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The Age of Empires II University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Congreso internacional sobre iconografía precolombina, Barcelona 2019. Actas. Zea E-Books 8-20-2020 Iconografía prehispánica en entornos virtuales: The Age of Empires II Natalia Moragas Segura Manuel J. González Manrique Follow this and additional works at: https://digitalcommons.unl.edu/actas2019 Part of the American Material Culture Commons, Indigenous Studies Commons, Museum Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the Other Languages, Societies, and Cultures Commons This Article is brought to you for free and open access by the Zea E-Books at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Congreso internacional sobre iconografía precolombina, Barcelona 2019. Actas. by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Iconografía prehispánica en entornos virtuales: The Age of Empires II Natalia Moragas Segura Universidad de Barcelona, España [email protected] Manuel J. González Manrique Universidad Autónoma del Estado de Hidalgo, México [email protected] Resumen Introducción Age of Empires II: The Age of Kings, en su extensión The Conquerors El hecho de contar historias es una necesidad intrínseca En este estudio analizamos el videojuego de éxito masivo para vislumbrar el alcance de las visiones estereotipadas del de las sociedades. Relatar hazañas, ciertas o no, es parte de mundo mesoamericano. Por un lado, la escasa presencia las nuestra naturaleza, alrededor de una fogata o recreando culturas precolombinas en los mass media, y por otro, el es- caso interés de los productores culturales en indagar en estas las mismas en una pantalla de alta resolución, pero necesi- civilizaciones dan lugar a un páramo divulgativo donde los es- tamos de las historias. Dentro de la producción literaria no cabe duda que las historias con fondo realista cautivan con mayor fervor al consumidor, pues le acercan a sí mismo, Palabras claves: tándares culturales tornarán inmutables para el gran público. “me pudo pasar a mí” se repite, y así, la base “histórica” va Abstract Videojuegos, estudios de juegos, Mesoamérica a estar en todas las grandes narraciones, La Ilíada, La Di- In this article we analyzed the massive hit video game Age of vina Comedia, el Popol Wuj o El Quijote. Empires II: The Age of Kings, in its extension The Conquerors Los medios actuales han absorvido este conoci- to glimpse the scope of stereotyped visions of the Mesoameri- miento narrativo milenario y hoy nos encontramos con can world. On the one hand, the scarce presence of pre-Colum- una gran producción de novelas con base histórica, am- bian cultures in the mass media, and on the other hand, the bientadas o muy documentadas en hechos determina- lack of interest of cultural producers in inquiring into these dos. El cine, por su parte, tiene una larga tradición de re- civilizations gives rise to an informative wasteland where cul- presentaciones de períodos históricos que se remonta tural standards assumptions will become immutable for the a su nacimiento; la televisión succionó del cine el len- general public. - Keywords: Video games, visual culture, Mesoamerica - targuaje está y pronto pasando lo hizoo está suyo, “basado aprovechando en hechos el reales”;hecho ve y rídico como un juez que certifica que lo que se va a con- J - tiplicadolos videojuegos, desde aquel esa industria insulso peroque todo entretenido el mundo Pong rela a ciona con lo lúdico y nadie le presta atención, se ha mul Publicado en Congreso internacional sobre iconografía precolombina, Barcelona 2019. Actas, Victòria Solanilla Demestre, editora (Lincoln, Nebraska: Zea Books, 2020). https://doi.org/10.32873/unl.dc.zea.1252 165 166 CONGRESO INTERNACIONAL SOBRE ICONOGRAFIA PRECOLOMBINA, BARCELONA 2019. ACTAS. noventa se va a inaugurar una nueva generación de vi- puede recrear la historia con mayor certera y hacernos - partícipesnarrativas demultijugador ella por la propiay de mundos naturaleza infinitos del producto, donde se glas en inglés) donde la potencialidad de la inteligencia la interactividad. deojuegos de estrategia en tiempo real (RTS por sus si Ya en los noventa Robert Rosenston (1997) se atre- gran variedad de características y particularidades de lasartificial unidades (AI) intentaban (Bettner, P., aproximarse, & Terrano, M.,con 2001: herramientas 30) y la a lo audiovisual, la metodología que utilizábamos para nunca antes vistas, a la cultura representada. realizarvía a decir un que, texto con académico cierto ajuste podía lingüístico, hacerse con de imágeneslo textual Es por esta razón por la que partimos de un estudio en movimiento, o sea, con el cine. Su atrevimiento se sus- - forma constante, y entre las dos líneas iniciales del estu- rica y la audiovisual eran las mismas, el procedimiento de representación donde la iconografía está presente de- tentaba en que finalmente la producción literaria histó analizarla, interpretarla, y realizar un texto, ¿qué diferen- dio del videojuego, la ludología y la narratología nos de ciade amboshabía entonces oficios eran entre idénticos; el resultado recopilar del producto información, fuese Dentrocantamos de estepor estamarco, última, nuestra ya quepreocupación es la forma es deestética contar y en papel o en un medio audiovisual? Evidentemente sólo massmediáticala historia uno dedebido los factores a la generalización a analizar en y repetición este trabajo. de modelos que generan estereotipos que, en muchos casos, académica,el lenguaje ypero la forma factores de leerlo,como el que mercado, no es poco. la comunica - Como docentes universitarios no podemos descui- ción Losinmediata videojuegos que proporciona nunca han internet tenido unaentre pretensión el creador darestán la muy cuestión lejos educativa,de la cultura pues que casi se intenta superados representar. los fan- y el consumidor, las demandas del comprador y, eviden- tasmas sobre las nuevas tecnologías se observa la utili- temente, los avances técnicos en el ámbito de la compu- motu proprio, académicos y sociales. inicie un camino de profesionalización que hace que dad del videojuego para la enseñanza a todos los niveles lastación narrativas han hecho donde que la el historia videojuego, es un por elemento más de Estado del arte creación e imaginación hayan llegado a límites de perfec- ción al representar un pretérito distinto, que hoy día, con recientes. Las nuevas puertas que abrieron los Annales permitieronLos estudios indagar sobre los en juegos un mudo, son habitualmenteconsiderablemente rela- poneellos, antepodemos una realidad explicar innegable,un contexto una específico. de las formas de cionado con la niñez y la infancia, que estaba mínima- difusiónSu consumo de la historia masivo más en potentes múltiples y extendidas dispositivos está nos en - cualquier ser viviente, pero no se había teorizado y sis- ducir al debate de su creación y uso. tematizadomente esbozado. su estudio. El juego Johan había Huizinga sido básico (2007) en la sorpren vida de- nuestros bolsillos, es el videojuego y eso nos debe intro- dió en 1938 con su obra “Homo Ludens” inaugurando la ludología. una Estedeterminada trabajo reflexiona cultura. En sobre nuestro la potencialidad caso nos centrare del vi- mosdeojuego en la a cultura la hora azteca, de exponer ya que al públicola inmensa masivo mayoría y global de del ser humano, planteando la esencia y naturaleza del Huizinga estudia el juego como parte inherente- - gar”. Su esquema resultaba demasiado vacío para otros mana.los videojuegos Civilizaciones se centran tan importantes en unas pocas en la culturas historia muyuni- mismo pero centrándose en el hecho de “jugar por ju versalatractivas como para la mexica,el público, la maya como o son la inca la egipcia llegan oen la una ro delcontenidos dominó, quela oca) no plantean fuesen la narrativas, mecánica historias del juego; que pero de- muchos juegos, aunque de forma simbólica (los naipes, segunda remesa de videojuegos, al igual que lo hizo a la plantean una narrativa simbólica más explícita, y es del Agehistoriografía, of Empires yII su en presencia su extensión es escasa. The Conqueror , ya que terminan los avances del mismo; otros, como el ajedrez,- El videojuego que analizaremos en profundidad es el- nos que la tecnología y la creatividad convirtieron en vi- hispánicas y en sus campañas puedes revivir momentos ajedrez de donde van a nacer los videojuegos por tur determinadosse trata del primer de la videojuego historia de queestas incluye civilizaciones, culturas conpre- De esta falta de atención a la historia nace la narra- cretamente la forma de representación de la campaña deojuegos de estrategia en tiempo real. - de Moctezuma. Esto está unido a que en la década de los lizando el Decamerón, va a incidir en el estudio de las tología. Tzvetan Todorov (1970) a finales de los 60 y uti N. MORAGAS SEGURA Y M. J. GONZÁLEZ MANRIQUE • ICONOGRAFÍA EN ENTORNOS VIRTUALES 167 Ilustración 1 Modificación de los usuarios de los templos aztecas completamente diferente a la actual base democrática occidental - totalitarismos, invasiones extraterrestres, relaciones entre los personajes y los “predicados base” conspiraciones y demás posibilidades distópicas. Si bien seque basa se pueden en estas producir posibles según acciones sus característicasque puede hacer —en un - cierto modo la inteligencia artificial de los videojuegos- - cunstancias que le rodean—, a lo que se le unió el aná- tualla historiografía está bastante hispana
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