Alby Ojeda

Seamos sinceros, hasta ahora, una empresa que quisiese dedicarse a hacer videojuegos no necesitaba de guionista en su plantilla. Necesitará a un programador, a un ilustrador o incluso a un músico, pero no a alguien que simplemente se dedica a escribir diálogos o el manual de instrucciones que nadie lee.

Incluso, si nos remontamos a ejemplos actuales de juegos que han tirado de guionistas de cine, vemos que esos proyectos no han destacado respecto a su competencia. De hecho, en su mayoría podría tildarse de “desastres” a nivel de juego.

Pero a poco que uno analice cada punto se dará cuenta de que es posible que las razones que han promovido esos fracasos sean razones bien distintas. Incluso me podría aventurar y afirmar que la industria NECESITA de más guionistas entre sus filas.

Tal y como expliqué anteriormente, por el método de trabajo que se usa en la mayoría de desarrolladoras, el impulso que hasta ahora han podido dar en los proyectos ha sido más bien mínimo. Cuando se requiere de su ayuda es en un proceso tan avanzado que no pueden aportar mecánicas que apoyen el drama, ni propuestas en los personajes que ayuden al carrusel emocional. Simplemente están para rellenar diálogos en una acción preestablecida.

Este método, llevado al campo del cine, sería como si se contratase al guionista cuando ya se han rodado escenas con el casting principal, las escenas de acción y efectos especiales pero quedasen por rodar “las escenas de charla en la cafetería”. Pedirle en esas condiciones que elabore una historia que permanezca en la memoria colectiva es algo imposible.

Por eso antes de negociar con los actores, antes de pedir permisos de rodaje y por supuesto, antes siquiera de contratar el catering para alimentar al equipo, se encierra a un guionista entre cuatro paredes a parir ideas que deben ser aceptadas por el Productor y el Director. Sólo entonces, cuando ya se tiene sobre papel la amalgama de sensaciones y sentimientos que se quiere hacer sentir en el espectador, es cuando se levanta un teléfono.

Incluso en el peor de los escenarios, con la aparición del “Productor creativo” que ya sabe el género de la historia que quiere contar y tiene al protagonista en plantilla porque le sobra de un paquete de actores, al primero que se llama siempre es al guionista.

“Quiero que me escribas un guión, muchacho.
Que lo protagonice Clark Gable y que trate de un árbol.”

Bien es cierto que hasta ahora a los videojuegos les ha ido bien así. Se han convertido en todo un fenómeno cultural y empieza a rozar con los dedos el Olimpo de las artes, sin la ayuda de ningún guionista. Lo cual me lleva al primer punto de por qué las desarrolladoras necesitan guionistas:

1) Porque el público está madurando.

La edad media del consumidor va creciendo a medida que las generaciones de consolas siguen su ritmo natural. En los ochenta y noventa, los videojuegos eran para niños. Eran la recompensa de sus padres para aquellos que estudiasen y se portasen bien. Y los contenidos así lo demostraban: Nintendo y Sega plasmaban un colorido arcoiris de entretenimiento basado en la mecánica pura y en la diversión más básica.

Pero a finales de los noventa llegó Playstation ofreciendo un contenido más gamberro y oscuro que caló hondo en un público que comenzaba a demandar algo más acorde con su pubertad. Así fue como triunfaron los GTA y los Resident Evil, porque supieron conectar con ese público que ya no estaba para rescatar a princesas.

Y así llegamos a nuestra generación, donde el bloque de edad ya trabaja, muchos tienen hijos y exigen que sus juegos estén a la altura de la experiencia que les ofrece el cine. Y de momento, la cosa funciona aunque sea sólo porque reconocemos su forma, pero ninguno tenga su fondo.

Pero ¿qué ocurrirá en la próxima generación de consolas? El consumidor que ya se conocerá al dedillo todos los trucos y fuegos artificiales que se están usando en ésta, ¿se conformará con personajes anodinos, historias infantiles y narrativas basadas en “Si brilla lo cojo, si se mueve lo mato”? ¿Volverá a gastarse el sueldo de una mensualidad en una consola que seguirá repitiendo los mismos patrones de diversión que ha visto en las últimas dos generaciones?

Nintendo consiguió en esta generación lo que ninguna otra empresa pudo en toda su carrera tecnológica: abrir mercado en el público femenino y adulto que rechazaba cualquier videojuego. Sin embargo, a día de hoy, ese enorme nicho de mercado apenas se está explotando. ¿Acaso ese sector no está preparado ya para consumir un producto diferente a los SingStar y Brain Academy?

Y esto me lleva al segundo punto sobre por qué las desarrolladoras necesitan un guionista

2) Porque un estudio de mercado no tiene sentimientos.

No sé si el lector habrá tenido la oportunidad de leer un estudio de mercado. En él se acumula una valiosa cantidad de datos de consumo que arroja mucha información sobre qué es lo que se está vendiendo, clasificado por edades, género y plataformas. En él se reduce a valores el pulso comercial y permite hacernos una idea de qué fórmulas son las que tienen más éxito y cuales no. Esas útiles herramientas de trabajo son las culpables de que “se pongan de moda” los FPS de la Segunda Guerra Mundial o los juegos de karaoke.

Pero tal y como he dicho en el epígrafe, no tienen sentimientos. No son capaces de evaluar el hastío de algunos sectores de público por enfocar una idea de cierta manera y que a largo plazo se puede transformar en rechazo por falta de innovación. Tampoco son capaces de evaluar la situación social por la que el público pasa en ese momento, ni los eventos históricos. Y mucho menos, son capaces de predecir cual será la tendencia a medio o largo plazo. Sí son capaces de estimar una aproximación de la tendencia de compra, pero en definitiva, no son capaces de empatizar con los gustos del público.

Un guionista es un “estudio de mercado” que devora constantemente material de todos lados. Se alimenta de cultura y respira tendencias. Vive de cualquier material innovador que pueda surgir en cualquier rincón del mundo porque esa es la materia prima con la que trabaja. Cosecha ideas internas, las transforma, las compara con el exterior, las perfecciona y las adapta al pulso emocional del público. Y como tal, puede llegar a intuir cual será el siguiente paso lógico en una tendencia de moda y por tanto, adelantarse incluyendo algún tipo de innovación que proporcione un giro de tuerca a la idea original.

No sólo eso, el guionista es el profesional que puede transformar esa tendencia de venta y números representativos en una amalgama de emociones y sentimientos. Al fin y al cabo, con lo que nos sentimos involucrados en un juego no es con el género ni con su plataforma de lanzamiento, sino con las sensaciones que éste nos provoca.

Y lo mejor de que se use un guionista, al poner en marcha un proyecto, es lo que he llamado el tercer punto que contesta a la pregunta y que contentará al Departamento de Contabilidad:

3) Porque el papel es barato.

Así de simple. Más barato que los pinceles del ilustrador para abocetar al personaje principal, y por supuesto, más barato que el ordenador para que el programador comience a picar código. Y sin embargo, ese papel que comienza a sustentar el proyecto es el germen de lo que podría convertirse en un éxito rotundo. Porque en ese papel es dónde se comenzarán a trazar objetivos, donde se lanzarán los vectores de movimiento que pondrán a trabajar al resto del equipo durante los años que dure el proyecto.

Es ese papel el mapa estratégico que guiará al ejército de profesionales a conquistar el objetivo final, que es hacer un buen juego, o a perderse entre los bosques del desprecio del público, al ofrecerle lo mismo de siempre. ¿Por qué rechazar entonces la experiencia de un estratega emocional que ayude a conquistar el corazón del público?

Una foto de hombres de negocios sacada de un photostock
siempre otorga seriedad a cualquier artículo.

Si un diseñador de juego contase desde el principio con un guionista podría revestir de alma a las ideas que se le ocurren, de la misma manera que un Director reviste de dimensión el enfoque que se le ha ocurrido. Porque al igual que en cine no nos sentimos identificados con la fotografía, en un videojuego no nos sentimos identificados con una mecánica de juego. Nos sentimos identificados con los personajes y las situaciones a las que se enfrentan.

Y esto me lleva, aunque no lo parezca, al siguiente punto que ataca directamente a la economía de las desarrolladoras españolas:

4) Porque no podemos competir tecnológicamente.

España no es un país tecnológico. Sin tener ninguna universidad española entre las 50 mejores de Europa (ni tan siquiera entre las 100 mejores del mundo) y por supuesto, estando a la cola en innovación, ¿cómo pretendemos competir?

“¡Que inventen ellos” decía Unamuno hace cien años y parece que la cosa sigue igual. Ahora mismo dudo que haya una sola desarrolladora española capaz de abordar un proyecto como Assasin´s Creed y su calco literal de la arquitectura Renacentista. O capaz de desarrollar por sí sola la misma tecnología de captura facial que usó Rockstar en L.A. Noire. Y no por falta de talento, el hecho de que Konami haya confiado en una empresa española para crear su último Castlevania demuestra que de calidad vamos sobrados.

Se trata de una cuestión de presupuesto. No podemos competir en presupuesto con esos gigantes americanos que manejan millones de dólares sólo en marketing, como bien dijo Tim Schafer.

¿Qué nos queda entonces? Pues la solución, aunque parezca mentira, la tenemos como ejemplo en el propio cine español. Aunque en nuestro país goce de muy mala fama y arrastre muchos males endémicos, en el exterior, el cine español está muy bien visto. Y esto es porque las obras que salen fuera de nuestras fronteras son las de Almodóvar, Amenábar, Álex de la Iglesia, Julio Médem… Auténticos pesos pesados que han demostrado tener una forma muy personal de hacer cine y con historias que una Major jamás se atrevería a hacer.

De hecho, durante el preestreno americano de El Orfanato en un pequeño festival de cine, antes de que tuviese la avalancha mediática que tuvo dentro y fuera de nuestro país, se formaron unas colas increíbles por todo el público que quiso ir a ver la película sin conocer nada del director ni de la historia. Ante el asombro, éste preguntó a la organización por qué había esa expectativa con la película y le contestaron que era por ser una película de terror española, que eso ya era motivo suficiente para ir a verla porque sabían que su calidad iba a ser indiscutible.


Cine español de calidad. 

Por tanto, ya que con los juegos nunca podremos estar a la altura tecnológica de gráficos, de la misma manera que nuestro cine jamás podrá hacer un “Transformers”, ¿por qué no buscar otras estrategias? ¿Por qué no adelantarnos ya y comenzar a ofrecer juegos que sean envidiables por su historia? Ya que las grandes desarrolladoras prefieren invertir su tiempo en perfeccionar los efectos especiales de un Call of Duty o en infografías de realismo extremo como L.A. Noire, ¿Por qué no buscamos la manera de ofrecer historias que emocionen, gastando pocos recursos gráficos? ¿Por qué no empezar a ofrecer esas historias maduras que tanto consumirían los nichos de público que hoy por hoy están siendo olvidados y que con el tiempo irá creciendo?

Y con ésto llego al último punto con el cual intentar contestar a la pregunta de por qué las desarrolladoras necesitan guionistas:

5) Porque la innovación de la siguiente generación no puede ser sólo tecnológica.

Aunque ya nadie lo recuerde, la guerra de esta generación actual por ganarse el pódium del más vendido casi acaba con Sony. Su arriesgada apuesta por crear un centro de ocio recreativo, que incluyese el supuesto nuevo formato de reproducción, Blu-Ray, hizo que durante muchos años perdiese dinero con la venta de sus consolas.

Y esta alocada estrategia de venta que sólo podía idear un Japonés, se basaba en la técnica de apretar los dientes y esperar a que en el futuro fuese más rentable venderlas mientras se colocaban las suficientes consolas que permitiesen la venta de juegos.

A su vez, Microsoft se lanzaba al vacío sacando varios años antes que Sony su consola de nueva generación, atacando a largo plazo con su guerra de exclusivas y consiguiendo a golpe de talonario atraer franquicias tradicionalmente de Playstation, como Metal Gear o Final Fantasy.

Sin embargo, entre esta encarnizada batalla se escurría victoriosa Nintendo, con una consola anclada en la generación anterior pero que ofrecía algo que ninguna otra a los nichos nuevos del sector femenino y adulto: diversión.

Si echamos un vistazo a las ventas de los últimos 25 años en consolas, vemos que por mucho avance tecnológico y mucha potencia que haya tenido la última generación, el pódium de ventas tiene muy por encima a la WII, en un quinto puesto, quedando la Xbox 360 y la Playstation 3 en un octavo y noveno puesto.


 Con productos como éste, Nintendo ganó en ventas a tu consola favorita. Supéralo.

Visto desde esta perspectiva, las palabras de Itagaki de hace unos años, sobre el fin de la búsqueda de la excelencia técnica cobra especial importancia.

Pero si nos fijamos en las disciplinas artísticas descubrimos que esto no es nada nuevo y que es la tónica general. Siempre hay una primera fase de perfeccionamiento técnico que desemboca en un saturación tecnológica, en un techo que no da más de sí y su evolución se ralentiza.

La fotografía fue el resultado de una investigación científicaque duró siglos, y que culminó en la captura por parte de Joseph Niépce en 1826 de una imagen sobre soporte físico y con una duración relativamente permanente. Pero lo que conocemos hoy día como Arte, la fotografía que se expone en museos y que sirve para expresar emociones y comunicar ideas no surgió hasta 1890, en el momento en el que el pintor retratista Nadar comenzó a aplicar sus conocimientos de pintura al nuevo formato. Tuvieron que pasar casi setenta años para que ese invento, ese adelanto tecnológico, tomase carácter propio y encontrase su propio lenguaje.

Y si nos fijamos en el cine, ocurrió exactamente lo mismo. Los hermanos Lumiére desarrollaron el cinematógrafo como parte de una investigación que buscaba captar la imagen en movimiento. De tal manera, que en 1892 presentan su película “Llegada de un tren a la ciudad” y que trataba exactamente de eso, de un tren que llega a una estación.

La novedad hizo que la gente encontrase esto tremendamente divertido.

El realismo de lo que veían, hizo que los espectadores huyesen del lugar de proyección porque pensaban que realmente un tren se dirigía hacia ellos. Hasta tal punto llegó la implicación emocional con el nuevo invento. Pero tal y como funcionaba, los mismos Lumiere sentenciaron que la moda por su invento no duraría mucho, de hecho pensaban que pronto quedaría relegado al uso en Ferias como una curiosidad más entre la mujer barbuda y los forzudos.

Pero en 1902 llegó Meliés, un ilusionista que usó el cinematógrafo para contar historias de una forma mágica. De su mente surgió “El viaje a la luna”, con una enorme amalgama de efectos especiales, y con él, el verdadero espíritu narrativo del Cine tal y como lo conocemos en nuestros días. Pero no fue hasta 1915 que Griffith marcó las bases del lenguaje audiovisual con su “Nacimiento de una nación” y hasta 1927 que no se introdujo el sonido con la película de “El cantante de Jazz”. Hicieron falta más de treinta años para que el cine se desarrollase en plenitud tecnológica y se utilizasen todas sus facultades como arte.

Meliés fue el verdadero inventor del Cine tal y como lo conocemos.

Y los videojuegos ¿en qué etapa se encuentra? Está desarrollando todo su potencial tecnológico y todavía tiene mucho camino por recorrer, pero… ¿y sus facultades narrativas? ¿se han desarrollado plenamente? ¿Acaso ha llegado ya un Nadar o un Meliés que hayan traído sus conocimientos de otras disciplinas para explorar las grandes posibilidades que tienen los videojuegos?

La respuesta, obviamente es no. Pero no debe faltar mucho para que esto ocurra. Por afinidad y por motivos de desarrollo económico, creo que ese paso lo darán profesionales externos como los guionistas de cine. Profesionales que traigan el conocimiento de otro arte y lo adapten a los videojuegos para que estos encuentren su propio lenguaje y su forma de comunicación, como ya pasó con el cine y la fotografía.

Ya sólo queda que la implicación emocional por el “tren que se acerca a cámara” desaparezca lo suficiente como para que el público demande que un Meliés les inunde con su magia. Mientras tanto, España puede seguir dejando que “inventen ellos” o por el contrario, comenzar a liderar esa revolución narrativa con las herramientas de talento artístico que siempre ha tenido a su disposición y que tanta fama internacional le ha repercutido.

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81 thoughts on Por qué las desarrolladoras españolas necesitan guionistas.

  1. chocodrop

    Genial artículo, de verdad. El que más me ha gustado de esta web.
    Aunque no estoy tan seguro de que vaya a ser alguien venido del cine el que de ese paso. Heavy Rain intentó algo así, y aunque el resultado es bueno, no deja de ser una película interactiva, que una vez pasada acaba en la estantería (porque hay videojuegos mejores y películas mejores). Ojo, ya se que no te refieres a hacer un videojuego-película, pero es para poner el ejemplo.
    No se quien dará ese paso, pero algo me dice que no será alguien venido de otro medio, sino alguien nuevo. Un juego “indie” tal vez?

    • albynubio

      Muchas gracias, Chocodrop. Este artículo es uno de los que me motivaron a comenzar con el blog hace unos meses y por fin encontré el momento para escribirlo con calma.

      El caso de Heavy Rain es uno de los que siempre se pone de ejemplo cada vez que se habla de guionistas de cine en el mundo del videojuego. Pero su guión lo escribió David Cage, el Diseñador de juego y él es, a parte de diseñador, músico pero no guionista. Y si lo es, al menos es uno bastante malo, porque los recursos que usa en Heavy Rain son bastante primitivos y si uno lo evalúa con el mismo rasero que a una película, no aguanta el primer asalto. (Tengo pendiente terminarlo para hacerle un análisis en profundidad). Pero sobretodo, el gran mal que tiene ese juego es el control y eso en el tipo de juego que pretendía hacer era pecado capital. Sobretodo cuando después larga perlas como ésta http://www.anaitgames.com/noticias/david-cage-mecanicas-juego-son-mal

      Yo si creo que será alguien venido de otro medio, como en su momento Nadar, que vino de la pintura u Orson Welles que vino del Teatro y revolucionó el cine. Estas innovaciones se producen siempre cuando se vienen desde otras disciplinas ya que se aporta un conocimiento exterior y se adapta al nuevo medio.

      Y eso mismo es lo que hizo Shigeru Miyamoto con Nintendo. Él odiaba los videojuegos, pero comenzó a trabajar en la industria porque el padre le empujó a ello ya que “era el futuro”. Cuando él comenzó, la forma de hacer videojuegos seguía la pauta de Atari y sus juegos mecánicos y lineales, pero introdujo la forma en que él se divertía de pequeño: Cuenta que le gustaba jugar en un bosque cercano e imaginaba que debajo de una piedra habrían tesoros y que una tubería de desagüe era la entrada a un nuevo mundo y que en las nubes habían bloques escondidos que permitirían pisar sobre ellas…

      Lo que dudo mucho es que en este caso se base en la figura de una sola persona, cierto. Pero posiblemente surja con algún tipo de movimiento y tendencia interna a la hora de ejecutar los juegos. Y lo que comentas de que los “juegos indies” sean el germen puede que no andes muy desencaminado, por lo que precisamente argumentaba en el apartado de no poder competir tecnológicamente 😉

  2. GameDesigner

    Buen artículo, y estoy de acuerdo en que es muy buena idea incorporar guionistas o escritores en los desarrollos de videojuegos (los grandes desarrollos ya lo vienen haciendo desde hace años), si quieres una buena historia, claro. No es un tema nuevo, desde que salió el primer videojuego muchos escritores y diseñadores se han “empeñado” en hacer videojuegos con más profundidad narrativa, pero nadie ha encontrado la fórmula adecuada.

    El problema es que quizá el videojuego no sea un medio propicio para la narración al igual que no lo es la pintura. No hay mucha narración en un cuadro de Pollock, si quieres contar una historia la pintura no es el medio adecuado. Mezclando los conceptos de pintura y escritura, nació el cómic (o la novela gráfica), que anda a medio camino entre una y otra (y hay cómics muy muy buenos), pero seguramente el mejor cómic nunca será tan bueno en narrativa como la mejor novela, ni será tan profundo artísticamente como puede ser el mejor cuadro pintado.

    En mi opinión con los videojuegos podría pasar igual, y es posible que pase, con el tiempo aparecerá algo a medio camino entre el videojuego y el cine, que se estandarizará, y el mejor “lo que sea” nunca será tan bueno narrativamente como la mejor película ni tan divertido como el mejor videojuego. Aunque en sí mismo nadie dude que sea una obra maestra, desgraciadamente quedará relegado a un segundo plano. Porque seguramente el videojuego no es el medio adecuado si quieres contar una historia.

    • albynubio

      Hola Game Designer y bienvenido al blog.
      Lo que comentas sobre que la narración evolucione en un nuevo híbrido es muy interesante. Sin embargo, yo sí estoy convencido de que los videojuegos se pueden convertir en una nueva plataforma narrativa y como ejemplo más poderoso tenemos la fase final de “Braid” en el cual nos cuentan una historia usando mecánica de juego pura.

      No estoy de acuerdo con lo de que los cuadros no tengan narración. Evidentemente si usas a Pollock como ejemplo, no encuentras una narración ya que el arte abstracto tiende a eliminar toda información para transmitir lo más básico usando los elementos más simples (formas y colores). Compararlo con los videojuegos sería como compararlo con el Pong, por ejemplo, que es mecánica pura y abstracción de formas.

      Sin embargo, a poco que uno aprenda a “leer la composición” descubrirá miles de historias en otros cuadros, como “El jardín de las delicias” de El Bosco., por poner un ejemplo. http://cursoprofesoresespanol.files.wordpress.com/2011/12/20-jardin-triptico.gif
      Narrativa en la pintura existe desde su origen en el arte rupestre.

      Incluso, en la propia escultura existe narrativa y sólo hay que ver su aplicación en los pórticos de las catedrales góticas. Distinto es que a lo largo de la historia se haya querido potenciar más o menos y que eso sea lo que se quiera hacer con los videojuegos :p

      • GameDesigner

        No quiero decir que la narrativa sea inexistente tanto en la pintura como en la escultura o los videojuegos, simplemente opino que es probable que no sean los medios más adecuados para contar una buena historia. Por lo general las historias suelen necesitar una sucesión lineal de eventos, que tanto en la escultura, como en la pintura y en los videojuegos no están garantizadas.

        Como has dicho, las catedrales góticas pueden tener una historia brillante esculpida en sus paredes, pero es muy dificil que el espectador consiga percibirla al completo, ya que puede empezar a ver las esculturas en un lado o en otro, y posiblemente se pierda alguna parte, o algún detalle que puede ser fundamental, y además después tendría que recomponer el puzzle una vez visto todo, ya que no sigue un orden lineal. Si tuviera una gran historia que contar, no escogería una catedral como medio para darla a conocer, lo que no quiere decir que no se pueda, y, evidentemente, el lograrlo podría elevar enormemente su valor artístico, que desgraciadamente sólo unos pocos percibirían.

        A los videojuegos les pasa igual, debido a su interactividad, no se convierten en un medio apropiado para la narrativa, el jugador estará irremediablemente atento a otras cosas, a no ser que utilices la triquiñuela habitual de juego-cutscene-juego-cutscene, que puede empobrecer el conjunto. Sería como obligar a la gente a ver la catedral en un orden concreto, parándose en cada escultura (alguna vez lo he visto).

        Por eso se siguen haciendo libros y películas y se seguirá. Al final son los mejores medios para contar una historia, ya que el espectador está obligado a seguir el orden de la narración.

        PD: No he jugado a Braid, pero ahora tengo bastantes ganas.

      • albynubio

        Si no has probado el “Braid” te lo recomiendo encarecidamente. Su fase final es la mejor representación de cómo se puede contar una historia en videojuegos sin tener que usar la triquiñuela de “cutscene-juego-cutscene” y para mí, el mejor ejemplo de cómo funciona perfectamente un videojuego para comunicar, de una manera realmente única 😉

  3. .
    Mi opinión es que los guionistas que den por fin el cambio vendrán de los juegos de rol. Los videojuegos y los juegos de rol de mesa comparten a nivel narrativo muchas similitudes, tanto para lo bueno como para lo malo. De entrada, los escritores de rol ya piensan en conceptos de escenas encadenadas, desarrollo de personajes (Tanto a nivel narrativo como mecánico), dificultad/recompensa, múltiples opciones de resolución de conflictos, ritmo interno acción-narración, diálogos, trasfondo, etc. Todos los elementos que tiene que tener una buena a ventura de rol en mesa lo tiene que tener un videojuego, y a diferencia de los guionistas de cine o los escritores, los escritores de aventuras de rol escriben a sabiendas de que los personajes no están bajo su control y que pueden intentar mil y una acciones diferentes ante cada evento.

    Sea como sea, el primer paso, por supuesto, es tener Guionistas, no escritores de diálogos.
    .

    • albynubio

      Es cierto que los videojuegos y el rol de mesa tienen muchísimo en común, es algo que apenas hemos comentado y que merecería un artículo analizándolo.

      Sin embargo, el gran problema que le veo a que se haga es que no existen “Escuelas de juegos de rol” donde te enseñen las bases, uno lo aprende con la experiencia y sólo en su tiempo libre. Sin embargo, para guionista de cine existen miles de recursos formativos y eso influye directamente en el número de personas que se están preparando para ese mercado laboral, y por tanto, estarán más disponibles profesionalmente para dar el salto.

      Ojo, no estoy diciendo que los guionistas de cine sean los que vengan a “salvar el videojuego” porque controlan todo al dedillo. Deben aprender del nuevo medio y adaptarse a él, pero pueden traer unos conocimientos sobre creación de personajes, evolución, ritmo o estructura, que para empezar ni se está aplicando en la mayoría de los videojuegos.

  4. SrVallejo

    Que no haya llegado aun el Meliés del genero lo pongo un poco en duda.

    Ya ha muchos juegos que están buscando una narrativa propia, y se me ocurren muchos ejemplo. Como los juegos de valve, shadow of the colossus, o el recién sacado Journey (utilizarlo de ejemplo es muy tramposo por mi parte, ya que aun no he jugado), y muchos otros.

    Estoy pensando en el wind waker, y como conseguía meterte en el mundo a través de los viajes en barco, completamente mágico.

    Yo creo que Meliés ya ha llegado, pero que tendremos que ir perfeccionando todo lo que nos han enseñado estas obras maestras del videojuego.

  5. albynubio

    Si tuviese que elegir a ese “Meliés” del videojuego, estoy de acuerdo en que el primer candidato sería Fumito Ueda. Tanto “ICO” como “Shadow of the Colossus” son las punta de lanza de la narrativa del videojuego que siempre pongo como ejemplo. Pero el problema está en que la obra de Ueda no es lo suficientemente amplia como para poder “abollar” en la industria. Si tan sólo le dejasen terminar su tercer juego y le diesen cancha para poder continuar con su visión…

    Otro que también podría ser considerado el “Meliés” no es otro sino Shigeru Miyamoto, como ya comenté más arriba. Pero de nuevo, el problema es que llegó “demasiado pronto” para el público que había en ese momento.

    Y estoy también muy de acuerdo respecto a “That game company” y el Journey (que tampoco he podido jugar, pero me muero de ganas). Creo que están redefiniendo la forma de hacer juegos, cambiando muchas de las bases de lo que supuestamente es hacer un “juego de éxito”.

    Y esa ha sido la razón para escribir este artículo, porque creo que esos cambios se están gestando ahora mismo y posiblemente veamos una nueva revolución en breve en la industria. Y tal y como comentaba “Chocodrop” en el primer comentario, será promovido por el sector Indie por su carácter innovador. Pero mientras no se dé importancia a elementos básicos de la narrativa que ya se usa en otros medios y que son tan generales que se aplican tanto a cine, como a literatura o teatro, ésta tardará mucho más en llegar o como mínimo en completarse.

    • Lucimario

      Ah, yo creeda que te referias a que Fear Itself fue egcnraado por los editores para que Bendis la escribiera.Honestamente luego del fiasco de Giant-Man que resulto ser un “skrull” justo cuando se estaba redimiendo… Pero lo de Siege no me lo explico, es como la cuarta vez que pelean los Avengers con Loki, ne me entusiasma para nada la idea, especialmente por un escritor famoso por ir lento en sus historias.

  6. SrVallejo

    La industria del videojuego es tan amplia que buscar un Melliés ahora ya es imposible. A parte, estas cosas hay que verlas con retrospectiva. Yo creo que ya se han dado los primeros pasos, y dentro de poco veremos grandes obras de arte que compitan con otros medios.

    • albynubio

      Tienes razón con lo de la retrospectiva, aunque creo que lo del Meliés ocurrirá no en base a una persona (por lo amplio de la industria) sino con una tendencia de hacer juegos. Pero analizar lo que ocurrió en otros medios nos puede hacer entender en qué punto están los videojuegos y hacia dónde pueden llegar. Mi apuesta personal es en el aspecto de la narración y la creación de personajes, porque a día de hoy, incluso el mejor juego no le ha terminado de sacar el partido al medio, así que mi instinto me está empujando a gritos hacia ese aspecto 🙂

      • .
        Una parte del problema, como ya se ha dicho en este blog más de una vez, es que hoy por hoy “Sacarle partido al medio” está entendido como usar la potencia de proceso en fuegos artificiales y efectos especiales, no en el potencial narrativo.
        .

        • Flaviano

          La Escuela Brubaker va ganando apdteos, con una salvedad: ahora los artistas encargados de escribir cf3mics de superhe9roes desprecian a los personajes que les dan de comer MIENTRAS siguen trabajando para las grandes editoriales… Eso es me1rketing, amigos!

      • albynubio

        Eso se debe a que las grandes empresas, al sacar beneficio con la venta de consolas y no con juegos, es lo que potencian, la parte tecnológica que es más visible en cuestión de gráficos y efectos.

  7. Lo realmente interesante es cuando el concepto de guión va más allá de los diálogos. Si consigues integrar la historia con las mecánicas de juego, como ocurre en el mencionado “Braid”, la experiencia lograda es indeleble. Es algo tan especial que crea una complicidad entre las personas que han experimentado ese raro momento.

    Y sin embargo no creo que llegar a las cotas más altas de exprimir la capacidad (interactiva y emocional) del medio esté solo en las manos de los guionistas. Hace falta una integración muy profunda con la parte técnica.

    Viendo cosas como el proyecto Milo, creo que los futuros juegos mainstream que cuenten con un guión elaborado, tocarán la tecla de la inteligencia artificial. Eso concordaría con lo que comentabais sobre los juegos de rol. Esta inteligencia artificial es lo que compensaría la ausencia del típico Master o narrador de una partida de rol. Esa figura, dentro de unos márgenes de libertad, encauza sutilmente la acción porque corrige dinámicamente el entorno y los eventos de la partida. Es un problema recurrente en el diseño de los típicos juegos sandbox, donde te encuentras con ese dilema entre dar libertad de acción y ofrecer una narración lineal que te permita contar una historia coherente.

    A parte de esto, debería haber proyectos más ingeniosos y experimentales que compensen la falta de medios con creatividad, pero siempre implicando al guionista ya en la misma fase de concepción del juego. Para los estudios pequeños va a ser la única manera de sobresalir entre la infinidad de títulos que saturan el mercado.

    • albynubio

      Así es, Javi. Decir que guion es sólo el diálogo sería como decir que el cine surgió en cuanto apareció el sonoro. Para contar una historia, no hace falta decir ni una sola palabra para transmitir emociones (ahí está ese ICO). Pero sí hace falta un buen conocimiento de los mecanismos narrativos, si no, difícilmente se conseguirá tocar en la entraña.

      Y lo de la inteligencia artificial y su perfeccionamiento es algo que llevo dándole vueltas precisamente desde hace un tiempo. Si se puliese tanto como para darle a los PNJs un comportamiento, que no sólo reaccione con el entorno, sino con lo que decimos y hacemos, y que sea profundo y acorde con sus características emocionales de su personaje, entonces nuestro juego ganaría una mayor dimensión.

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  14. Borja Rodríguez Nieto

    Gracias al cielo que alguien lo “dice” por fin (hasta el final no he visto que es de hace dos años xD). Brutal artículo, pero no puedo ser objetivo: soy guionista. He terminado la escuela de cine hace poco, pero ya he ido trabajando en cosillas. Incluso hace unos años trabajé para una cooperativa de escritores y les presenté un dossier sobre el mundo del videojuego (haciendo hincapié en que España estaba empezando a despegar) y nos encontramos con un problema claro: no conocíamos a nadie de ese mundillo.

    Hoy en día conozco a desarrolladores de videojuegos independientes pequeños. En su mayor parte se centran en hacer arcades y minijuegos que se vendan y programen fácil, pero suelen pecar en lo que tú expones, dejan en un segundo plano todo el campo de la escritura. Llevo toda la vida deseando trabajar en un videojuego como guionista, desde que jugué en mi 286 al primer Monkey Island. Lo más cercano que he estado ha sido hacer reseñas y publicar noticias en una revista online.

    • Alby Ojeda

      Hola Borja.
      Me alegro que te haya gustado el artículo. Cuando escribí el artículo no habían tantas empresas en España como las hay ahora. Gracias a los markets de móviles y al crecimiento en formación, es muy fácil que cuatro personas se aventuren a crear su estudio y a probar suerte. Confío que eso a largo plazo se transforme en un buen núcleo de desarrolladores en el país que vayan teniendo proyectos que crezcan en ambición y que a largo plazo entiendan la importancia del “Storytelling” dentro de sus proyectos. Y si no, tarde o temprano, cuando los jugadores más hardcore aumenten de edad y demanden juegos más narrativos y con mayor carga emocional, a la industria no les quedará más remedio que contar con guionistas. Mientras tanto, solo nos toca esperar y preparar el camino para explorar todas las posibilidades narrativas que tienen los videojuegos. 🙂

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  16. Efe

    No me extraf1a para nada. He leeddo antes al Caballero Luna y no teneda nada que ver con la ida de olla que era ahora. No teneda ni puto sentido. Lo sineto me1s por Echo que no para de dar tumbos de un lado para otro y no saben que hacer con la pobre… espero que al menos no se la carguen o algo.

  17. Jordan

    Bendis quedo grande deupses de Secret Invasion, el retcon me1s grande de la decada, a eso le siguio directamente la secuela Siege.Tanto Secret Invasion como Siege pueden ser consideradas como parte 1 y parte 2 del “Bendis Project” para cambiar el status quo de Marvel y poner a Norman Osbourne en la cima, Tal cual lo hizo DC cuando pusieron a Lex Luthor de presidente hace diez af1os. Secret Invasion fue el evento de la decada en Marvel, unif3 todas las trame1s argumentales que siguieron a Civil War, por esa razf3n se convirtio en la estrella de Marvel. Brian Bendis NO ESCRIBId3 FEAR ITSELF (ese seria matt fraction)

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