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Paolo Nosenzo, Estetica E Storytelling Negli Indie Game

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Paolo Nosenzo, Estetica E Storytelling Negli Indie Game Università degli Studi di Torino Dipartimento di Studi Umanistici Laurea Magistrale in Cinema e Media Dissertazione Finale Estetica e Storytelling negli Indie Game Relatore: Prof. Alessandro Amaducci Correlatori: Prof. Riccardo Fassone Candidato: Paolo Nosenzo matr. N° 702043 Anno Accademico 2014/2015 INDICE Introduzione: definire un Indie Game ................................................................................................ 4 Capitolo 1: Storia della scena indipendente .................................................................................... 11 1.1 Da mercato frammentato a comunità globale .......................................... 11 1.2 Indie, il nuovo Mainstream...................................................................... 15 1.3 L’evoluzione dello stile indipendente ...................................................... 18 Capitolo 2: Estetica e Graphic Design, il ritorno del Vintage............................. 22 2.1 Pixel Art ................................................................................................... 22 2.1.1 Pixel Art in 2D ................................................................................ 24 2.1.2 Pixel Art in 3D: da quadrati a cubi.................................................. 31 2.2 Il Low Poly .............................................................................................. 36 2.3 Retrò: una rivisitazione in chiave moderna ............................................. 40 Capitolo 3: Astrazione, Minimalismo, e altre soluzioni visive........................... 43 3.1 L’Astrazione nei videogame .................................................................... 43 3.2 Less is More: Minimalismo negli Indie Game ........................................ 54 3.3 Nuove Soluzioni Visive ........................................................................... 66 3.3.1 Hand-drawn..................................................................................... 66 3.3.2 Watercolour: Olismo videoludico ................................................... 74 3.3.3 Comic book/Cartoon Style.............................................................. 79 Capitolo 4: Narrazione e Indie Game, nuove forme di Storytelling................... 82 4.1 Immersività ed Esplorazione: la Narrazione Ambientale ........................ 88 4.2 Narratori Dinamici: Bastion e The Stanley Parable ................................ 103 4.2.1 Bastion, “Everything you do is spoken”.......................................... 103 4.2.2 The Stanley Parable: libertà di scelta e predestinazione.................. 106 Capitolo 5: Gameplay ed Emotività.................................................................... 110 5.1 Less is Scarier: il genere Horror e il gameplay minimale......................... 110 5.2 Videogame e scelte morali: una nuova nozione di intrattenimento .......... 122 Capitolo 6: L’industria del gaming in Italia........................................................ 129 Capitolo 7: Art Game, valori artistici e autorialità nei videogiochi.................... 166 Conclusioni ......................................................................................................... 181 Bibliografia e Fonti ............................................................................................ 183 2 Ringraziamenti Desidero ringraziare tutti coloro che mi hanno aiutato nella realizzazione della mia tesi, a cominciare dal professor Amaducci, relatore della mia tesi, e il dott. Fassone, correlatore, per il contributo nella scelta degli argomenti e per aver risolto diversi dubbi che avevo durante la stesura del mio elaborato. Desidero anche ringraziare tutte le persone intervistate per la parte della mia tesi sugli studi indipendenti italiani, in cui ho sempre potuto riscontrare grande disponibilità, interesse e cortesia. In particolare grazie a Mauro Fanelli e Andrea Gellato (Mixed Bag), Matteo Pozzi e Claudia Molinari (We Are Müesli), Alessandro Monopoli (Dreampainters), Luca Dalcò (LKA.it), Pietro Righi Riva (Santa Ragione), Alex Camilleri (Kalopsia Games) e Federica Galati e tutto il team di Ovosonico. Inoltre ringrazio Thalita Malagò e AESVI (Associazione Editori Sviluppatori Videogiochi Italiani) per le utilissime informazioni sulle industrie di gaming in Italia. Grazie anche a Indievault.it e Rageselect.com per aver fatto nascere in me l’interesse per la scena indipendente. Infine, desidero ringraziare la mia famiglia e i miei amici per il supporto dimostrato negli ultimi mesi. 3 Introduzione Quella dei videogiochi è ormai l'industria culturale più redditizia al mondo. Basti pensare che il suo fatturato nel 2014 è stato stimato a quasi 82 miliardi di dollari1, più del doppio di quello del cinema nel 2013. Il notevole progresso tecnologico degli ultimi anni, ha contribuito ad avvicinare il medium dei videogame a quello filmico, arrivando a creare veri e propri blockbuster hollywoodiani interattivi (come le serie Call of Duty o Uncharted), puntando su una grafica realistica e un approccio cinematografico alla narrazione. Tuttavia, proprio come nel cinema, negli ultimi tempi il mercato videoludico ha sviluppato una branca di videogiochi realizzati per la maggior parte al di fuori dai grandi circuiti commerciali e con budget di produzione ridotti: quello degli indie game. Il settore indipendente nei videogiochi è in progressiva espansione, e nel corso dell'ultima decade ha ottenuto una fetta sempre maggiore del mercato, puntando su originalità di contenuti e gameplay, grazie alla libertà dalle restrizioni creative date dai produttori nei circuiti commerciali. Questa relazione andrà a descrivere le caratteristiche principali di questo settore, procedendo poi ad analizzarne alcuni titoli significativi dal punto di vista visivo, esaminando quindi i diversi stili estetici che adottano, e dal punto di vista narrativo e dei contenuti. Durante la stesura di questa tesi ho svolto un lavoro di ricerca, intervistando sette diversi studi indipendenti in Italia, a proposito dei loro titoli in prossima uscita e della situazione del mercato indipendente italiano. Questo poiché la maggior parte delle aziende che sviluppano videogame nel nostro paese sono di dimensioni ridotte e realizzano titoli al di fuori dei principali circuiti mainstream, e si può pertanto sostenere che l'industria videoludica in Italia sia composta prevalentemente da studi indipendenti. Fig. 1 Grafico delle aziende italiane che si occupano di videogame2. 1 http://multescatola.com/biblioteca/famiglia/industria-del-gioco-video.php 2 Fornito da AESVI (Associazione Editori Sviluppatori Videogiochi Italiani). 4 Definire un indie game There is no point in seeking a formal definition or classification of ‘indie games’ – Bart Simon3 Dare una definizione esatta di indie game è una questione spinosa che spesso non viene affrontata. Mentre i grossi titoli commerciali vengono chiamati AAA per la quantità di vendite e profitti che i produttori si aspettano di generare (non tenendo conto in alcun modo della qualità del gioco), un indie game non ha una definizione così netta. Tuttavia, possiamo trovare alcune caratteristiche comuni alla maggior parte dei videogiochi indipendenti: sono sviluppati da singole persone o piccole compagnie, che spesso vengono formate per la realizzazione di un gioco specifico e che il più delle volte non sono finanziate da publisher, poiché questi preferiscono non correre rischi finanziari e puntano quindi su titoli a grosso budget. Ciò significa che gli sviluppatori non hanno bisogno dell'approvazione dei produttori, e questo permette loro di non avere limiti creativi. Per tale motivo, la maggior parte dei giochi indie è conosciuta per la sua natura innovativa e sperimentale, anche se ci sono titoli che puntano su uno stile di gioco più classico4. Oltre alle dimensioni dello studio e al modo in cui viene finanziato e distribuito, un indie game è spesso riconoscibile per il particolare stile visivo, definito da Jesper Juul come stile indipendente5. Lo stile indipendente è una rappresentazione di una rappresentazione; impiega tecnologia moderna per ricreare tipi precedenti e più semplici di rappresentazione. Questa estetica comincia ad affermarsi dal 2005 (prima di allora, i videogame indipendenti cercavano di riprodurre le grafiche dei titoli più venduti), periodo in cui, grazie alla diffusione di internet su larga scala, si afferma anche la distribuzione digitale (sostituendo quindi la copia fisica del gioco), cosa che permette agli indie game di aumentare notevolmente il loro raggio di diffusione, facendo a meno dei costi di distribuzione e produzione dei supporti fisici. Il particolare stile visivo non è solo causato dalle risorse limitate a disposizione degli sviluppatori, ma è spesso il risultato di scelte precise da parte di quest'ultimi, per dimostrare che alcune tecnologie possono essere usate in modo innovativo e insolito (come ad esempio utilizzare hardware 3D per creare giochi in 2D) e per segnalare che lo studio che lavora al gioco opera con pochi mezzi per scelta, e quindi tratta solo progetti in cui i suoi membri credono fortemente, arrivando spesso a raccontare storie più personali e in cui gli sviluppatori sono coinvolti emotivamente. Lo stile visivo 3 Simon B. Indie Eh? Some Kind of Game Studies. Loading - the Journal of the Canadian Game Studies Association 7, 11 (2013) 4 Cave Story, considerato uno dei primi indie game mai realizzati, non è altro che un omaggio a Metroid, uno dei giochi più classici nella storia dei videogame. 5 Juul J. High-tech Low-tech
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