‘I was born for this’: Perspectivas sobre el storytelling (ludo)musical a través del videojuego Journey (thatgamecompany, 2012)
Resumen Como textos ergódicos, los videojuegos han introducido nuevos modos de crear, narrar y experimentar historias nuevas y pasadas, redefiniendo los límites de la textualidad al otorgar a sus usuarios un grado variable de agencia creativa sobre el producto lúdico final. La interactividad inherente al medio hace de la cadena de comunicación semiótica en los videojuegos un evento circular, donde el jugador asume el triple rol de receptor, transmisor y co-creador de la banda sonora musical, determinando en última instancia los significados realizados tras su síncresis con las dimensiones visual y afectiva durante la experiencia lúdica. La transitoriedad y continua variabilidad de los procesos semióticos en los videojuegos complican las funciones comunicativas de la música en el medio, elevando interesantes cuestiones sobre cómo esta puede contribuir efectivamente a la narración. A este respecto, este artículo parte de los niveles semióticos propuestos por Hart (2014, 2021) y hace uso de la red sincrética diseñada por Mouraviev (2017), para desentrañar las particularidades que caracterizan el storytelling (ludo)musical en Journey (thatgamecompany, 2012), un título sin texto ni diálogos donde la banda sonora musical sirve de base a toda una catarsis espiritual inspirada en la teoría del monomito de Campbell (1949).
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Ashley, C. (18 de noviembre de 2019). Why Journey’s ending was so hard to score. Polygon. https://bit.ly/3OTEw5H
Campbell, J. (1949). The Hero with a Thousand Faces. Princeton University Press.
Chen, J. (2012). Journey [Videojuego]. Thatgamecompany.
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Collins, K. (2011). Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. The MIT Press.
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Hart, I. (2021). Semiotics in Game Music. In M. Fritsch & T. Summers (Eds.), The Cambridge Companion to Video Game Music (pp. 220-237). Cambridge University Press.
Game Score Fanfare (6 de julio de 2017). The Story Hidden in Journey’s Soundtrack [Vídeo]. YouTube. https://bit.ly/3ylkXNF
Juul, J. (2005). Half-real: Video Games between Real Rules and Fictional Worlds. The MIT Press.
Mouraviev, I. (2017). The Synchretic Network: Linking Music, Narrative, and Emotion in the Video Game Journey. Nota Bene: Canadian Undergraduate Journal of Musicology, 10 (1), 64-80. https://bit.ly/3vOYKWN
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Peppiatt, D. (14 de marzo de 2022). ‘Journey’ turns 10: Austin Wintory has found a way for you to experience it for the first time, all over again. NME. https://bit.ly/3yePcWD
Peters, J. (13 de marzo de 2022). 10 Years later, there’s still nothing like Journey’s multiplayer. The Verge. https://bit.ly/3KO8rZB
Ramsey, R. (21 de julio de 2015). Journey Review. Push Square. https://bit.ly/3w2atA2
Stuart, K. (15 de marzo de 2012). Is Journey a game or a piece of interactive art?. The Guardian. https://bit.ly/3w5HICw
Stuart, K. (1 de junio de 2012). Sound as story: Austin Wintory on Journey and the art of game music. Hookshot Inc.
Summers, T. (2016). Understanding Video Game Music. Cambridge University Press.
Van Leeuwen, T. (1998). Music and ideology: Notes toward a sociosemiotics of mass media music. Popular Music and Society, 22 (4), 25-54. https://doi.org/10.1080/03007769808591717.
Wintory, A. (5 de enero de 2018). A Musical Journey. Medium. https://bit.ly/381lz0o
Wintory, A. (28 de enero de 2019). JOURNEY – Complete score with text commentary [Vídeo]. YouTube. https://bit.ly/3LOu0e5
Wintory, A. (6 de junio de 2019). JOURNEY – Nascence – As Noted [Vídeo]. YouTube. https://bit.ly/3MYXK8h
Wintory, A. (9 de agosto de 2019). JOURNEY – Apotheosis – As Noted [Vídeo]. YouTube. https://bit.ly/3yltBf4
Lipscomb, S. D. & Zehnder, S. M. (2004). Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Game Experience. Journal of Physiological Anthropology and Applied Human Science, 23 (6), 337-343. https://doi.org/10.2114/jpa.23.337
Campbell, J. (1949). The Hero with a Thousand Faces. Princeton University Press.
Chen, J. (2012). Journey [Videojuego]. Thatgamecompany.
Chion, M. (1993). La audiovisión: Introducción a un análisis conjunto de la imagen y el sonido. Ediciones Paidós.
Collins, K. (2008). Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. The MIT Press.
Collins, K. (2011). Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. The MIT Press.
Harris, R. & Thompson, S. (1995). The Hero’s Journey: A Guide for Literature and Life. Ariane Pub Et Dist.
Hart, I. (2014). Meaningful Play: Performativity, Interactivity and Semiotics in Video Game Music. Musicology Australia, 36 (2), 273-290. http://dx.doi.org/10.1080/08145857.2014.958272
Hart, I. (2021). Semiotics in Game Music. In M. Fritsch & T. Summers (Eds.), The Cambridge Companion to Video Game Music (pp. 220-237). Cambridge University Press.
Game Score Fanfare (6 de julio de 2017). The Story Hidden in Journey’s Soundtrack [Vídeo]. YouTube. https://bit.ly/3ylkXNF
Juul, J. (2005). Half-real: Video Games between Real Rules and Fictional Worlds. The MIT Press.
Mouraviev, I. (2017). The Synchretic Network: Linking Music, Narrative, and Emotion in the Video Game Journey. Nota Bene: Canadian Undergraduate Journal of Musicology, 10 (1), 64-80. https://bit.ly/3vOYKWN
Mozuch, M. (13 de marzo de 2022). 10 Years later, the best video game about nothing still lives up to the hype. Inverse. https://bit.ly/3kHHjRB
McQuail, D. (1983). McQuail’s Mass Communication Theory. SAGE Publications Ltd.
Peppiatt, D. (14 de marzo de 2022). ‘Journey’ turns 10: Austin Wintory has found a way for you to experience it for the first time, all over again. NME. https://bit.ly/3yePcWD
Peters, J. (13 de marzo de 2022). 10 Years later, there’s still nothing like Journey’s multiplayer. The Verge. https://bit.ly/3KO8rZB
Ramsey, R. (21 de julio de 2015). Journey Review. Push Square. https://bit.ly/3w2atA2
Stuart, K. (15 de marzo de 2012). Is Journey a game or a piece of interactive art?. The Guardian. https://bit.ly/3w5HICw
Stuart, K. (1 de junio de 2012). Sound as story: Austin Wintory on Journey and the art of game music. Hookshot Inc.
Summers, T. (2016). Understanding Video Game Music. Cambridge University Press.
Van Leeuwen, T. (1998). Music and ideology: Notes toward a sociosemiotics of mass media music. Popular Music and Society, 22 (4), 25-54. https://doi.org/10.1080/03007769808591717.
Wintory, A. (5 de enero de 2018). A Musical Journey. Medium. https://bit.ly/381lz0o
Wintory, A. (28 de enero de 2019). JOURNEY – Complete score with text commentary [Vídeo]. YouTube. https://bit.ly/3LOu0e5
Wintory, A. (6 de junio de 2019). JOURNEY – Nascence – As Noted [Vídeo]. YouTube. https://bit.ly/3MYXK8h
Wintory, A. (9 de agosto de 2019). JOURNEY – Apotheosis – As Noted [Vídeo]. YouTube. https://bit.ly/3yltBf4
Lipscomb, S. D. & Zehnder, S. M. (2004). Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Game Experience. Journal of Physiological Anthropology and Applied Human Science, 23 (6), 337-343. https://doi.org/10.2114/jpa.23.337
Guzmán Anaya, C. (2022). ‘I was born for this’: Perspectivas sobre el storytelling (ludo)musical a través del videojuego Journey (thatgamecompany, 2012). Popular Music Research Today: Revista Online De Divulgación Musicológica, 4(1), 5–29. https://doi.org/10.14201/pmrt.29082
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