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SELLO ARSGAMES | Nº 1 | Enero 2014 Revista interdisciplinar de estudios videolúdicos EDITORIAL ARTE En el bit de Bit y aparte Hibridaciones contempo- / pág. 7 ráneas: el nuevo ambiente estético / pág. 8 María Luján Oulton / Eurídice Cabañes Martínez #ÍNDICE COMITÉ CIENTÍFICO ARTE EDUCACIÓN GÉNERO Implicaciones de aprender a God of War: consecuencias de Género y sexualidad más allá FLAVIO ESCRIBANO (España). Doctor por la Universidad Complu- crear videojuegos / pág. 22 la violencia a través de héroe de lo humano / pág. 50 tense de Madrid con la tesis doctoral “El videojuego como he- griego/ pág. 36 rramienta para la pedagogía artística. Innovación y creatividad”. Jacinto Quesnel Alvarez Juan Francisco Belmonte Ávila Begoña Cadiñanos Martínez / GRACIELA ESNAOLA (Argentina). Docente del Programa de Doc- Ruth García Martín torado “Formación del Profesorado en Entornos Virtuales”. Uni- versidad de Valencia. BIT Y APARTE GONZALO FRASCA (Uruguay). Catedrático de Videojuegos de la Facultad de Comunicación y Diseño de la Universidad ORT. Revista interdisciplinar de estudios videolúdicos ÓCAR GARCÍA PANELLA (España). Director del Grado en Vi- deojuegos de ENTIUB, del Máster en Gamificación ENTIUB y del Edita: Asociación ARSGAMES Máster en Gamifiación Online y Transmedia Storytelling de IEBS. Ilustración de la portada: PATRICIA GOUVEIA (Portugal). Profesora en el master de Arte digi- Juan Díaz-Faes GAME STUDIES GAME STUDIES INNOVACIÓN tal en la Faculdade de Ciências Sociais e Humanas. Universidade Evolución histórica de los CRPG Aprendizaje en MMOG Videojuegos, machinima y cine Diseño de portada, ilustración y Nova de Lisboa. (Computer Role-Playing Games) / pág. 84 clásico / pág. 94 producción gráfica: / pág. 64 MAR MARCOS MOLANO (España). Profesora Titular en la Facultad de SELLO ARSGAMES Ruth S. Contreras Espinosa / Pilar Lacasa / Mª. Ruth García- Ciencias de la Información. Universidad Complutense de Madrid. Daniel Sánchez Mateos José Luis Eguia Pernía / Sara Cortés ISSN: 2340-4434 JOAQUÍN PÉREZ (España). Director del Observatorio del Vi- Depósito legal: M-19557-2013 deojuego y de la Animación y Profesor Titular en la Universidad Europea de Madrid. sello.arsgames.net [email protected] FRANCISCO REVUELTA (España). Profesor Ayudante Doctor del Se permite la reproducción total o parcial Dpto. de Ciencias de la Educación en la Facultad de Formación de la obra y su difusión telemática para uso del Profesorado. Universidad de Extremadura. personal de los lectores siempre y cuando no sea con fines comerciales. CUAUHTEMOC SENTÍES (México). Director de las carreras de Ani- mación, Videojuegos y Web en SAE Institute. ESPECIAL: ESPECIAL: RECORTABLE CARINA SOLEDAD GONZÁLEZ (España). Directora del Máster en HISTORIANDO HISTORIANDO Gamestar[t] Creación de Videojuegos y del Máster en Interacción Persona- Ordenador en Móviles, Videojuegos y Medios Digitales. Univer- Creative Commons -Atribución-NoComercial- Uso público de la historia en Videojuegos y divulgación CompartirIgual 3.0 España (CC BY-NC-SA 3.0 ES) sidad de La Laguna. los videojuegos / pág. 110 histórica / pág. 126 Alberto Venegas Ramos Ramiro Cabañes Martínez En el bit de Bit y aparte «El pasado es como un rompe- hace que este número 1 de Bit y aparte pivote entre dos cabezas, como un espejo roto, a ejes fundamentales: la educación y la historia. medida que lo vas recomponiendo Entre ambos temas, que consideramos de gran im- te cortas y tu imagen no deja de portancia y que se complementan perfectamente —en cambiar… y tú cambias también» tanto que la historia nos permite llevar a cabo un análisis (Max Payne 2). del pasado imprescindible para comprender el presente y la educación, indefectiblemente, condiciona el futuro y, si l videojuego tiene un pasa- se hace bien, hasta puede suponer jugar a construirlo—, do y, por supuesto, un futuro. está el punto que estipulamos como nuestro inicio: el bit ESi en el número 0 de la pre- de Bit y aparte. sente publicación establecíamos Así, educación e historia impregnan el presente nú- la intención de marcar un punto mero, pero también todo SELLO ARSGAMES, cuyas publi- y aparte —o «bit y aparte»— den- caciones hasta el momento han transitado este espacio: tro de las escasas publicaciones el número inicial de la revista dando una perspectiva académicas sobre el universo del general de lo que ha sido y será el videojuego desde la videojuego en el mundo hispano- perspectiva de ARSGAMES y la reciente publicación del hablante, e iniciábamos dicha an- libro GAMESTAR(T): Pedagogías libres en la intersección danza lanzando una beta de la re- entre el arte, la pedagogía y los videojuegos mostrando vista, ahora continuamos desde el la historia de un proyecto educativo con la intención de mismísimo bit de Bit y aparte. que sus reflejos pueden multiplicarse a través del tiempo Los contenidos de estas pági- y el espacio replicándose de modo autónomo. nas inciden en la asunción del vi- Lo lúdico queda patente también en este número deojuego como una forma de arte, mediante un recortable en sus página finales que, en la reflexionan sobre la divulgación línea de toda la publicación, mezcla del mismo modo #EDITORIAL histórica y el uso público de la his- pasado y futuro, retrotrayéndonos a la infancia al invocar toria en los videojuegos, analizan las artesanías más tradicionales —invitando a recortar, las perspectivas de género en pegar y montar— y haciéndonos mirar hacia el futuro la evolución y construcción con el diseño de un robot que constituye un homenaje del espacio en el videojue- directo al proyecto educativo Gamestar(t). go y plantean diferentes e innovadoras propuestas didácticas a través de la creación o utilización de videojuegos. Todo ello #EDITORIAL ı sello arsgames #1 #ARTE HIBRIDACIONES CONTEMPORÁNEAS: el nuevo ambiente estético María Luján Oulton Eurídice Cabañes Martínez Game on! El arte en juego / Objeto a ARSGAMES / Centro Multimedia del CENART [email protected] [email protected] Palabras clave: Resumen La fuente, Brillo Bo- xes, Concetto Spazia- le, Attese, “Yard” y hibridación, arte, El arte se caracteriza por un fuerte componente de transgresión y un fuerte nes del mundo artístico1. Que una John Milton Cage Jr. videojuegos, vínculo con la sociedad en la que acontece y por tanto existe siempre en una 1. Introducción copia de una caja de detergente en estética, situación de cambio constante. Hoy estamos frente a un cambio de paradigma polvo haya sido otro de los principa- 1 La fuente, de Marcel interacción que replantea los modos de entender la estética. Videojuegos, arte interactivo, «HAMLET: ¿No ves nada ahí? les quiebros de la historia del arte2 Duchamp, 1917. La artgames y la hibridación entre arte, juego, cuerpo y tecnología, plantean un REINA: Nada de nada,y veo desencadenando el salto tras el linde obra, perteneciente a sujeto de arte activo, que comparte la autoría de las obras con sus creadores todo lo que hay» postulado por Hegel.3 Que un lienzo la categoría de ready mades creada por y abre el espacio para la transformación social. En el presente artículo hare- (Danto, 2004). blanco rasgado sea un grito desde lo Duchamp, consistía mos una aproximación a los videojuegos como herramientas de creación artís- más profundo de la esencia del ar- en un urinario titulado tica participativa, dando cuenta de algunos de los ejemplos representativos y iete cuadros rojos, idénticos te.4 Que una obra dure tan sólo unos “Fountain”, firmado abriendo el debate sobre el nuevo ambiente estético que habitamos. a primera vista y sin embargo minutos para desaparecer luego en con el seudónimo de R. Mutt y presentado en 5 Sabsolutamente distintos entre el recuerdo. Que el hecho artístico la exhibición que la So- sí. Creaciones de diversos artistas en convoque como parte constituyen- ciedad de Artistas Inde- Keywords: Abstract distintas épocas. Todas ellas obras te al espectador. Que un concierto pendientes organizó en de arte de gran virtuosismo, profun- de música carezca de instrumentos 1917. La obra desenca- denó gran controversia, hybridization, Art is characterized by a strong element of transgression and a strong link to didad conceptual y valor estético. y su partitura consista en el silencio no fue aceptada y es art, video games, the society wherein it emerges and, therefore, it always develops within an Una muestra que habla de la historia de una no-orquesta y el murmullo considerada uno de los aesthetics, ever-changing situation. Nowadays we are confronted with a new paradigm del arte, de su búsqueda ontológica, inquieto de los asistentes.6 principales hitos artísti- interaction. shift that reshapes our understanding of aesthetics. Video games, interactive de sus límites y sus luchas por que- El arte contemporáneo no se per- cos del siglo XX. art, artgames and all forms of hybridization between art, game, body and tech- brarlos. Una exhibición, imaginaria mite más a sí mismo ser representa- 2 Brillo box, Andy War- nology generate an active subject of art that shares the authorship of works por cierto, creada por Arthur Danto do por relatos legitimadores como hol, 1964. Una réplica with their creators and opens up new possibilities for social transformation. This (2004) para dar inicio a uno de sus los postulados por Greenberg.7 El serigrafiada sobre ma- paper presents an approach to video games as tools for participative artistic últimos escritos, La transfiguración arte contemporáneo se apropia de dera de las cajas de un creation, offering an analysis of especially relevant examples and trying to open del lugar común: una filosofía del ar- su historia generando una nueva au- detergente conocido. Las Brillo box fueron the debate on the contemporary artistic landscape we inhabit. te. Exhibición perfectamente plausi- toconciencia. Las vanguardias de fi- expuestas por primera ble hoy, luego de las vanguardias, de nales del siglo XIX y principios del XX vez en la Galería Stable tantos -ismos y post-períodos. supieron abandonar la mimesis de la de Nueva York junto a Y es que sólo hoy podemos realidad8 y descubrir nuevas formas otra serie de obras que replicaban elementos aceptar que un urinario haya sido de aprehender el mundo.
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  • A Massively Multiplayer Online Game

    A Massively Multiplayer Online Game

    Project Number. MLC1112 Broken World: A Massively Multiplayer Online Game A Major Qualifying Project Report submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degrees of Computer Science and Interactive Media and Game Development by Nathanael Thorn Mark Troutt and the Degree of Interactive Media and Game Development by Ethan Lawrence Date: April 26, 2012 Approved: Professor Mark Claypool, Major Advisor Professor Joshua Rosenstock, Major Advisor 1 Abstract Broken World is a non-violent, non-competitive MMO set in an expansive post-fuel world with an emphasis on building a community. The art style is drawn from the real world, using low-poly models. The game is built upon a unique peer-to-peer networking model, which allows for a low-resource server. It also features a terrain rendering system that utilizes PNGs to store landscape data efficiently. Along with the game, a suite of custom development tools were built to allow developers to insert game content quickly. Post-development, the game and its related technologies were evaluated for their effectiveness. 2 Table of Contents Abstract ........................................................................................................................................... 2 Table of Contents ............................................................................................................................ 3 1 Introduction .................................................................................................................................
  • Thesis Front Matter

    Thesis Front Matter

    UNIVERSITY OF CALGARY THE INVENTION OF GOOD GAMES: UNDERSTANDING LEARNING DESIGN IN COMMERCIAL VIDEO GAMES by KATRIN BECKER A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE DIVISION OF EDUCATIONAL RESEARCH CALGARY, ALBERTA JANUARY 2008 © KATRIN BECKER 2008 ii Abstract This work sought to help inform the design of educational digital games by the studying the design of successful commercial videogames. The main thesis question was: How does a commercially and critically successful modern video game support the learning that players must accomplish in order to succeed in the game (i.e. get to the end or win)? This work takes a two-pronged approach to supporting the main argument, which is that the reason we can learn about designing educational games by studying commercial games is that people already learn from games and the best ones are already quite effective at teaching players what they need to learn in order to succeed in the game. The first part of the research establishes a foundation for the argument, namely that accepted pedagogy can be found in existing commercial games. The second part of the work proposes new methods for analysing games that can uncover mechanisms used to support learning in games which can be emplyed even if those games were not originally designed as educational objects. In order to support the claim that ‘good’ commercial videogames already embody elements of sound pedagogy an explicit connection is made between game design and formally accepted theory and models in teaching and learning.