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Universidade Federal Do Rio De Janeiro Centro De Filosofia E Ciências Humanas Escola De Comunicação UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO AS FACES DA INTERATIVIDADE: UM ESTUDO DE CASO COMPARATIVO ENTRE O GAME THE WALKING DEAD E O PRODUTO EDITORIAL DIGITAL BOTTOM OF THE NINTH Vanessa Silva Raposo Rio de Janeiro/ RJ 2013 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO AS FACES DA INTERATIVIDADE: UM ESTUDO DE CASO COMPARATIVO ENTRE O GAME THE WALKING DEAD E O PRODUTO EDITORIAL DIGITAL BOTTOM OF THE NINTH Vanessa Silva Raposo Monografia de graduação apresentada à Escola de Comunicação da Universidade Federal do Rio de Janeiro, como requisito parcial para a obtenção do título de Bacharel em Comunicação Social, Habilitação em Produção Editorial. Orientador: Prof. Ms. Paulo Roberto Pires de Oliveira Jr. Rio de Janeiro/ RJ 2013 R216 Raposo, Vanessa Silva As faces da interatividade: um estudo de caso comparativo entre o game The Walking Dead e o produto editorial digital Bottom of the Ninth / Vanessa Silva Raposo. 2013. 152 f.: il. Orientador: Profº Ms. Paulo Roberto Pires de Oliveira Júnior. Monografia (graduação) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, Habilitação Produção Editorial, 2013. 1. Mídia digital. 2. Livro digital. 3. Jogos eletrônicos. I. Oliveira, Júnior, Paulo Roberto Pires de. II. Universidade Federal do Rio de Janeiro. Escola de Comunicação. IV. Título. CDD: 302.231 Aos meus pais, Roberto e Kátia, por serem os primeiros a me contarem histórias e assim me fazerem amar toda forma de ficção. Aos meus irmãos, Débora e Gabriel, por serem pioneiros em viverem-nas comigo. AGRADECIMENTOS Não estou sendo modesta quando digo que este trabalho não teria sido possível sem a colaboração de uma infinidade de pessoas. Em primeiro lugar, agradeço imensamente à minha família, a qual sem o carinho e a compreensão eu certamente não estaria aqui hoje. Agradeço também ao meu orientador, o Prof. Ms. Paulo Pires, por seu genuíno interesse pelo assunto e por ter me acudido mais de uma vez quando as trombetas do fim dos prazos soavam em meus tímpanos. Sou grata ainda aos professores da banca, pela disposição e boa vontade em acolher um tema que tinha tantas chances de ser mal compreendido. É por essas e outras que sigo amando a ECO. Ao prezado Prof. Dr. Tamer Thabet, que tão gentilmente me concedeu parte de seu tempo para uma conversa animada sobre narrativa em games. Thank you so much! Meus abraços lacrimosos de gratidão vão ainda a Lu Piras, por não apenas abrir espaço em sua agenda lotadíssima para responder à minha entrevista como também por me apresentar a Josy Stoque e Vanessa Bosso, sempre solícitas e certeiras. Estendo os agradecimentos a Danilo Crespo, direto de Quioto, cuja empolgação por meu tema pude sentir daqui do Brasil; a Philipe “John” Joriam, pelo entusiasmo e flexibilidade; e a Thiago Attianesi, que me forneceu um vislumbre mais técnico do universo dos jogos eletrônicos. Vocês são demais! E ainda a todos os que me ajudaram em algum ponto deste trabalho, mas mais especialmente ao grupo Games on the Rocks no Facebook e ao pessoal da rede social Alvanista que, não contentes em responder a minha enquete em velocidade FTL, a divulgaram em marcha supersônica. Eu só posso dizer que não esperava menos de comunidades tão incríveis e unidas. E, finalmente, aos amigos excessivamente maravilhosos que fiz na ECO, nesses que foram os melhores anos de minha vida. A Ana, com quem sempre foi tão fácil ser eu mesma; a Caroline, por sua sinceridade involuntária e intensidade; a Jacque, pela doçura pirada; a Gabriel G., que com sua obstinação ainda vai dominar o mundo; a Gabriel P., o amigo mais leal e amável que alguém poderia pedir; a Lucas, meu mineiro favorito e parceiro de aventuras; a Marcelo, sempre um irmãozão; e a Tássia, que nunca deixou seu pioneirismo a frente de um imenso coração. Vocês são meus heróis. Enfim, a todos os que me toleraram quando quarenta e duas entre dez palavras que saíam de minha boca eram “monografia”: muito obrigada! “Your true face... What kind of face is it? I wonder... The face under the mask... Is that your true face?” The Legend of Zelda: Majora's Mask RAPOSO, Vanessa Silva. As faces da interatividade: um estudo de caso comparativo entre o game The Walking Dead e o produto editorial digital Bottom of the Ninth. Orientador: Paulo Roberto Pires de Oliveira Jr. Rio de Janeiro, 2013. Monografia (Graduação Em Produção Editorial) – Escola de Comunicação, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2013. RESUMO Neste trabalho é estudado como o ingresso dos livros e histórias em quadrinhos no universo das mídias digitais pode representar a assimilação da narrativa multiforme no espaço da ficção editorial. Analisamos como a utilização dos elementos interativos potencializados pelos sistemas de computador não são per se contraditórios à criação narrativa, o que é exemplificado pela definição de narrativa ergódica, presente nos jogos eletrônicos. Para fornecer um panorama mais preciso, é feito um estudo de caso comparativo entre os elementos digitais do game The Walking Dead (Telltale Games, 2012) e da Graphic Novel para iPad Bottom of the Ninth (Ryan Woodward, 2012). Palavras-chaves: interatividade; livro digital; eBook; jogo eletrônico; game; narrativa multiforme; The Walking Dead; Bottom of the Ninth. LISTA DE ILUSTRAÇÕES Figura 1 – Esquema que identifica os pontos de interseção entre mídias distintas ................................... 21 Figura 2 – Esquema ilustrando a convergência dos meios ......................................................................... 22 Figura 3 – Em Super Mario 64 DS não faz diferença para a narrativa quem o jogador ............................. 29 Figura 4 – O avatar Shepard (à direita) decide se confiará no aliado contrariado ou se o matará. .......... 31 Figura 5 – Just Grandma and Me, um dos primeiros livros a ser explorado em ambiente digital. ............ 52 Figura 6 – Ilustração do Reino da Ilusão. XAVIER, 2006, p. 95. .................................................................. 60 Figura 7 – Sequência gráfica da Graphic Adventure e Visual Novel Ace Attorney Trials and ..................... 61 Figura 8 – Mystery House foi o primeiro Graphic Adventure criado. ......................................................... 62 Figura 9 – A primeira página de Bottom of the Ninth, simulando uma história em quadrinhos física. ..... 69 Figura 10 – Página 9 de BotN. .................................................................................................................... 71 Figura 11 – Conteúdo não redundante: reações do público. ..................................................................... 72 Figura 12 – Conteúdo não redundante: propagandas do universo de BotN. ............................................. 72 Figura 13 – O recurso de flashback animado. Mais uma camada de informação. .................................... 73 Figura 14 – Exemplo de participação em BotN. ......................................................................................... 74 Figura 15 – Exemplo de participação em BotN (2). .................................................................................... 75 Figura 16 – A “publicidade” animada da página 14 de BotN. .................................................................... 76 Figura 17 – Página 6 de BotN. .................................................................................................................... 78 Figura 18 – Sequência: o leitor clica no botão ilustrado e o personagem o imita. ..................................... 79 Figura 19 – Sequência: no quadro abaixo, o leitor vê o efeito de sua ação. .............................................. 79 Figura 20 – Os botões que apontam para recursos audiovisuais extras. ................................................... 81 Figura 21 – A tela de abertura do primeiro capítulo de The Walking Dead. .............................................. 85 Figura 22 – Aviso inicial salientando a mecânica de The Walking Dead. ................................................... 86 Figura 23 – A interação entre personagens em The Walking Dead. .......................................................... 87 Figura 24 – A interação entre personagens em The Walking Dead (2). ..................................................... 87 Figura 25 – A interação entre personagens em The Walking Dead (3). ..................................................... 88 Figura 26 – A interação entre personagens em The Walking Dead (4). ..................................................... 88 Figura 27 – Escolha que não produz resultados diferentes. ....................................................................... 89 Figura 28 – Resolvendo quebra-cabeças em The Walking Dead. ............................................................... 90 Figura 29 – Resolvendo quebra-cabeças em The Walking Dead (2). .......................................................... 90 Figura 30 – Resolvendo quebra-cabeças em The Walking Dead (3). .......................................................... 91 Figura 31 – Resolvendo quebra-cabeças em The Walking Dead (4). .......................................................... 91 Figura 32 – Resolvendo quebra-cabeças em The Walking Dead (5). .......................................................... 92 Figura 33 – Explorando espacialmente a fazenda de Hershel. ................................................................... 95 Figura 34 – O jogo memoriza que as roupas do personagem devem .......................................................
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