Apontamentos teóricos para o desenvolvimento de jogos independentes de terror com baixo custo de produção
Resumo
O objetivo deste artigo é contribuir com apontamentos teóricos para que desenvolvedores independentes possam superar limitações técnicas e financeiras na criação de jogos de terror de baixo custo. A partir de uma pesquisa teórica, foram considerados os principais elementos que compõem um jogo de terror, assim como as características do cenário de desenvolvimento independente de jogos, e os diversos aspectos que se encaixam nesse cenário.
Palavras-chave:
terror, jogos independentes, narrativa, percepção sensorial
Referências
B. Perron and C. Barker, Horror Video Games. Jefferson, NY, USA: McFarland & Company, 2009.
M. Griffin, ”Evaluating Player Immersion in Survival Horror VideoGames,” M.S. thesis, Ball State Univ., IND, USA, 2019.
N. Lipkin, ”Examining indie’s independence: The meaning of ”indie” games, the politics of production, and mainstream cooptation,” The Journal of the Canadian Game Studies Association, vol. 7, no. 11, pp.8-24, Dec. 2012.
L. Pereira and M. Bernardes, "Aspects of independent game production," Computers in Entertainment, vol. 16, no. 4, pp. 1-16, 2018.
M. B. Garda and P. Grabarczyk, "Is every indie game independent? Towards the concept of independent game," Game Studies, vol. 16, no. 1, Oct. 2016.
J. Juul, "High-tech low-tech authenticity: The creation of independent style at the independent games festival," Foundations of Digital Games, pp. 31-124, 2014.
L. Sheldon, Character Development and Storytelling for Games. Boston, MA, USA: Thomson Course Technology, 2004.
E. Kirkland, "Storytelling in survival horror video games," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 62-78.
R. Rouse, "Match made in hell: the inevitable success of the horror genre in video games," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 15-25.
D. Carson, "Environmental storytelling: Creating immersive 3D worlds ising lessons." gamedeveloper.com. [link]. (accessed May 1, 2021).
C. Pearce, "Narrative environments: from disneyland to world of warcraft," in Space Time Play. Berlin, Germany: Birkhauser, 2007, pp. 200–205.
L. Tarnowetzki, "Environmental Storytelling and BioShock Infinite: Moving From Game Design to Game Studies," M.S. thesis, Concordia Univ., Montreal, Canada, 2015.
Infinite Monkeys Entertainment. Know Your Market: Making Indie Games That Sell. (Mar. 21, 2018). Accessed: Apr. 13, 2021. [Online Video]. Available: https://www.gdcvault.com/play/1024974/Know-Your-Market-Making-Indie.
J. King, "An Analysis of the Methods and Techniques Used to Create an Unsettling Atmosphere in Horror Games," B.S Thesis, Univ. of Abertay Dundee, Dundee, Scotland, 2015.
M. Haahr, "Playing with vision: Sight and seeing as narrative and game mechanics in survival horror," ICIDS, pp.193-205, Jan. 2018.
Amnesia: The Dark Descent. (2010). Frictional Games.
S. Niedenthal, "Complicated Shadows: the aesthetic significance of simulated illumination in digital games," Ph.D. dissertation, Blekinge Institute of Technology, Malmö, Sweden, 2008.
S. Niedenthal, "Patterns of obscurity: Gothic setting and light in Resident Evil 4 and Silent Hill 2," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 168–180.
B. Block, The Visual Story: Creating the Visual Structure of Film, TV and Digital Media, 2nd ed. Burlington, MA, USA: Elsevier, 2008.
G. Roux-Girard, "Listening to fear: a study of sound in horror computer games," in Game Sound Technology and Player Interaction: Concepts and Developments. New York, NY, USA: Information Science Reference, 2011, pp. 192–212.
B. Perron, "Sign of a threat: The effects of warning systems in survival horror games," COSIGN, Sep. 2004.
A. Maia, B. Medeiros and N. R. Silva, "Imersão nos jogos de horror, silêncio como mediador entre os espaços diegéticos e extradiegéticos," SBGames, vol. 1, no. 10, pp. 1071-1078, Sep. 2016.
Resident Evil. (2000). Capcom.
Z. Whalen, "Play along - An approach to videogame music," Game Studies, vol. 4, no. 1, Nov. 2014.
E. Brown and P. Cairns, "A grounded investigation of game immersion," CHI, pp. 1297–1300, Apr. 2004.
E. Patrick, D. Cosgrove, A. Slavkovie, J. A. Rode, T. Verratti and G. Chiselko, "Using a large projection screen as an alternative to head-mounted displays for virtual environments," SIGCHI, vol. 2, no. 1, pp. 478–485, Jan. 2000.
A. McMahan, "Immersion, engagement, and presence: A method for analyzing 3-D videogames," in The Video Game Theory Reader, 1st ed. New York, NY, USA: Routledge, 2009, pp. 67–86.
M. Masuch and N. Röber, "Game graphics beyond realism: Then, now, and tomorrow," DiGRA, vol. 3, no. 1, Jan. 2005.
B. Perron, Silent Hill: The Terror Engine, 1st ed. Ann Arbor, MICH, USA: University of Michigan Press, 2006.
Electronic Arts Redwood Shores. Art Directing Horror and Immersion in Dead Space. (2009). Accessed: Apr. 18, 2021. [Online Video]. Available: https://www.gdcvault.com/play/1384/Art-Directing-Horror-and-Immersion.
M. Griffin, ”Evaluating Player Immersion in Survival Horror VideoGames,” M.S. thesis, Ball State Univ., IND, USA, 2019.
N. Lipkin, ”Examining indie’s independence: The meaning of ”indie” games, the politics of production, and mainstream cooptation,” The Journal of the Canadian Game Studies Association, vol. 7, no. 11, pp.8-24, Dec. 2012.
L. Pereira and M. Bernardes, "Aspects of independent game production," Computers in Entertainment, vol. 16, no. 4, pp. 1-16, 2018.
M. B. Garda and P. Grabarczyk, "Is every indie game independent? Towards the concept of independent game," Game Studies, vol. 16, no. 1, Oct. 2016.
J. Juul, "High-tech low-tech authenticity: The creation of independent style at the independent games festival," Foundations of Digital Games, pp. 31-124, 2014.
L. Sheldon, Character Development and Storytelling for Games. Boston, MA, USA: Thomson Course Technology, 2004.
E. Kirkland, "Storytelling in survival horror video games," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 62-78.
R. Rouse, "Match made in hell: the inevitable success of the horror genre in video games," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 15-25.
D. Carson, "Environmental storytelling: Creating immersive 3D worlds ising lessons." gamedeveloper.com. [link]. (accessed May 1, 2021).
C. Pearce, "Narrative environments: from disneyland to world of warcraft," in Space Time Play. Berlin, Germany: Birkhauser, 2007, pp. 200–205.
L. Tarnowetzki, "Environmental Storytelling and BioShock Infinite: Moving From Game Design to Game Studies," M.S. thesis, Concordia Univ., Montreal, Canada, 2015.
Infinite Monkeys Entertainment. Know Your Market: Making Indie Games That Sell. (Mar. 21, 2018). Accessed: Apr. 13, 2021. [Online Video]. Available: https://www.gdcvault.com/play/1024974/Know-Your-Market-Making-Indie.
J. King, "An Analysis of the Methods and Techniques Used to Create an Unsettling Atmosphere in Horror Games," B.S Thesis, Univ. of Abertay Dundee, Dundee, Scotland, 2015.
M. Haahr, "Playing with vision: Sight and seeing as narrative and game mechanics in survival horror," ICIDS, pp.193-205, Jan. 2018.
Amnesia: The Dark Descent. (2010). Frictional Games.
S. Niedenthal, "Complicated Shadows: the aesthetic significance of simulated illumination in digital games," Ph.D. dissertation, Blekinge Institute of Technology, Malmö, Sweden, 2008.
S. Niedenthal, "Patterns of obscurity: Gothic setting and light in Resident Evil 4 and Silent Hill 2," in Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NY, USA: McFarland & Company, 2009, pp. 168–180.
B. Block, The Visual Story: Creating the Visual Structure of Film, TV and Digital Media, 2nd ed. Burlington, MA, USA: Elsevier, 2008.
G. Roux-Girard, "Listening to fear: a study of sound in horror computer games," in Game Sound Technology and Player Interaction: Concepts and Developments. New York, NY, USA: Information Science Reference, 2011, pp. 192–212.
B. Perron, "Sign of a threat: The effects of warning systems in survival horror games," COSIGN, Sep. 2004.
A. Maia, B. Medeiros and N. R. Silva, "Imersão nos jogos de horror, silêncio como mediador entre os espaços diegéticos e extradiegéticos," SBGames, vol. 1, no. 10, pp. 1071-1078, Sep. 2016.
Resident Evil. (2000). Capcom.
Z. Whalen, "Play along - An approach to videogame music," Game Studies, vol. 4, no. 1, Nov. 2014.
E. Brown and P. Cairns, "A grounded investigation of game immersion," CHI, pp. 1297–1300, Apr. 2004.
E. Patrick, D. Cosgrove, A. Slavkovie, J. A. Rode, T. Verratti and G. Chiselko, "Using a large projection screen as an alternative to head-mounted displays for virtual environments," SIGCHI, vol. 2, no. 1, pp. 478–485, Jan. 2000.
A. McMahan, "Immersion, engagement, and presence: A method for analyzing 3-D videogames," in The Video Game Theory Reader, 1st ed. New York, NY, USA: Routledge, 2009, pp. 67–86.
M. Masuch and N. Röber, "Game graphics beyond realism: Then, now, and tomorrow," DiGRA, vol. 3, no. 1, Jan. 2005.
B. Perron, Silent Hill: The Terror Engine, 1st ed. Ann Arbor, MICH, USA: University of Michigan Press, 2006.
Electronic Arts Redwood Shores. Art Directing Horror and Immersion in Dead Space. (2009). Accessed: Apr. 18, 2021. [Online Video]. Available: https://www.gdcvault.com/play/1384/Art-Directing-Horror-and-Immersion.
Publicado
18/10/2021
Como Citar
PRESSANTO, Bruno Paese; FARDO, Marcelo Luís.
Apontamentos teóricos para o desenvolvimento de jogos independentes de terror com baixo custo de produção. In: TRILHA DE ARTES & DESIGN – ARTIGOS CURTOS - SIMPÓSIO BRASILEIRO DE JOGOS E ENTRETENIMENTO DIGITAL (SBGAMES), 20. , 2021, Online.
Anais [...].
Porto Alegre: Sociedade Brasileira de Computação,
2021
.
p. 269-272.
DOI: https://doi.org/10.5753/sbgames_estendido.2021.19648.
