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Presura Estrategia Y Videojuegos - Número Xix PRESURA ESTRATEGIA Y VIDEOJUEGOS - NÚMERO XIX. EDITORIAL: Imágenes: Las imágenes que ilustran los artículos o bien son imágenes promocionales de los juegos mentados y por lo tanto todos sus derechos son de sus lega- les propietarios o son de los autores citados al píe de cada imagen. Portada: Ilustración del cartucho del juego Asteroid (Atari, 1979) publicado para la consola Atari 2600. Modificación propia. Textos Alberto Venegas Ramos. Profesor de Historia en la educación secunda- Todos los textos son propiedad ria, estudiante de Antropología Social e investigador en temas rela- exclusiva de sus autores. La di- cionados con la identidad y alteridad colectiva a través de la cultura. rección de la revista no se hace Además redactor en páginas como Baab al Shams o Témpora Magazine responsable de su contenido. y colaborador en medios como FS Gamer, Anaitgames, eldiario.es o Lugar de edición: Akihabara Blues. Nogales, Badajoz. Número ISSN: resura no para de crecer. La página web es otro ele- Este número es buena mento dentro de Presura que I2444 - 3859. prueba de ello. Lo que hemos querido potenciar y Edición: empezó como un simple poco a poco, también, lo esta- Pproyecto personal ha rebasado mos consiguiendo. Los textos Alberto Venegas Ramos. cualquier límite impuesto por que incluimos semanalmente, Coordinación del número: mi imaginación y comienza a a razón de entre dos y tres, pa- Alberto Venegas Ramos. erigirse en un hito dentro de mi rece que comienzan a interesar. carrera profesional en esto de Por esta misma razón, y para po- Encargado de diseño y las letras y los videojuegos. der continuar creciendo, os pe- maquetación: Cómo habréis podido com- dimos vuestra colaboración en Alberto Venegas Ramos. probar, el diseño de la revista ha las opiniones y sugerencias que cambiado por completo. En el podéis hacernos llegar a través Diseño de portada: número anterior ya enseñamos de nuestros diferentes canales Alberto Venegas Ramos. un poco el camino que íbamos repartidos en las redes sociales. Créditos: a continuar y este, aunque no es Este número está dedicado a todavía el destino, es una para- uno de nuestros géneros favori- 2016. Presura. Todos los de- da intermedia. tos dentro de los videojuegos, rechos reservados. Para re- Nos gustaría conocer, cada la estrategia. Para nosotros va producción del contenido o vez más, vuestra opinión sobre a ser un verdadero placer po- parte de él debe tener nuestro la revista, sobre el diseño, sobre der escribir de nuestros juegos explícito consentimiento. Los la nueva maquetación, sobre favoritos con calma y sosiego. productos nombrados en estas todo lo que os parezca. En esta Espermos que el número os re- páginas son propiedad de sus misma página tenéis nuestra di- sulte interesante y ya sabéis, si respectivos propietarios. rección de correo para que nos así ha sido no os pedimos dine- Dirección de contacto: comentéis todo lo que os parez- ro, sino que compartáis el pro- correodealbertovenegas@ ca de la revista y de la página yecto. Muchas gracias. gmail.com web. PORTADA: cartografía. ¿Cuál fue el primer juego de estrategia? ¿Cuál fue la clave que inspiró la creación de géneros como la alta estrategia o la estrategia en tiempo real? ¿Cómo ha pasado “Final Fantasy” de ser una saga de rol y estrategia a convertirse en una sucesión de cinemáticas con acento en la acción? ¿Qué ha pasa- do con “No Man´s Sky” para ser la esperanza de los videojuegos a ser uno más? A todas esas preguntas vamos a intentar dar respuesta a lo largo de todo este número de Presura, nuestro número XIX. En todos estos juegos, una parte esencial de los mismos es, siempre, el mapa. Los mapas han ser- vido a la humanidad durante milenios y como tal, dada su importancia cultural para el ser humano, han pasado también a convertise en parte esencial del videojuego. No son pocos los géneros que se escapana a las representaciones espaciales en dos dimensiiones y, desde luego, para el género de la estrategia, al que hemos dedicado este número, el mapa no es tan solo crucial, sino que es esencial, sin él no existiría el género de la estrategia y no son pocos los juegos del género que basan todas sus mecánicas en estos, como por ejemplo los jue- gos de alta estrategia de Paradox o los denomina- dos “city-builders”. Todos ellos se levantan sobre representaciones geográficas y por esto mismo he- mos decidido dedicar nuestra portada a ellos. CONTENIDOS: “COMPANY OF HEROES” Y LA “HAMMURABI”, EL PRIMER JUEGO CONCEPTUALIZACIÓN HISTÓRICA, DE ESTRATEGIA, POR SAMUEL AR- POR ALBERTO VENEGAS RAMOS. GENTO. PÁGINA 70. 1 PÁGINA 10. 5 UNA ÚLTIMA FANTASÍA, ¿QUÉ HA PASADO CON “NO MAN´S CATÁSTROFES, HÉROES Y MUNDOS SKY” POR ALBERTO VENEGAS INABARCABLES, POR FERNANDO RAMOS. PÁGINA 80. 2 PALACIOS DUESO. PÁGINA 24. 6 ARRASTRAR Y SOLTAR. UN LUGAR PARA LA AVENTURA GRÁFICA. PÁGINA 92. “DUNE II”, EL PADRE DE LA ESTRATEGIA EN TIEMPO REAL, POR ALBERTO VENEGAS RAMOS. 3 PÁGINA 40. ALTA ESTRATEGIA, EL NACIMIEN- TO DE UN GÉNERO DE CULTO. POR ALBERTO VENEGAS RAMOS. 4 PÁGINA 54. 7 “puedo estar más loco que el más loco de este pueblo, puedo redimiros de los males que habéis hecho.” 0 1 company of heroes la conceptualización Y histórica. Por: Alberto Venegas Ramos. o son pocos los juegos que han decidido situar su acción en el pasado. Dentro del género de la Nestrategia el emplazamiento his- tórico es incluso más recurrente que en el resto de los géneros de videojuegos. No en vano, una de las grandes sagas de videojue- gos para ordenador, Total War, se caracteriza por el esfuerzo en re- presentar lo más veraz posible los acontecimientos y hechos históri- cos del pasado. el anacronismo es el problema más grave de las representaciones históricas. urante estos esfuerzos chocan con un y datos exactos, sino al planteamiento correcto problema, el anacronismo. Representar de conceptos históricos y especialmente a evitar objetos o elementos recientes en el pa- caer en el anacronismo, es decir, a mirar el pa- sado es una práctica habitual dentro de sado con los ojos del presente. No son pocos los Dlas representaciones culturales del pasado. Sin títulos jugables, como también otros objetos cul- embargo, es aún más peligroso representar emo- turales tales como novelas, películas o series de ciones, ideas o ideologías actuales en momentos televisión que pasan por alto esta idea e incorpo- donde estas no existieron. Mencionar la existen- ran en sus mensajes ambientados en el siglo XII cia de países, de valores, de ideas nacidas en el ideas del siglo XIX como por ejemplo el concepto siglo XIX es una práctica muy extendida dentro de de libertad, amor romántico, nacionalismo, etc. la televisión o el cine con ejemplos tan famosos Este anacronismo es una de las peores facetas como las cintas Braveheart, donde hablan y de- en las que puede caer un creador de contenidos fienden una idea de libertad nacida en el siglo XIX debido a que engaña premeditadamente al es- u otras muchas donde aparecen otras ideas como pectador y ofrece una realidad histórica comple- el nacionalismo o imperialismo. Es por esta razón tamente falsa. Por esto mismo defendemos con que es igual o más de importante cuidar el anacro- tanta vehemencia los títulos de Paradox, ya que nismo en las ideas o conceptos que en los propios aunque una vez pasado el tiempo histórico cae objetos. en la idea de historia ficción o historia contrafac- "Marine Pfc. Douglas Lightheart (right) and his buddy Pfc. Gerald Churchby " Cpl. H. Clements, September 14, 1944. 127-N-97628 Churchby Gerald (right) and his buddy Pfc. Douglas Lightheart "Marine Pfc. En muchos de nuestros textos defendemos a tual las ideas y conceptos históricos que presenta capa y espada la fidelidad histórica o al menos el si se ajustan a la realidad histórica en un grado planteamiento de fenómenos históricos con cier- realmente elevado y que nos permite elevar sus to grado de veracidad. Debemos aclarar en torno títulos de alta estrategia a la altura de las mayo- a esta idea que la defensa que realizamos de la res obras históricas que existen en el mercado de plantación realista de los hechos pasados no se los videojuegos. Sin embargo no solo de Paradox encierra en la mención o referencia a nombres vive el aficionado a la Historia en los videojue- la movilización masiva de tropas es otra seña de la segunda guerra mundial. gos, existen muchos otros y le abrió la puerta a su hito, da. Pero otro elemento clave tuvo en estos tres puntales fue la conflagración bélica que ataque combinado entre aire algunos de ellos consiguen Warhammer 40.000: Dawn of en la partida era la rapidez del sus características históricas más recursos humanos mo- y tierra y protagonizado por elevar su nivel hasta su altura War. Este título de estrategia primer ataque. En este punto más reconocidas, la Segunda vilizó en toda la Historia del una batida de bombardeos de como el caso que nos ocupa en tiempo real basado en la los juegos de Relic consiguen Guerra Mundial. En esta el hombre, 84.000.000 millones la zona por la aviación seguida hoy, Company of Heroes. afamada franquicia Warham- un sobresaliente debido a control del territorio y es- de soldados a los que habría rápidamente por la irrupción Company of Heroes es un mer 40.000 supuso un antes y que podemos comenzar a pecialmente de los recursos que sumar los movilizados en de tanques e infantería que juego de estrategia en tiempo un después para la estrategia combatir desde el minuto naturales fue una de las claves la población civil para servir convertían el ataque en un real creado por Relic Entern- en tiempo real y una clara uno a través de la creación de del conflicto como demues- en las fábricas de armamento, puño fuerte y compacto que tainment que vio la luz allá referencia directa a Company pelotones en lugar de unida- tran la temprana ocupación de hospitales de campaña, etc.
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