LGTB+ de habla hispana. Está formada por jóvenes parte al muchacho le ha dado de nuevo por probar con de toda España que trabajan en defensa de las repre- esto de los videojuegos y ordenadores. Actualmente, re- sentaciones del colectivo LGTB+ en videojuegos a través corre las calles buscando ordenadores abandonados a de la generación de teoría en torno a perspectivas de los que dar un nuevo hogar, mientras piensa en temas género, lgtb+, raciales, etc. aplicadas a videojuegos, y de originales y sencillos para sus videojuegos. Si veis algún la creación de un espacio de encuentro y debate donde ordenador abandonado, poneos en contacto con el en compartir opiniones y conocer otras personas con inte- [email protected]. reses similares. Diseño de portada, revista y maquetación: Alberto Venegas Ramos. 2016. Presura. Todos los derechos reservados. Para reproducción del contenido o parte de él debe tener nuestro explícito consentimiento. Los productos nombrados en estas páginas son propiedad de sus respectivos propietarios. PRESURA VIDEOJUEGOS, CULTURA Y SOCIEDAD MÚSICA Y VIDEOJUEGOS NÚMERO XVII TRIBUNA “SPACE CHANNEL 5” ES UN MUSICAL INTERACTIVO. movimientos especiales. En Chicago o de la película Ca- contraste con esto, “Space baret. En 1969 estrenó su Channel 5” era un concepto ópera prima “Sweet Cha- de juego más parecido al del rity”, una película musical juguete electrónico “Simon” que guarda un gran parecido donde repetías secuencias estético con el videojuego de colores hasta la extenua- musical de Sega. La música ción al ritmo de la música. jazz, la gran cantidad de ac- Sin embargo, SEGA y espe- tores en escena y los pasos cialmente Tetsuya Mizuguchi de baile son claramente re- realizó uno de los mejores vi- conocibles aún con esa capa deojuegos de género musical. de retrofuturismo colorista. “Space Channel 5” es un La protagonista es una ca- musical interactivo tanto en rismática reportera llamada ritmo como en estructura Ulala que trabaja reciente- DIVA NACE, NO SE HACE. donde el jugador debe rea- mente para la pequeña ca- lizar los pasos de cada esce- dena “Space Channel 5”. Su na para poder continuar con amor por la vocación es tan la trama. Lo divertido no es grande que incluso en plena POR: MIKEL CALVO. apretar botones bien sino invasión alienígena continúa Siendo honestos, la saga tres años antes con “Parappa acertar, pasar de una locali- “Space Channel 5” no era nada The Rapper” repetías versos zación a otra, salvar a perso- fascinante a nivel de jugabi- con combinaciones de boto- nas que se van uniendo y si- lidad. Para su salida en el año nes más complejas e incluso guiendo la misma coreografía 1999, un juego de baile don- permitiendo al jugador impro- que Ulala. Las recompensas de lo único que teníamos que visar para arriesgarse a ganar que ofrece el juego no son de hacer era repetir secuencias más puntos. Incluso “Bust A maestría sino emocionales. no suponía ningún quebrade- Groove”, cogía mecánicas pro- ro de cabeza para alguien que pias de los juegos de lucha Uno de los nombres más ya hubiera jugado otros títu- para convertirlos en duelos de célebres de Broadway fue el los musicales. Sin ir más lejos, baile plagados de combos y de Bob Fosse, coreógrafo y director de musicales como ULALA SE MUESTRA SIEMPRE COMO UN PERSONAJE DRAMÁTICO Y EMOCIONAL. con su labor de corresponsal, una enemiga en el mundo tratando de salvar a las perso- real Lady Miss Kier, cantante nas que han caído presas del del grupo Dee-lite demandó pánico. Durante el juego Ulala a Sega por basarse en su ima- apenas parece tener ningún in- gen para crear al personaje de terés romántico en nadie, sino Ulala. La demanda se deses- que más bien se debe a sus timó y Sega continuó usando fans. En lugar de puntuación su personaje. Aunque no hubo tenemos un ratio de audiencia más entregas de la saga, su que más tarde nos dará mayor imagen siguió viva en cameos poder para acabar con los jefes de otros de sus juegos como de fase. Durante todo el juego “Sonic Riders”, “SEGA Supers- mantiene una comunicación tars” e incluso “Project X Zone” constante con sus seguidores, y a través de trajes como en el haciéndoles partícipes en las videojuego musical “Project últimas batallas. Segura y de- Diva”. Sin embargo, el cameo cidida aunque también con sus más propio de una diva de los momentos de flaqueza, Ulala videojuegos se lo dieron en la se muestra siempre como un paupérrima versión para Wii personaje dramático y emo- de Samba de Amigo. En uno de cional. Tanto es así que incluso los tres escenarios que Ulala muchos de sus rivales termi- tenía en el juego se podría ju- nan por formar equipo con ella. gar como canción el “Groove Como toda diva que se Is In Your Heart” de Dee-lite. precie, Ulala hizo también Diva nace, no se hace. PRESURA VIDEOJUEGOS, CULTURA Y SOCIEDAD MÚSICA Y VIDEOJUEGOS NÚMERO XVII REPORTAJE. ATRAVESANDO LA BRECHA VIRTUAL: MÚSICA, VIDEOJUEGOS Y REALIDAD AUMENTADA. POR: ROBERTO C. FERNÁNDEZ SÁNCHEZ “Fíjate en mis ojos. El de- Es más que probable que recho es artificial, lo perdí en muchos de los que leéis este un accidente. Desde entonces, texto se haya encontrado ante con el ojo derecho miro hacia esa comprometida situación en al pasado y con el izquierdo la que, empujados por impon- miro el presente. No todo lo vi- derables circunstancias, hayáis sible corresponde siempre a la tenido que prescindir del soni- realidad”.
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