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Relatório PCC 2
1 Gabriel Soares Gado CONCEPT DE PERSONAGEM PARA GAMES: PROJETANDO CRIATURAS COMO PERSONAGENS JOGÁVEIS Projeto de Conclusão de Curso submetido ao Curso de Design da Universidade Federal de Santa Catarina para a obtenção do Grau de Bacharel em Design Orientador: Prof. Dr. Luciane Maria Fadel Florianópolis, 2018 2 3 Gabriel Soares Gado CONCEPT DE PERSONAGEM PARA GAMES: PROJETANDO CRIATURAS COMO PERSONAGENS JOGÁVEIS Este Projeto de Conclusão de Curso foi julgado adequado para obtenção do Título de Bacharel em Design,e aprovado em sua forma final pelo Curso de Design da Universidade Federal de Santa Catarina Florianópolis, 08 de Junho de 2018. ________________________ Prof.ª Ana Veronica Pazmino, Dr.ª Coordenadora do Curso Banca Examinadora: ________________________ Prof.ª Luciane Maria Fadel, Dr.ª Orientadora Universidade Federeal de Santa Catarina ________________________ Prof.ª Mônica Stein, Dr.ª Universidade Federeal de Santa Catarina ________________________ Prof.ª Cristina Colombo Nunes, Dr.ª Universidade Federeal de Santa Catarina 4 5 Este trabalho é dedicado a todos os jogadores, estudantes e profissionais da indústria de jogos eletrônicos 6 7 AGRADECIMENTOS Gostaria de agradecer primeira e principalmente minha orientadora Profa. Dra. Luciane Maria Fadel, por toda a sua ajuda, apoio, paciência (principalmente), correções, conselhos, sem seu auxílio a realização deste projeto seria impossível. Agradeço a minha família por me dar suporte e facilitar meu trajeto neste trabalho. Reconheço a sorte que tenho em poder contar com eles ao me prover com sustento e me permitir focar meu tempo exclusivamente a produção deste projeto. Agradeço aos meus amigos por proporcionar momentos de descontração, diversão, apoio nas dificuldades, e auxílio.
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The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design.
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CINERGIE il cinema e le altre arti 7 SPECIALE Lo squalo, le strategie di marketing della Universal e la costruzione della “jawsmania” Quest’articolo ricostruisce le strategie di marketing elaborate dalla Universal per il lancio di Jaws, spesso citate tra le principali ragioni del successo del fi lm. In tal senso, esplora anche la genesi dell’ossessione della nostra cultura per lo squalo e il diffondersi della cosiddetta “jawsmania”, ovvero il mito dello squalo- killer e la sua perenne “vitalità artistica” di volta in volta rilanciata da Hollywood. Per capire il legame tra il ritratto dello squalo come feroce assassino e la sua conseguente stigmatizzazione, farò anzitutto riferimento all’idea di epifenomeno sviluppata da Barbara Klinger a proposito della ricezione dei testi della cultura popolare 1. Secondo quest’ipotesi, alcune idee si diffondono grazie alla circolazione di testi particolarmente adatti a fuoriuscire dai loro margini e a rileggersi per frammenti e sequenze narrative spesso inedite rispetto ai signifi cati del testo di partenza. In tal senso, sosterrò che l’idea dello squalo come “spietato assassino” è un testo radicatosi nella cultura popolare soprattutto attraverso gli epifenomeni che lo circondano. Ovvero, non solo grazie al fi lm – che rispetto al romanzo di Benchley pone lo squalo in primo piano – ma all’orchestrazione della campagna di marketing della Universal. L’articolo si basa su una ricerca d’archivio svolta sui materiali conservati presso la Margaret Herrick Library di Beverly Hills, l’Howard Gotlieb Archival Research Center della Boston University Library e la Peter Benchley Collection. Il romanzo Dal momento in cui Zanuck e Brown acquisiscono i diritti del romanzo di Peter Benchley, nel 1973, ogni singolo aspetto legato al libro e al fi lm inizia a essere pubblicizzato.
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